THE MUMMY'S TOMB

US, 1942, 71 minutes, Black and white.
Lon Chaney Jr, Dick Foran, John Hubbard, Wallace Ford, Turhan Bey.
Directed by Harold Young.

The Mummy's Tomb is one of-many short B-budget horror features from Universal Studios in the '30s and '40s. It follows on The Mummy, a successful series with Boris Karloff. Here, Lon Chaney appears - as he did in so many of Universal's horror films. The plot combines elements of the familiar Mummy story with elements of the Frankenstein's story.

1. Horror enjoyment?

2. Universal Studios - judge horror films? Black and white photography? Studios, special effects, their brevity?

3. The popularity of the films, their tradition? This film borrowing elements of the Frankenstein story?

4. The narrative, the telling of the story, its effect, the audience listening and participating?

5. Egypt, exploration, the revelation of the tomb, opening it up, the mummy, its curses? American archeologists and the effect of the curse? The Egyptian priests, meddling? The being buried alive? The stories about the mummy, its coming to life again, monstrous? Violence? The kidnapping of the heroine? The crowd converging on the fire and its death?

6. Banning and the effect of the curse? The consequences? The priest, his being instructed, keeping the mummy alive, commanding it, his death?

7. The popular horror style of the '40s? Possibilities, imagination? Nightmares and monsters?

MY CHAUFFEUR

US, 1986, 97 minutes, Colour.
Deoborah Foreman, Matt Lattanzi, Sam J. Jones, Sean McClory?, Howard Hesseman, E.G. Marshall, Penn Jillette, Teller.
Directed by David Beaird.

My Chauffeur is a forgettable romantic comedy. It is glossy, '80S style. However, it lacks real wit.

Deborah Foreman plays a cook who likes driving and gets the opportunity to join a conservative limousine service (with antagonism from the rest of the elderly staff and the manager played by Howard Hesseman). She is kindly, helps people out - and causes a rumpus in the firm. She encounters accidentally the son of the boss (played by Sam Jones - Flash Gordon). She has to drive him to the country, through attractive scenery; they have an accident, go to a farmhouse, fall in love, he wants to marry her, she refuses. He keeps pressing his suit. Father, the owner of the firm, is played by E. G. Marshall. With his Irish assistant, he has engineered Deborah's job. There seems, for a moment (an unpleasant aspect to the comedy) that he could be the father of each. However the stuffiest of the chauffeurs admits that he is the girl's father. This means that the film can have a happy romantic ending.

There are some comic sequences, especially with two comedians representing a young Arab sheikh and a conman on the make, which brings in an amount of sex comedy,

Overall, the film is quite unfunny and becomes tedious. However, it was typical enough of the type of romantic comedy (with a touch of permissiveness) popular in the '80s.

Only 5 qq
MISSING PIECES

US, 1983, 96 minutes, Colour.
Elizabeth Montgomery.,
Directed by Mike Hodges.

Missing Pieces is a private eye thriller with a difference. The private eye is a woman played effectively by Elizabeth Montgomery. She takes on a job after the brutal killing of her husband. Eventually the pieces fit together - and the audience is surprised with her disillusionment and the criminal involvement of her journalist husband and the reasons for his death.

The screenplay is rather arty - in the sense that the heroine's nightmares keep recurring throughout the film visually and are part of the character development. There are inserted glimpses of her memories of her husband's murder and stylised dream sequences. The screenplay was written by Mike Hodges who made the tough thrillers Get Carter and Pulp in the early '70s. He also directed such films as The Terminal Man and Flash Gordon.

There is constant voice-over by the heroine, a focus on corrupt politics in California, drug-running and cover-ups. An interesting contemporary private eye telemovie.

1. Interesting and enjoyable thriller? Private eye genre? The female private eye? The background of California, journalism, drugs, political corruption?

2. The Californian locations? Authentic atmosphere? The insertion of the memories and the nightmare sequences? The importance of editing and pace? The use of the voice-over?

3. The title and its focus on Sarah's investigation, puzzle, and the irony of her husband's involvement in the crime syndicate?

