PALLET ON THE FLOOR (MURDER ON THE ROCKS)

New Zealand, 80 minutes, Colour.
Gillian O’ Brien, Peter Mc Cauley, Bruce Spence, Bruno Lawrence, Tony Barry, John Bach, Marshall Napier.
Directed by Lynton Butler.

Pallet on the Floor: Murder on the Rocks (or rather Life on the Edge ... Murder on the Rocks) is a New Zealand thriller. It has quite a deal of ingredients, though many of the strands are not fully worked out in the short 80 minutes running time.

The New Zealand settings act as an authentic and realistic background: the small town and its small-mindedness, the abattoirs, the freezing factory, the bars, homes. There is also the Maori population outside the town - with echoes of discrimination as well as land exploitation. There are also interpersonal tensions, marriage, sexuality, pregnancy, jealousy. There is also violence and death and cover-up. The film also has an unexpected twist at the end.

The film has a strong cast who do what they can with peculiarly-written roles at times. Gillian O'Brian is attractive as Sue. Peter McCauley? is a down to earth put-upon hero as Sam. Bruce Spence gives an oddball performance as an eccentric English Remittance Man in New Zealand. (Of interest the musical director of the film is celebrated New Zealand actor Bruno Lawrence who co-composed the score and is glimpsed in the ensemble at the wedding scene.)

Satisfactory enough for passing the time - but, with the ingredients, much more might have been done.

1.Entertaining New Zealand thriller? Life in a small town? Violence and murder?

2.The title - over-strong for the film itself? Meaning?

3.The tone of the film - serious, ironic and comic touches? Action thriller, police, cover-up?

4.The New Zealand settings, the beauty of the countryside, the ugly town?

5.Sam and Sue, their relationship, Sue pregnant, the plans for the marriage, the ceremony and people enjoying the reception, Jack and his grim intervention? Jealousies in the town? Miriam and the bet, Sue not giving her the money, Breen and his threats? Sam and his work at the freezing factory? With his friends - and O'Keefe's death? The wake, Miriam poisoning his mind, his violence towards Sue, her leaving, return, the reconciliation? Work in the town, the lack of permanence in jobs, need for money? Going home for the meal with his friends, the encounter with Jack and his violence, the fight and his death? Basil and the cover-up? His not knowing about Joe's death? Looking for a house? Basil arranging for Sue to go back to the Maori village? Their going to the funeral - his going out on the road with a sheep? The deaths? His being freed from the blackmail and the debts?

6.Basil, the eccentric Remittance Man, manner of speaking, his history? Drinking? Friendship, intervention at the dance to save Sam? Friendship with Spud and Shorty? The violence, his decision about the cover-up, the train crashing the car, sticking to his story? The police and the interrogations? Joe looking for him, Joe's drowning and the continued cover-up? His decision to help Sue, to help Sam, Miriam and Breen and the car, his drinking - and crashing the car and killing himself, saving Sam?

7.Shorty and Spud, in the factory, in the bar, at the wedding? The violence to Jack? Agreeing in the cover-up, the interrogations? The precarious nature of work and employment in the town?

8.Jack, coming on strongly at the dance, his being set up by the boss, by Joe? Delivering the wood, the attempted rape, the destruction of the tank and the house? His death? Joe, anger, confronting Basil, knocked into the water, his death?

9.The marshall, thinking he was a cowboy, attitude towards the policeman and the girl in the car? A bit of a joke in the town? Interrogations? The detective coming from the city? The exasperation at the questions and the responses? His chasing Basil, the flat tyre? The young policeman, traffic policeman, continually with the girl? His investigation of Jack's death?

10.Miriam and Breen, Miriam's jealousy and advances on Sam? Breen and his drinking, wanting the land, the blackmail? Their deaths?

11.Melodramatic ingredients and sinister goings-on in a small New Zealand Town?

MUNCHIES

US, 1987, 83 minutes, Colour.
Harvey Korman, Charles Stratton.
Directed by Bettina Hirsch.

Munchies is a short, derivative film from Gremlins (with Melves, reading a magazine with a photo of Gremlins during the movie).

The film pokes fun at some science fiction films, the search for aliens. It also pokes fun at Americanism - the Fourth of July, anti-communism, patriotism. The film is a star vehicle for Harvey Korman - as a good twin and a bad twin.

The film is fairly basic in its comedy. It also has a few underlying themes about capitalism, toxic waste.

1.Gremlins comedy? Touch of mild horror? Touch of mild violence? Spoof?

2.California, the town? Peruvian antiquities? Action sequences? Comedy?