4. The opening with Andrew's death? Its effect on Sarah? Her relationship with her husband? Her relationship with her daughter - the balancing of the investigation with the home scenes, Valerie and her coping, her relationship with her mother? Supporting her? Sarah at work? Her partnership with Papazian? Mrs Richmond and the investigation, Sarah's skills in trailing Dr Richmond, her discoveries, the drug centre, the senator, the ex-actress? The airport sequence and the death of Dr. Richmond? The second murder? The victim's wife and her rejection of Sarah and Sarah's emotional upset? The encounter with Martinez - and discovering his link with the ex-actress? Following the trail? Eventually going to Sacramento? The discovery of the corrupt senator and the killer? The truth about her husband? Papazian coming to the rescue? The shattering of her idealism and her memories? Her recovery and going back to work? Elizabeth Montgomery's credibility in this role?

5. The background of private eye investigations?

MOUNTAINS OF THE MOON

UK, 1990, 136 minutes, Colour.
Patrick Bergin, Iain Glen, Leslie Philips, Anna Massey, Roger Rees, Omar Sharif, Peter Vaughan, Fiona Shaw, James Villiers, Delroy Lindo, Roshan Seth, Bernard Hill.
Directed by Bob Rafaelson.

Mountains of the Moon is an epic of 19th century Africa and Sir Richard Burton's expedition to find the source of the Nhill. While there are some franker touches (in portraying violence, in relationships), this is film-making in the older epic tradition: impressive location photography, a strong British cast led by Patrick Bergin as Burton and Iain Glen as his friend and rival, Speke, a long and measure portrait of Empire.

But the film also moves with vigour and raises questions of cultural imperialism. Those who relish films exploring history and geography will be satisfied and will those who enjoy character portraits and clashes. The British tone of the film is all the more surprising because of director and co-writer American, Bob Rafaelson (Five Easy Pieces, The Postman Always Rings Twice, Black Widow). This is an interesting epic - and the atmosphere is enhanced by excellent recreation of the period in Africa and in England as well as by a great number of British actors in cameo roles including Peter Vaughan, Leslie Philips, Anna Massey, Roger Rees and, uncredited, Omar Sharif.

1. The impact of this epic? Recreation of the 19th century? British Empire, England and Africa? The scope of the film?

2. The screenplay based on the memoirs of the central characters? On historians' work? American Bob Rafaelson and his perspective in co-writing the screenplay and direction? Yet the British tone of the film, perspective? A 1980s view of the 19th century?

3. The recreation of period: decor and costumes, London buildings and streets, the English countryside, the geographical society? Africa, the coast, the treks through the mountains and deserts, the village, the lakes? The epic style musical score?

4. The title and the origins of the Nile? The 19th century quest for the source of the Nile, a mystery of exploration, conquest and adventure? Empire and commerce?

5. Africa in the 19th century: The British and their presence? conquest, expectations? Speke and his disguising of the Africans and their customs? His colonialism? The contrast with Burton and his openness, learning? Examples like the naming of Lake Victoria? Prejudice, exploitation? Opening up frontiers?

6. The film has based on fact, history, memoirs, geographical exploration?

7. Richard Burton and his reputation, his work in Africa, his robust personality and assistants? Speke and his wanting to join Burton? The interview? Going on the expedition, Speke and his hunting, clashes with the natives, their attack? The fierceness of the fighting, Burton and his injuries? Speke being caught, tortured, slashing his legs? Giving a tone to the violence in the exploration?

8. England and the Royal Geographical Society? 19th century interest in exploration? Geography? Speke and his being at home, recuperating, getting out of the coach to meet his mother? The contrast with Burton and his recovery, the episode with his doctor brother? With the British aristocrat and his support? The Geographical Society and the expedition? The speeches? Isobel trying to get into the all male preserve? Meeting Isobel at the estate, her wanting the autograph? The background of the Estate, the Gentry at recreation? The bond between Isobel and Burton, the affair and its sensuality? The bond between the two? The role of the Oliphants and their pushing, the bond of the younger Oliphants with Speke? The deaf father and the business interest? The contracts for book publishing?

9. The Expedition, Burton and his Letters to Isobel and the voiceover commentary? Choosing the men at the coast? Choosing Sidi Bombay and his loyalty? The authorities at the coast? Provisions? The carriers and their reliability The details of the expedition, the range of terrain, the difficulties, the confrontation with the lions and the freedom of the slave, Burton's strong friendship with the slave and using his advice? Growing difficulties, deserters? Speke's ear and the beetle, the solution for destroying the beetle and the pain for Speke? Burton and the rocks, his swollen legs, having to cut them, Speke's unwillingness? The encounter with the groups of African natives, the dangers, the bartering of the cloth? The lakes, the discoveries, on the water? The danger of contaminated water and the effect on the expedition?

10. Burton and Speke in themselves? The bonds between them? Burton as strong and extrovert, his interest in customs, his relationships with women, a century reticent about sexuality - Victorian reserve (and Isobel’s reaction)? His reputation, curiosity, bluff, dancing with the natives? The contrast with Speke and his aristocracy, arrogance, liking to hunt, shooting the lion, relying on Sidi Bombay, his authoritarian attitudes? With Burton, devotion to him, the bond, and willing, to cut the leg, holding Burton like the Pieta, kissing him?

11. The expedition arriving at the village at Lake Victoria, the king and his attitude, the civilisation? The minister and his hostility? The expedition quartered, imprisoned? The gifts, the presentation of the gun, the shooting? Burton imprisoned while Speke went off to explore? The use of drugs, the stealing of the locket? With the king, his dilemma, his shooting his minister and the hanging of the corpse? Burton's letter and his comment on civilisation, decay? The contrast with the villages and the merchants?

12. Speke, going to the source of the Nile, his speculations, naming Lake Victoria, his reaction to Burton? Burton critical of the lack of evidence?

13. The return, Oliphant and his lying to Speke, setting him against Burton? Speke's triumph and acclaim? Hurt because of the alleged lie? His going on further expeditions? The dramatisation of the action and the expedition? The speech?

14. Burton and the disappointment of his return, the relationship with Isobel, the visit to her parents and the meal? The marriage? The years passing, his going into decline, his being mocked? Isobel wanting him to be a diplomat? Isobel and her strength, her confrontation with him and urging him to action?

15. The presentation of Dr. Livingstone, audience understanding his background, exploration? His meeting with Burton, bluff style, the actual comparison of wounds with its comic touch? His agreement in adjudicating the debate?

16. The beginning of the debate? Isobel and her confrontation with Speke, talking about loyalties? Speke's discovery of the truth about Burton's report? The membership of the Geographic Society and their support of Speke, of the debate? Speke going hunting, his realization of the truth, arranging his accidental death? Burton and his speech, his grief at Speke's death?

17. The presentation of English Aristocracy in the 19th century - Isobel's family, the officers of the Royal Geographical Society, Parliamentarians and their support, Publishers and their lack of scruple? The portrait of the Oliphants, Rather and Son?

18. The final scene of packing, Burton going to be a Diplomat? The 30 years' marriage?

19. The truth about the source of the Nile? The film creating the atmosphere of the 19th century, British Empire, exploration in commerce, the spirit of adventure, 19th century ethos?

A MONTH OF SUNDAYS

US, 1989, 90 minutes, Colour.
Hume Cronyn, Vincent Gardenia, Tandy Cronyn, Esther Rolle.
Directed by Allan Kroeker.

A Month of Sundays is a interesting telemovie, produced by Home Box Office. It is based on a play, relies very strongly on the dialogue and interactions of characters. However, it has been opened for the screen. The film offers a tour de force for 80yr old Hume Cronyn - he won an Emmy for his performance the year that his wife, Jessica Tandy, won an Oscar for Driving Miss Daisy.

Tandy and Cronyn had appeared in many films including The Cocoon films, The World according to Garp, Best Friends, *batteries not included. Their daughter Tandy Cronin acts as Cronin's daughter in this film - and there are some significant discussions scenes between father and daughter. Yet another interesting film on growing old, fears of the aged, nursing homes and the effect this all has on the elderly.

1. Interesting and entertaining telemovie? Based on a play?

2. A verbal film, discussions, John Cooper's comments on life? Opened out within the institution, outside, the street?

3. The title, the visiting days? The passing of time?

4. Themes of age and ageing, physical and mental health, institutions for the aged, comfort, their being looked after, the role of the staff? Physical support? Psychological support? The memories of the elderly? The support and lack of support from family?