3.The title: the creatures, their being cousins of the Gremlins? Their behaviour, speech, eating, destructiveness, imitating humans? Being destroyed by electricity?

4.Simon and his research? Send-up of scientists and searches for aliens? Peru? His return? Hopes? Absence for most of the film? Return with the professor? The happy ending? The contrast with Cecil, the capitalist, his loud style, TV advertising? Money-making, the toxic waste? His relationship with Melves? Adopting Dude? His antagonism, listening-in devices, stealing Arnold? Destructiveness? The pursuit of the creatures, multiplying them? Comedy routines - Dude's death, with Melves, the opening of the mini-golf? The burger order? The clash with Ed? The final defeat?

5.Paul and Cindy, romantic, with the Munchies? Pursuing and being pursued? With Eddie? The hopes for the comic routine? The happy ending?

6.Eddie and the satire on the cops, the speeding, backfiring, heroic action, macho? In the shadow of his father? Cindy leading him on? In action, sent up? The spoof of his father? The helmet? Macho? Hungry? Their turning on Cecil?

7.Bob and his wife and child, the attack, at the mini-golf? The two girls? The response to the Munchies?

8.Arnold and the Munchies, nice, imitating Dude's bad behaviour? Turning destructive? Mayhem in the town?

9.The popularity of the Gremlins theme? Its many imitators (Critters, Ghoulies)?

THE MUMMY RETURNS

US, 2001, 125 minutes, Colour.
Brendan Fraser, Rachel Wise, John Hanna, Freddy Boath.
Written and directed by Stephen Sommers.

There is something about ancient Egypt that has fascinated archaeologists for the last 150 years: pyramids, tombs and treasure, hieroglyphics and sacred stories, deities and rituals for life after death. And novel writers like Bram Stoker were not far behind the archaeologists. By the 30s, the moviemakers at Universal Studios and Boris Karloff were not too far behind them. And there have been any number of variations of Mummy awakening stories ever since.

1999 saw the biggest budget version with The Mummy and the biggest box-office returns. The writer-director, Stephen Sommers, concocted a new story (well not exactly new), invited his cast back and won a huger budget for special effects. The cast is just as eager as before, with the addition of Freddie Boath, as the precocious son of Brendan Fraser and Rachel Weisz. The plot is just as complicated - as to who is rising from the dead and whose troops belong to whom. And the special effects are even more special and astounding. And everyone has gone along to see this one and there are even bigger box-office returns ... and, at last sight, there is no reason to think that the Mummy could not return again.


1. The popularity of the original? The tradition of the '30s movies? Horror, action adventure? The tradition of the serials? The sequel as successful as the original in popular appeal?

2. The Egyptian locations, the re-creation of the era BC, the '30s? The side trip to London, the British Museum, the stately mansions? The importance of the special effects - especially for the death of the mummy, the resurrection of the Scorpion King, the army of the Scorpion King, of Anubis? The fights? The flight of the dirigible and the flood? The growth of the oasis and the destruction of the oasis? The rousing musical score?

3. Audience expectations of the sequel? The same characters and cast, a repetition of the action adventures of the first?

4. The prologue: ancient Egypt, the Scorpion King and his army, the flashbacks later in the film with Evie's memories to the Pharaoh, her being a Pharaoh's daughter, the clash with his assistant, the treachery of his bride-to-be, their deaths and becoming mummies? The fulfilment of prophecies?

5. Archaeology in the '30s in Egypt: discovering the sites, entering the tombs, opening up the vaults, the graves, finding the treasures? Hieroglyphs and Egyptian literature? The promises of future battles, glories and power?

6. The O'Connors and their work, the time passing since the original? Alex and their son, their educating him and taking him on their expeditions? Going into the vault? The contrast between brain and brawn with Rick and Evie? Opening up the tombs in the various styles? Evie and her visions and knowing how to open the tomb? The box with the bracelet? Alex and his taking the bracelet and wearing it, seeing the past and knowing the directions?

7. The tomb robbers and their attack on the O'Connors, on Alex? The ghosts rising and their fears? The rival archaeological site, the manager of the British Museum, the plans for the resurrecting of the Scorpion King? The earthquake on the site? The chieftain and his watching?

8. The return to England, settling down? The desire to go back? The resurrection of the mummy, his wanting his bride-to-be from the past? Her being present at the site, with the manager of the museum? The abduction of Evie, the plans for the sacrificial ritual and the restoration of power? The thieves coming to the mansion, the attack on the family, wanting to get the bracelet?

9. The ceremony in the British Museum, the rituals, the people present, their hopes? Being thwarted? The fights in the museum, the getting of the bus? The pursuit through London with the special effects of the chase?

10. The return to Egypt, Alex abducted? His knowing where to go? The mummy and his gradual restoration to life, sucking the life out of the villains in the train? Going cross-country and looking for the site of the oasis? The bride-to-be and her wanting power, on the train and her tricking the robbers?

11. The O'Connors and John coming with them? The upper-class twit and his greed, his help with the chase, driving the bus? His holding on to his treasure? Finding the friend in the desert, the dirigible, the jokes about flying, sailing through the air, the valley, the Pharaoh going to the water with Alex, summoning up his power, drying up the waterfall and sending it through the gorges, the attack on the dirigible?

12. The build-up to the confrontation at the oasis? The traps in the jungle, the pygmy ghosts and their destroying the forces? The race to the oasis and the pyramid, the rescue of Alex (and John proving himself a good shot)? Rick and his taking his son into the pyramid before sunrise? The confrontation between the two women, Evie remembering her role in the past and her fight with her father's bride-to-be? Her being killed? Alex and his plan to read the text and see if Evie could be revived, a success - with the help of John?

13. The revival of the Scorpion King by the manager of the British Museum? The resurrection of the powers and the army? The chieftain and his forces ready to confront them? The battle? The confrontation within the pyramid? The mummy and his going to fight the Scorpion King? Rick intervening? The struggles, the mummy's bride running away and not helping him, her death with the scorpions? The fight to the death with the spear, John helping and Alex with Rick's defeating the mummy and his going into a literal Hell? The restoration of the desert: Anubis's army dissolving into dust, the oasis disappearing? The happy ending as they all sailed to safety (and a possible sequel)?

14. The stereotype characters, the echoes of the serials and Indiana Jones - but audiences nonetheless enjoying the genre and its conventions?

THE MUMMY

US, 1999, 125 minutes, Colour.
Brendan Fraser, Rachel Weisz, John Hanna, Kevin J. O'Connor, Arnold Vosloo, Jonathan Hyde.
Directed by Stephen Sommers.

Boris Karloff in the 30s, Christopher Lee in the 50s, The Mummy has been very popular on-screen. In the 1990s, a fresh new and very active, computer-graphics-designed film was made with Brendan Fraser as a tongue-in-cheek latter-day Indiana Jones. Rachel Weisz is the intrepid leading lady with John Hannah as her ninny brother. This time the mummy is Arnold Vosloo.

The film was written and directed by Stephen Sommers who had made a film about Huckleberry Finn as well as a film about pirates, Deep Rising. With the success of The Mummy, he went on to make The Mummy Returns and executive produce the action adventure, The Scorpion King with The Rock who starred in the sequel.

The film appeals to the love of investigations about Egyptology, the period setting of the 30s and the expeditions to the Middle East? What the Egyptologists discover, of course, is a blend of superstition and magic and ancient religions with the possibility of the mummy coming back to life, controlling armies, having many computer graphic insects who are mechanical and exceedingly destructive. All in all, it is put together as a rollicking action adventure which was very popular at the box-office.

1.Entertaining action adventure, horror, special effects show?

2.The cinema mummy tradition from the films of the '30s to Hammer Films: Egypt, wicked high priests, curses and spells, archaeologists, greed and treasure, danger and heroics? A '90s treatment?

3.Widescreen photography, the exotic settings, the re creation of Egypt and the past, the palace, the city, the tombs? Cairo in the '20s, Egypt, the museum, the desert, the monuments? Authentic atmosphere? Costumes and decor of the period? Cars, planes?

4.The importance of the special effects and their effectiveness?

5.The prologue, Pharaoh, his concubine, her affair with the high priest, the silhouette murder, the execution of the concubine and the priest, the devouring by the insects, being buried alive, the books, the treasure, the curse?

6.The tribe guarding the secret of the city? The librarian and his alliance with them? Their being pictured on horseback watching the valley?

7.The opening with the Foreign Legion battle, Rick and his heroism, Beni and his cowardice, Rick saved by the mystery of the city? His being imprisoned, his selling the key to Jonathan, Evie and Jonathan and their visit to the prison, his being executed - and then cut down? The reprieve for the expedition?

8.Evie and her awkwardness, crashing the bookshelves? Her skills in reading Egyptian language? The librarian? Her looking after Jonathan? The visit to Rick in prison, his kiss, saving his life?

9.The American group and the expedition, the cowboy attitudes and behaviour, the Egyptologist with them? Beni as their leader? The clash with Rick and his expedition?