5. Hume Cronyn's portrait of John Cooper: his age, the death of his wife, paying to be looked after? His abrasive and sarcastic manner? His skill with words? The room and Mrs Baker's comment? His enjoying sparring with Wilson, the sexual innuendo, his dreams, flirting? His cantankerous moods? his friendship with Mrs Baker, her ringing while he went to the bathroom, her comments about her father? His gift of the pearls to Tilson and the Whiskey to Mrs Baker for her father? His friendship with Aylott? Aylott's visits? Their discussions about the zombies, losing memories? losing bladder control? The background of family - Julia and Peter and their coming to visit every month, Gary (and his absences because of nightmares? In himself, his memories, talk about sex, unwillingness to walk after falling (and his talk above having falls)? The crisis, Aylott and his becoming confused? Wilson getting married? Julia offering him to live at home? The build-up to his decision?

6. Aylott, aged 71, fears of his interior? going into himself? Friendship with Cooper and visiting, him? The baseball teams and their memory? Walking to get the drops, going the wrong, way, confused in the street, the chauffeur and his giving him a lift, taking him out? His fear of being lost? Wanting Cooper to he honest? Playing, making mistakes but winning, drinking the whiskey? His greater confusion, the visit with Cooper, not wanting him to stare? Cooper and his continued interest, the baseball team, going for walks with him, Cooper making a decision for friendship and demanding that Aylott try to keep his part?

7. Wilson, an attractive nurse, sparring with Cooper, listening to his talk, the meals in his room? Her boyfriend and telling Cooper her story, the proposal on the back of the bike? Cooper's dreams? Giving her the pearls? Her concern about patients, her outburst in tears of compassion? Getting ready to go away?

8. Julia and Peter, relationship with Cooper? Coming later, the difficulties of the drive? Their home and his ridiculing of their improvements? Gary and his nightmares? Julia and her frank talk with her father, feeling shut out from them, the
frank talk between father and daughter, her offering him to come home? His appreciation?

9. The colonel, his military style, loneliness, the battle of the Sudan, his death? Out the side door - and a replacement coming the same day? George and his being in the pool, Memory loss, candidate? His sister being informed and not coming to visit anymore?

10. Themes of patients, relatives and their support?

11. A humane portrait of the elderly, of people's treatment of the elderly, emotional comfort? Staff of nursing homes? Wilson and Mrs Baker as ideals? The black chauffeur and his kindness? The film as entertaining and as a challenge?

THE MAN WHO FELL TO EARTH

US, 1987, 140 minutes, Colour.
Lewis Smith, Beverley D’ Angelo, Bruce Mc Gill, James Laurenson, Wil Wheaton, Robert Picardo, Annie Potts.
Directed by Bobby Roth.

The Man Who Fell to Earth is based on a novel by Walter Tevis (author of The Hustler and The Colour of Money). It was adapted for the screen in the 70s by Paul Mayersberg. The film was directed by Nicolas Roeg. David Bowie was the star - and the film was a rather exotic piece of science fiction in Roeg's artful style. However, had the original been played in chronological order, the plot would have seemed rather commonplace - a benign alien taking human form, coming to Earth to seek the help of human beings.

This television remake offers the material in chronological order - and this makes it a pleasing if rather conventional story. Lewis Smith is pleasant as the alien, Beverley D'Angelo has a good role as the woman who befriends him.

Coming in the middle of the 80s, the movie is rather late in the genre of Close Encounters. However, it is played for sympathy, raises issues of kindly aliens, human nature - both good and evil.

1. Entertaining telemovie? Adaptation of the original? Comparison in presentations of plot, style?

2. American locations, New York City? The world of the present and the future? The world of technology - record industry, weapons, space flight? The musical score?

3. The title, the focus on John, his being a friendly alien, his quest, interactions with human beings, his hopes and longings?

4. The opening: the planet and Thear, the ship falling to Earth and burning, John as the only survivor? His assumed American style? Hitchhiking, the man thinking he was weird? Driving with the woman truckie, her friendship, the accident - and his healing her? Going to New York City? Seeking out Felix, persuading him of the possibilities of success in technology?