10.The voyage along the Nile, the tribe watching, the fire on the boat, deaths and those who were saved? The beginnings of the expedition? The journey to the Lost City, the mirage? The two groups arriving, confrontation, dividing the work?

11.The raising of the mummy and its effect? The mummy himself, the curses and spells? The ten plagues covering Egypt and the visual effects? The mummy and his seeking humans to absorb them? The American and his pursuit, his eyes and his tongue? The other Americans? Beni and his using the prayers of various religions, being seen as a Hebrew slave, becoming the assistant of the mummy? Evie destined as the sacrifice? The search for the books for the counter-curses? The people turned into zombies? The power of the mummy?

12.Beni and his greed, always running away, the coward? His final help, wanting the gold? His being trapped?

13.Rick and the plan, Cairo and the presence of the mummy? His pursuit? Flying the plane - and the eccentric British airman, his memories of World War I, the adventure and his death? The mummy and his trying to prevent the plane coming, the visual effects of the sandstorm, the open mouth and the crying?

14.The book, the discovery of the treasure? Evie laid out as sacrifice? Jonathan and his awkwardness, reading the formula? Evie and the evil priestess beside her? The end of the prayer? The destruction of the priestess? Of the mummy? Saved? The final escape?

15.Audience identification with the characters, the events? The blend of humour, horror, adventure? Lavish matinee spectacle?

MULLET

Australia, 2001, 90 minutes, Colour.
Ben Mendelsohn, Susie Porter, Andrew S. Gilbert, Kris Mc Quade, Tony Barry, Belinda Mc Clory, Peta Brady.
Directed by David Caesar.

Mullet is the story of an average young Australian man from a country town. The opening sequence of fishing for mullet and throwing them back because they were useless is a symbolic introduction to Eddie Moloney, nicknamed Mullet. He is played in his typical fashion and persuasively by Ben Mendelsohn. Mullet is the kind of person who antagonises people in the town, plays football and they support him, falls in love but, in his own words, unexpectedly and without telling anyone, "just pisses off". When he turns up without any fanfare three years later, he causes havoc in the town and especially with his family.

David Caesar has written and directed many documentaries about different facets of Australian life (fences and space, cars, bodyworks and funerals). His feature films have been about people in urban settings, green keeping and the idiot box. Here he returns to his own roots on the south coast of New South Wales, recreates the life of the town very effectively, offers characters with some depth who struggle with the ordinary situations of their life and work in the small town. Susie Porter shows once again she is an effective actress as the girl that Mullet left behind and who, after two years, has married his brother for security. Andrew S. Gilbert is Peter the brother, the policeman in the town who is hurt by his brother's return. Tony Barry and Kris Mc Quade are excellent as his loving but often non-speaking parents. Both of them have good lines of dialogue to illustrate the depths of the themes. Belinda Mc Clory (Redball, The Matrix) is the local barmaid who is supportive of Mullet.

1. A portrait of a New South Wales country town: the south coast, the ocean, the fishermen, the fish shops? People and their ordinary work? The small population of the town and everybody knowing each other's business? The hotel and the people gathering there? The football matches? The barbecues? The role of the police?

2. The authentic location shooting, the town itself? Atmosphere? The background musical score and songs?

3. The title and the opening with Tully and Peter catching the mullet and throwing them back? The symbol for Mullet himself? His return and fishing the mullet with the net, selling them to his sister in the shop? The significance of the nickname in terms of worth and lack of worth?

4. The situation and the town: Mullet gone for three years, Tully marrying Peter for security, talking about not wanting children? Her teaching the kindergarten children? Peter and his police work? The mother and father and their not talking but being together for decades? Mullet's sister and her work at the fish shop? Marrying James? The Aboriginal background? Dad and his coaching the football?

5. Mullet getting a lift into town, buying the car? The immediate reactions to his presence? His brother not talking to him? His father's nonchalance? Robyn and her remarks? Tully and the effect on her? Kay and her support? His going to the pub, going to the football, going to his old van? Fishing?

6. The beginnings of his interactions with people: going to see his parents, their feud, helping them? Bewildered by them? Their love for him? Seeing Peter and Peter's suspicions, especially about the wedding? Everybody saying they did not know where to find him and so invite him to the wedding, his unreasonable reactions? (And the rumours that he was in England or in Hollywood?) With his sister, his offensive comments about being Aboriginal to James? In the bar?

7. With Tully, her exasperation, attraction, the hurt? His not being able to explain himself? Expecting her to have waited for him? Yet trying to be nonchalant about it? Her growing anger, going to see him, confronting him? Sitting by the water? Her return home and Peter's suspicions? Her eating all the sugar? Being sick?

8. Peter and his anger, the fellow policeman offering to shoot Mullet and his angry reaction? Forgetting about the barbecue?

9. Kay and her support of Mullet, the night together - but no affair? Her talk about herself, relationships in the town, her father? Her wanting something more - and unable to persuade Mullet that she loved him?

10. The barbecue, people arriving, awkwardness, chopping the wood, setting the fire, the fish? James and his wife and Mullet's apology? Peter and his bringing the gun? Their arguing, Kay's arrival? Tully bringing the gun - explaining she was pregnant, telling everyone to go home?

11. Mullet's arrival and its surfacing the issues of family life in a small town? The wandering Australian man? Restlessness yet wanting to come back to his roots? Inarticulate in emotions and expression? Peter and Tully and a secure future? Mullet and Kay leaving the town also for a future?

12. Insights into the Australian tradition, ethos, relationships, men and women?

MASTERPIECE OF MURDER

US, 1986, 100 minutes, Colour.
Bob Hope, Don Ameche, Jayne Meadows, Yvonne de Carlo, Anne Lloyd Francis, Frank Gorshin, Kevin Mc Carthy, Clive Revill, Stella Stevens, Jamie Farr.
Directed by Charles S.Dubin.

Masterpiece of Murder is very much like an Agatha Christie story in an American setting. The film was also like a pilot for a television series - but perhaps because the stars were so elderly, a series was impossible.

The film is a mid-'80s star vehicle for Bob Hope and Don Ameche. Bob Hope, over 80, nevertheless is able to carry his wisecracks and his legendary presence on screen. He is a down-and-out private investigator. Don Ameche is able to carry the wisecracks as well as Hope and is excellent as a dapper ex-cat burglar who has made good. Together they are invited to a party by Kevin Mc Carthy - with a great array of guests including such stars as Stella Stevens, Anne Francis, Clive Revill, Frank Gorshin. The host is murdered and there is an investigation by the odd couple as well as by the police (Steven Keats).

The film has a convoluted plot, but the villains are exposed at the end with the help of Bob and Don. A pleasant entertainment - and a reminder of the skills of the stars.

1.Enjoyable American murder mystery? Puzzle and clues? solution?

2.Los Angeles backgrounds, the wealthy homes of the Los Angeles hills? Atmosphere of affluence? Musical score? Special effects and stunts?

3.The title, the background of art and forgeries, wealth, the murder mystery?

4.The introduction to Danny - down and out, needing money, his bets, his work and career? The contrast with Frank, his affluence and business success? The newspaper and seeing them together? The build-up to their interaction?
5.Jonathan and the invitation to the party, his plan for the stealing of the Gainsborough? His enjoying the sparring between the two? His relationship to his niece, getting the paintings? His neighbour? His mistress and the chauffeur? His ex-wife? The art dealers? The gossip columnists? His being murdered?

6.Danny and Frank, their meeting, clashing? The wisecracks? Their working together, taking the painting, hiding it? The interaction with Deborah? The disappearance of the painting? The murders, the police, their helping with the investigations? The second murder? The car chases, the thugs? The crash over the cliff? The realisation of the truth, getting into the art room? The catching of the criminals? The ironic friendship? The talents of the stars?

7.The range of suspects - and their predictable situations and attitudes? Lola and Bronson, their affair, wanting the money, their rejection? Matilda and her photographer, the gossip? Ruth and her husband, his pushing of drugs, collapse of the career? Victor and his dealings with the paintings? Rudin and his rivalry with Jonathan? The world of art dealing, the forger, the selling of the forgeries? Stealing from one another? Money deals?

8.Della/Deborah and her charm, her watching the two, the taking of the painting, her being unmasked as the villain?

9.Julia, pleasant, the portraits, her father's reputation, her trying to cover it, her restoring the paintings at the end?

10.Paperback plot, enjoyable characters, the puzzle, the clues - the solution of the mystery? And the good humour of the stars as a bonus?

MR PATMAN

Canada, 1980, 105 minutes, Colour.
James Coburn, Kate Nelligan, Fionnula Flanagan.
Directed by John Guillermin.

Mr Pitman is a Canadian production, though directed by British John Guillermin (who also made many spectaculars in the United States including The Towering Inferno and King Kong. It is a star vehicle for James Coburn.