5. The passing of the year, the success of the company, friendship with Felix? His apartment? The encounter with Eva and her son - and her son stealing his bag, the pursuit throughout the city, onto the roof, saving his life? The friendship with Eva and her not knowing his identity? Their talking together, outings, the dance - and the drinking of the tomato juice and his dancing? (Echoes of his first meal in the diner and his eating all the courses but preferring oatmeal?)

6. John, his success, his loneliness, talking with his son? The plans for the spaceship? Vern and their discussions? Felix and his support? The discussions with Eva and telling her the truth? The intimate encounter? His being able to talk with her? The friendship with her son? The son's anger at John's leaving - and telling the information to Vern? The struggle with Vern? Vern's death? The security officer and discussions with John? The going ahead with the plan - and his return to the planet? A warm portrait of an alien visiting Earth?

7. Eva, abandoned by her husband, trying to bring up her son, clashes with him, the apartment, John and his vertigo and his helping him? Her not knowing who he was, the friendship, taking him out to the dance? His telling her the truth, showing her himself? The intimacy? Her getting back her son through John's help? Going to New Mexico? A farewell? Her life transformed? Her son, irresponsibility, stealing, the records? Growing friendship with John after his life was saved? Relying on him? His anger about John's going away, his apologising? The farewell?

8. Felix, the big businessmen, taking the risk, working with John? The security officer telling him the truth?
The security man giving information to Felix, his disbelief, his support of John, the final achievement?

9.Verne, his dubious background, conman? His being supported by Felix, the models for John, his greed, the tying up of John, the attempt to torture him - and his death? (And his being given the information by the boy?)

10.The background of American security, the sympathetic investigator, wanting to protect John from the army? Their dinner together - and John avoiding the issues?

11.The truck-driver, her kindness towards John? The waitress at the diner, his meals, giving him oatmeal - and her response to the diamond?

12.Entertaining science fiction, close encounters with aliens? Peace in the planets? The comment on human nature contrasting with friendly aliens?

THE MAN FROM SNOWY RIVER II

Australia, 1988, 110 minutes, Colour.
Tom Burlinson, Sigrid Thornton, Brian Dennehy, Nicholas Eadie, Mark Hembrow, Bryan Marshall, Rhys McConnachie?, Peter Cummins, Cornelia Frances, Tony Barry, Wyn Roberts.
Directed by Geoff Burrowes.

The Man From Snowy River II is an entertaining sequel to the very successful original. The time between the two films is six years.

What was successful in the first film has generally been retained for the sequel. The same characters are present, except for Kirk Douglas' Spur who has died (but who is mentioned). Brian Dennehy takes Kirk Douglas' place. Tom Burlinson and Sigrid Thornton are still the hero and heroine. The horses are still there and gallop spectacularly across the wide screen with breathtaking pictures of the high country landscapes. Bruce Rowland's stirring score is also still there - with the same touch of 'Waltzing Matilda' (and the acknowledgement of A.B. Paterson) at the end.

While the first film was based on a well-known ballad, this screenplay is more conventional, even like an American frontier film or a western.

The film was co-written by John Dixon and Geoff Burrowes, and Burrowes, the producer of many films during the '80s (Cool Change, Backstage, Running with the Guns) acts as director.

While the film might be conventional in many ways, it nevertheless touches something in the Australian psyche about the bush and its heritage. And the spectacle of thundering horses and beautiful landscape with the musical score would surely stir most audiences.

1. The success of the original film? The bush ballad, the heritage of the bush, Banjo Paterson? The second film capitalising on the first and continuing the tradition?

2. The spectacle of the Panavision photography of the high country? Mountains and valleys? The importance of the galloping horses and chases? Spectacle? Editing and pace? The musical score? The well-known theme and the strain of 'Waltzing Matilda' at the end?

3. The original being a well-known bush ballad? Legend? The continuance of the legend in a more-conventional plot?

4. The focus on Craig: the opening and audiences remembering his past, his absence from the high country, his droving and collecting horses, becoming a man?

5. His return, the encounter with Seb and getting up to date? Going to the races, the encounter with Harrison and his hostility, Patton and his hostility? Patton's son and his military show, his snobbish attitudes towards Jim? The encounter with Jessica? The insults - and his riding and outdoing Patton's son? Harry's admiration for him and coming on his side?

6. Jim establishing himself, the horses, proposing to Jess, Harrison's not wanting her to go? Spur's death, the mining settlement, its becoming a town; the hotel, the building of the church and the encounter with the priest?