Mr Patman is an orderly in a mental hospital. He relates particularly well with the patients. He is also highly critical of some of the doctors. However, the reasons that he relates so well to people indicate some kind of instability in himself. He relates rather oddly to the director of the mortuary in the city, in a friendly way to a priest whom he supplies with tablets, amorously to his landlady and with passion and affection to one of the nurses. However, the line between reality and fantasy begins to blur and ultimately he is committed to the hospital itself.

The film is not always easy to follow. The ideas are interesting, but something goes wrong in the dramatisation. James Coburn gives the film his best and holds it together. The supporting cast includes Kate Nelligan as the nurse and Fionnula Flanagan as the amorous landlady.

1.Interesting? Entertaining? Study of human nature?

2.Canadian production, the use of Vancouver, the hospital, the city? Musical score?

3.The title and the focus on Mr Patman?

4.James Coburn as Mr Patman: his screen presence, at home, alone, his love for his cat? His relationship with the landlady, seven years, love affair? Her husband? His work at the hospital, work with the doctor, clashes (and eventually giving the doctor an electric shock)? His relationship with the patients - being with them, the kindly word, singing, understanding, the lady due for heart surgery and his sympathy, the nude woman and her painted face, the old man with his mysterious powers? His work with the patients - tablets, preparing them for shock therapy? His own reactions, emotions, in the mind? Travelling to and from work? Relationship with the staff? Attraction towards Miss Peabody? The sexual encounter with her? The possibility of a change for him? The hallucinations, the hanging, seeing Miss Peabody in the car accident, threatening the man at the morgue, the discussions with the priest? Going home, putting the cat to sleep? The farewell to Mary Katherine? The decision to help the old lady escape, with her in the car, Miss Peabody, the old lady's death, Miss Peabody's decision to cover for him, taking him back to the hospital? Meeting the man with the strange powers, the optimist, his decision to take a bed and stay within the hospital?

5.The doctor, treatment of the patients, talking about cars during the shock therapy, Mr Patman's antagonism, giving him the electric shock?

6.Miss Peabody, her work at the hospital, attracted to Mr Patman, sexual encounter, talking with him, the possibility of going to California? Finding him with the old lady? Taking him back to the hospital, the final close-up of her regrets?

7.The landlady, her relationship with her husband, with Mr Patman, sensual? The farewell? Her grief in front of her husband?

8.The picture of the patients, their problems, behaviour? The young girl and her singing? The woman with the make-up? The large lady needing heart surgery so that her family could sedate her? Her wanting to go, dependence on Mr Patman, the escape, her death?

9.Study of offbeat human behaviour? Understanding human nature?

MR HOLLAND'S OPUS

US, 1995, 143 minutes, Colour.
Richard Dreyfuss, Glenne Headley, Olympia Dukakis, William H.Macy, Alicia Witt.
Directed by Stephen Herek.

A film that any audience can go to comfortably and thoroughly enjoy. It's about a teacher. We know Mr Chips. We remember Robin Williams as Mr Keating in Dead Poets Society. And now we have music teacher, Mr Holland. This film is a bit sharper than its predecessors. Mr Holland does not work miracles overnight. He sees his job as temporary - but it becomes his life. The film opens in 1965 and ends in the 90s. Richard Dreyfuss gives a wonderful performance as Mr Holland and is supported by Glenne Headley as his wife. The film not only shows us values in education but also has a lot to offer on family relationships and tensions for a teacher between students and family, especially attention to his own son.

The film is long but you won't notice the time. And there is a range of music from Bach to Gershwin.

1.A piece of Americana? American education in the 20th century? Family life and values? A variation on It's a Wonderful Life?

2.The 30-year period, Mr Holland and his home and family, the town, the school? The collages summarising the '60s, '70s, '80s?

3.The title, Mr Holland as a composer, his music, his teaching and the students being his opus, his son?

4.The significance of the music and its insertion throughout the film? From Bach to Beethoven, Gershwin and rock and roll?

5.The reinterpretation of the meaning of one's life? It's a Wonderful Life and the final tribute being a chance for Mr Holland to assess his life and what if...?

6.The tradition of films about teachers? Goodbye Mr Chips and Goodbye Mr Holland? The tribute to and achievement of teachers?

7.The film having an edge with Cole being deaf? The parallel with Beethoven, unable to hear the music? But Glen Holland having to learn how his son could appreciate and know about music?

8.Glen and Iris, playing at weddings etc., Iris the photographer? Marriage, going into teaching, hoping to get enough money to be able to compose? The opening and his getting up in the morning, going to school, lost, the encounter with Mrs Jacobs and her tough attitudes? Wolters and his rigidity, discipline (making the girls kneel with their short skirts)? His going into class, wanting the definition of music? The bored students, his anger over their poor tests, their poor playing in the orchestra? Gertrude and her discussions, her poor playing, his coaching her?