7. Jess and her coming to the hut, their plans? The death of the young man' and the stallion? The mountain men and their warnings against Jess's presence? Jess and her decision to go? Patton and his stealing the horses? The chase? Jim looking for Jess, getting his horse and chasing the thieves? Riding the mountainside? His horse shot - and the pathos of his scene of grief? The stallion coming, the confrontation, his taming it? Riding in pursuit? The final confrontation with Patton - and with the sword? The stallion coming to help? Then going free?

8. Jess and her memories of Jimi? Waiting for him? With her father? Strong, his forbidding her to ride, the race and her winning it? Jim's return? Her moodiness, playing the piano, clashing with her father? Going, being with Jim? Participating in the final chase? A future?

9. Patton and his aristocratic attitudes, the loan and his hold over Harrison? Harry and his putting him down - saying that his family hanged Patton's family back in Scotland? Patton's son, his arrogance, military and fascist style, his display? His warning Craig off? The party, his friends, his hurting his friends? Going to the men in the hotel? The decision to steal the horses? The death of one of his party? The chase, his confrontation with Craig after killing his horse, his cowardice, the sword, the stallion? The villain looking dark and dressed in black, compared with Craig who had, literally, golden hair?

10. The mountain men, the mining settlement, the hotel, the friend at the bar, her advice for both Jim and Jessica? The clash with the valley people?

11. Harrison and his presence in Australia, the twenty years, his hold on Jessica, seeing him as a drifter, entertaining Patton and the owners, the clash with Patton, the question of the loan, his disdain of the Pattons? His joining in the chase for the stolen horses?

12. Harry and the military in India, the horse supplying the deal with Jim, Jim and his rounding up of the horses, the various properties, their being stolen?

13. The Australian bush, the 19th century heritage, the bush heritage romanticised for city audiences? The film as stirring something of the traditional Australian spirit?

MY TWO LOVES

US, 1986, 100 minutes, Colour.
Lynn Redgrave, Mariette Hartley, Barry Newman, Robert Sean Leonard, Sada Thompson.
Directed by Noel Black.

My Two Loves was written by veteran writer Reginald Rose (whose screenplays include Twelve Angry Men) and feminist writer Rita Mae Brown. It is the story of a widow who has an affair with a friend, begins work as a chef and realizes a passionate love for her employer. It raises issues of homosexuality and lesbianism with the various presentations of society's attitudes. As performed by the cast, the film offers insight into the various issues, but also offers a very sympathetic understanding of sexuality and relationships, especially those between women.

Mariette Hartley does very well in the central role of the widow who is on a journey trying to understand herself. Lynn Redgrave is very sympathetic as the companion. Barry Newman is the friend. Included in the cast are Sada Thompson as the mother, a character who is able to voice a lot of the difficulties. And Robert Sean Leonard (billed as Robert L Leonard) appears in a teenage role - before his appearance in such films as Dead Poet's Society and Mr and Mrs Bridge. Comparisons could he made with another telemovie on the theme, A Question of Love with Jane Alexander and Gena Rowlands. The film raises a great number of issues and offers a solid basis for discussion and reflection.

1. Impact? Contemporary themes and controversy? Human relationships?

2. The settings, homes, restaurants, apartments? The atmosphere of an American city as a setting for this story? Musical Score?

3. The title, the focus on Gail, on her relationship with Marjory and with Ben?

4. Audition reaction to themes of homosexuality, of lesbianism? Presented in a humane rather than a sensationalist way? Natural and unnatural - and the comments by Ben and by Dorothea? Audience sympathy to relationships, ethical questions, moral questions? Decision making?

5. Mariette Hartley convincing as Gail? The story of her being widowed - Tim and his work, her blaming herself for not stopping him going out to a patient when he was tired? Her love for her daughter? Moving house? Ben's sympathy and the affair? Her daughter's criticism and the confrontation between the two? Her going to work, skill as a chef? The friendship with Marjory? Discussions, her opening up? Her response to Marjory's story - sympathy but needing time to assimilate it? Her response to Ben and his proposal of marriage, his demands? Her discussing things with her daughter, with her mother? Her mother's judgment on her relationship with Ben? The enjoying of Marjory's company, discussions? Sympathy? The sexual experience - off-screen? The repercussions, feminine companionship? Her searching about her own sexuality? The sympathetic experience - and her mother's discovery, her mother's outburst? Gail's reaction? Her daughter's puzzle? The apologies - and her going to the psychiatrist, the need for some kind of therapy to understand herself? Her final meeting with Ben and with Marjory, her explaining herself, her confusion, her reassessment of her marriage and her relationship? Her not wanting to commit herself to either of them? With her daughter - and what would be the outcome of the therapy and her self-understanding?