9.The growing frustration in teaching, the demands of the timetable, Mrs Jacobs accusing him of not giving his full time to the students? His realisation that they should have fun with their music, his change, playing Bach, playing rock and roll? The experience of music? Wolters and his denouncing rock and roll? Gertrude and her improvement? Russ and his being on the sports team, wrestling, the chance to have special coaching, learning to play the drums - and the great difficulty in getting a sense of rhythm?

10.Bill, sports, his friendship with Glen, meals in the canteen, playing chess? Persuading him to give Russ a chance? The parade? The sadness of Vietnam, Russ's death and the funeral?

11.Iris announcing her pregnancy and Glen's bad reaction? Her grief? The pregnancy, the build-up to the birth and the mad drive to the hospital? Iris's discovery that Cole was deaf during the parade? Her reaction? Glen and his giving the class on Beethoven and his deafness? Going to the expert and his advising for them to have a 'normal' life and interaction with Cole? Iris and her desperation, Cole and his frustration, her wanting to communicate with her son? Going to the school, learning to sign and communicate? Her communication with him at home? Glen not facing up to the reality, trying to ignore it and avoid it? Not learning sign language properly, having to go slow, Iris having to translate? The build-up to the ultimate confrontation about John Lennon?

12.The '80s, the Gershwin evening? Rowena, her skill, the humour of the auditions? Rowena and the advice given by Glen, her temptation for him to leave, go to New York, to compose? Listening to his music? His decisions, not going to New York, staying with Iris and the family?

13.The confrontation with Cole at John Lennon's death, presuming that he was ignorant, his son's firm reaction? Learning how to play music for the deaf, the use of lights? His singing 'Beautiful Boy' and dedicating it to his son?

14.Mrs Jacobs, her support of Glen, her favourite teacher, her retirement? Wolters, the principal, his cuts, the interview with Glen, Glen and his hearing at the board, attacking the board (even his former students)? The discussion with Bill? Thirty years of giving his life?

15.Iris and Glen and their relationship, their love, ups and downs, the crisis with their son, Iris and her love for her boy? Glen and his having to learn it?

16.The build-up to the finale, Gertrude as Governor, the playing of his symphony, Iris and Cole welcoming him? Better than riches and fame? Touching the lives of everyone there for the better? "We are your symphony, the music of your life"?

17.Themes of teaching, education? The students as the opus of the teacher? Especially issues of the arts, the basics of education but having something to think, read and write about?

18.Issues of hearing impairment, communication with the deaf? In the context of family and relationships?

MARRIAGE ON THE ROCKS

US, 1965, 109 minutes, Colour.
Frank Sinatra, Dean Martin, Deborah Kerr, Cesar Romero, Hermione Baddeley, Tony Bill, Nancy Sinatra, John McGiver?.
Directed by Jack Donohue.

Marriage on the Rocks is a piece of romantic fluff, mid-'60s style, for a middle-aged audience. Dean Martin and Frank Sinatra were about 50 at the time and Deborah Kerr 45. However, they all act characters at least five years younger than they actually were.

The supporting cast includes Nancy Sinatra and Tony Bill, early in his career. The amusing supporting cast includes Cesar Romero and John McGiver?.

The film is done in the lush Technicolor style, runs at a very long running time - and all seems rather silly in retrospect. However, the stars are at ease, Deborah Kerr lets her hair down a little, and, of course, everything works out just fine in the end - with Frank Sinatra seeming a dedicated workaholic and Dean Martin a man about town and then a chance to reverse roles. The title has the frothiness of a drink on the rocks as well as a marriage in trouble.

1.Entertaining romantic comedy of the '60s? '60s style? For middle-aged audiences?

2.The stars? The glossy Californian settings? Mexican settings? Nightclubs, music and songs?

3.The title, the frothy suggestion, marriage in difficulty?

4.Frank Sinatra as the dedicated businessman, married to his wife for 19 years, not seeing her boredom, his best friend being his business associate, but a ladies' man? Hard at work, gifts for anniversaries, outings, wishing he were home? His son and his shrewdness in trying to work his best friend against him? The daughter wanting to move out with the nightclub dancer? His strictness? His agreeing to the second honeymoon, the time in Mexico, wishing he were home? The mix-up with marriages, remarriage? The business deals and the best friend coming down to Mexico, the mishaps at the ceremony, Valerie married to his best friend? Moving out, the change of character, the reaction of his children, the man about town, his best friend's strictness? The reconciliation - and the happy ending? His dealing with his mother-in-law and her drinking, wisecracks?