6. The daughter, grief about her father, anger at her mother's absence? Acting to hurt her mother? The reconciliations? Her own discussions about sexuality, the pressure from Larry? The question about her mother marrying again? Her not understanding her mother's crisis, her growing up, support for her mother?

7. Dorothea, looking after her daughter and granddaughter? Countenancing the affair with Ben? Having the photo that the daughter wanted? Babysitting? Her reaction to the kiss, her outburst, her condemnation of homosexuality, blaming herself? Coming to apologise? Trying to come to terms with the reality?

8. Marjory, her work, sympathetic, the broken relationship? Her telling the truth to Gail? Coping with the reaction? The friendship with Gail, the sympathy, sexual liaison, emotional support? Her reaction to Gail's mother? Her views on homosexuality, on secrecy, on society and its pressures? Ethical issues? Her appeal to Gail at the end, accepting her decision?

9. Ben, friendly with Tim, his divorce, relationship with his son? His son's admiration for him? Wanting to marry Gail, the affair, the break-off of the dates, his puzzle, the proposal and his chauvinist attitudes and her response, the phone calls, Dorothea telling him the truth, his attempts at sympathy and sensitivity, his anger at Marjory, the encounter in the park, with the coffee, his appeal to Gail? Her not being able to accept him?

10. Larry, relationship with his father, idealising him? Wanting to live with him? Friendship with the daughter, the sexual pressure, adolescence?

11. The portrait of human relationships and interactions/insight into emotions, decision-making? How adequate an exploration of the theme of homosexuality?

MR EDMUND

Australia, 1990, 50 minutes, Colour.
Rebecca Smart, Steven Scott-Young?, Robert Grubb, Rhondda Findleton, Willie Fennel, Betty Lucas.
Directed by George Whaley.

Mr Edmund is one of the series of More Winners, the tele-movie series to back up the original Winners, produced by the Australian Children's Television Foundation. The series has a number of films with top Australian writers and Directors and strong casts. The focus is on the experience of children - and their capacity for overcoming environment, difficulties - winning.

Robert Grubb (Gallipoli, The Flying Doctors) is excellent as the enigmatic but genial lodger, Edmund. He performs a function in a household, changing people's lives, especially encouraging the dreams of poor children. Grubb sings his own songs as he busks at Circular Quay and performs in the Sydney Opera House. Rebecca Smart (The Shiralee) is the daughter with ambitions and dreams. The strong supporting cast includes Willy Fennel. There are themes of environment, the hardships of poverty, dreams, hopes, the shattering of dreams, the need to have strength to achieve.

Direction is by actor, stage-director George Whaley.

1. A children's film? Family film? The response of children, adults?

2. The Sydney settings, the centre of the city, the Harbour Bridge, the Opera House, the streets, peoples homes? The musical score? The range of songs and opera excerpts?

3. The title and the focus or, Mr Edmund, a personality, his place in household, his effect on the boarders, on the family? Dreams and their achievement?

4. The portrait of Mr Edmund: his arrival, puzzle in the household, friendship with everyone? Attracting the children, their curiosity? His guiding them?

5. His busking and singing? Their collecting the money? The friendship with Mrs Winkel and persuading Sam to see her as a human being? The discussions with Margaret - and his sticking to his point to support the possibility of dream fulfilment? The plans for the concert in the Opera House? the other boarders? The preparations with Mrs Winkel? Her illness, the discovery of the truth? The plans for the concert - going to the Opera House, joining the tour, the performance and people's response? His achievement? A transformer of peoples
lives?

6. Sam and Cherry, living with their mother, friendship, fights? Sam and his suspicions of Mrs Winkel as a vampire and his bad behaviour? Cherry and her dreams of being a lawyer? Their widowed mother, memories of their father, no money? The interaction between Sam and Cherry? With the boarders? Mr Edmund, following him, looking into his case? Befriending him? The change of attitude towards Mrs Winkel, her friend? Her coming to the birthday party? Busking with Mr Edmund, collecting the money? The plan for the concert? The practices, Cherry turning the pages, Sam ushering? Mrs Winkel's illness - and Cherry's disillusionment? Mr Edmund taking them to the hospital, the reconciliation? Going to the Opera House, the performance and the fulfilment of dreams? A future for the
children?

7. The boarders: the old man and his coat, helping Sam with the ushering? The decoy so that the two Armenian brothers could photocopy the programme? Their friendship, in the house, with Margaret, the birthday party and the presents? The talking to Mr Edmund in their own language?

8. Mrs Winkel, the lonely refugee? Her crankiness, the mugger and the rescue? Her thanks to Mr Edmund, inviting them to afternoon tea? their story? The Opera House, the piano playing, the practices, booking the Opera House? Her illness, hospital and the truth about the money? Her daughter and son-in-law and their reaction?

9. Margaret as a hard working widow, not wanting to be disillusioned, her husbands drinking, the debts? Taking in boarders? With her children, not encouraging Cherry to go to the university and think about law? their arguments with Mr Edmund? The party, going to the concert, her final happiness?

10. A portrait of a group of ordinary human beings, adults and children - and a positive outlook on life?

MYSTIC PIZZA

US, 1988, 104 minutes, Colour.
Annabeth Gish, Lili Taylor, Julia Roberts, Vincent D’Onofrio?.
Directed by Donald Petrie.

Mystic Pizza is a story of three young women trying to find themselves. Mystic is a town in Connecticut.

The film is fairly conventional in its presentation of life in the town and their aspirations of the three women. Annabeth Gish (Desert Bloom) is the young girl at the end of school, hoping to go to university and be an astronomer but infatuated with the father of the child she baby-sits. She experiences disillusionment. Julia Roberts is excellent as her older and vivacious sister who falls in love with a wealthy young man. Liliy Taylor is a girl from a Portuguese background who can't face marrying.

The film is aimed at the widest possible audience for interest and identification. The solutions are at that level, not deeper. But on its own level, Mystic Pizza works fairly well.

1. The title, expectations?

2. A humane drama, the focus on women and their aspirations? The American perspective?

3. The town of mystic: the locations, homes, the pizza house, the ships, the U.S. and the Portuguese communities? The score?

4. The credits and the background of the young girls:- the structure of the film intertwining the three?

5. Kat: age, hopes, family, relationship with Daisy, working at the pizza house, hoping to be an astronomer? Going to the club with Daisy and Jo? Trying to help Daisy? Going to baby-sit, the attraction towards Tim, looking after Phoebe? Enjoying the visits, sharing music, her crush, the night with Tim, the return of the wife and her hopes dashed? Her being hurt? Tim and Phoebe coming to say goodbye? The clashes with Daisy? The support given her by Leona and the money for Yale?

6. The contrast with Daisy: type, loving men, at home, the religious background, going to work, meeting Charles, beating him at the snooker game, jealous at the club, the fish in the car? Kat forgetting to let her go to his parents' dinner? The eventual dinner, his clash with his parents? Her clash with her mother? Her talking truthfully to Charles and helping him to realise how he was using her? Helping Jo? The happy ending with Charles coming back?

7. Jo and the opening, her fainting at the wedding, people's taunts, her wanting to be independent, her love for Bill, at her parents' place, the break with Bill, babysitting for Kat? The final wedding?

8. The sketch of Bill, the break-up of the marriage, his dependability, fishing, the final wedding?

9. Charles and the wealthy background, cheating, sexual liaison with Daisy, inviting her to a meal, the clash with his father and the upset meal, his returning humbled at the end, the influence of Daisy?

10. Tim and his work as an architect, with Phoebe, the crush with Kat, the brief affair, his love for his wife, coming to say goodbye?

11. Leona as the earth-mother type, the pizza parlour, the gourmet coming and tasting it, the TV programme? The wedding? Giving the money to Kat as her daughter?

12. The sketch of the parents and their relationship with their children?

13. A slice of American life?