5.Dean Martin in the contrast role, the man about town, an eye for the girls, the phone calls? Not good at business? His apartment? Danny's children coming to him and his giving them advice? The outings, the nightclub, dancing with Valerie, her going back to his apartment? The mix-up in Mexico, his being married to Valerie? Taking everything seriously, the mother-in-law walking out, his strictness with the children? Hard at work? His rushing out of the marriage - after Valerie wondering what it would be like to marry him? His being the perennial bachelor?

6.Valerie and Deborah Kerr's style? Bored with her marriage, trying to revive it, having everything in order, the night out, the dancing, to her best friend's apartment? Arranging the Mexico visit, Danny getting sick, staying for the remarriage after the tangles with the man in Mexico who did everything from lawyer to clergyman? The strange remarriage ceremony? Returning home, the new situation, the parallel situation - and Danny's devices to win her back? The best friend pulling out of the marriage?

7.The children, the young boy and his shrewdness? The information about divorced parents and getting all he wanted? Playing off the best friend against his father? His reaction to the second marriage? The daughter, her friend the dancer, Danny's talking to her, not being allowed to go? Her second father being just as strict?

8.The mother-in-law, Scots, the bagpipes, the drinking, the comments, the television? Going off with Danny? Comic touches?

9.Mexico and Cesar Romero's comedy as the do-it-all man in the town - and his popping up, his special rates, etcetera? The stereotyped but amusing Mexican comedy?

10.Trini Lopez and his nightclub song? The music of the period?

11.Marriage themes, business and the time passing, refreshing a marriage, marriage and divorce? People acting according to their character? Everything being right in the end?

MURDERS IN THE RUE MORGUE

US, 1986, 92 minutes, Colour.
George C. Scott, Ian Mc Shane, Rebecca de Mornay, Val Kilmer.
Directed by Jeannot Szwarc.

Murders in the Rue Morgue is one of several films of Edgar Allen Poe's horror story. Filmed in the '30s, it was remade with Karl Malden in the '50s and with Jason Robards in the '70s. This film places the emphasis on the investigation of the murders, with George C. Scott as a retired detective and Ian McShane? as the jealous prefect. Rebecca De Mornay is Scott's daughter and Val Kilmer is his assistant investigator. The film has the benefit of excellent Paris locations.

Designed for a television audience, the film has more suggestion of horror than actually vivid sequences. It was directed by Jeannot Swarcz, director of such films as Jaws 2, Supergirl, Santa Claus.

1.The popularity of Edgar Allen Poe? This story? The many film versions?

2.The design as a telemovie, for a wide audience, treatment for the general audience? Paris locations, period and style? The stars, musical score?

3.The focus, the murders, the investigation, fewer murders than in other versions?

4.Auguste: George C. Scott, his retirement, love of Clare, playing chess, the jealousies in the French office? Philippe and his friendship, expressing his bitterness? His attitude towards Adolphe and the engagement? The deaths? The plea for him to investigate, going out, on the scene of the crime, the encounters with the prefect, the clashes? Going to his office? Helping Adolphe, the discovery of the truth? The investigations of exploring, the sailor and the dock, the discovery of the truth, telling the prefect, the climax in the park, restored to his work?

5.Clare returning from the opera, fear in the streets, at home, her strength of will, love for her father, her relationship with Adolphe, being stood up, the reconciliation? Philippe and his devotion? Going to the jail to visit Adolphe? Philippe helping her to understand the truth? Going with him to the park, the attack by the gorilla?

6.Philippe, the memories of his father, pleasant, playing chess with Auguste, his love for Clare? The scene of the crime, the mission from Auguste, jail, telling Clare, the newspapers, the final rescue?

7.Adolphe as the handsome cad, his relationship with Clare, the other women? Accompanying the women to the Rue Morgue? The truth?

8.The prefect and his pomposity, jealousies, his work, at the scene of the crime, warning of Auguste? Arresting Adolphe? Auguste letting him know - and his taking the credit at the end? Restoring Auguste?

9.The sailor, the monkey, the interview with Auguste, the flashback revealing the true murders?

10.The atmosphere of horror: the opening killing, the vagrant in the park, the two women and their returning home, the vivid presentation of the attack in their apartment, their deaths, the police investigation, the sailor and the flashback and the visuals?

11.A detective story, a horror story, human relationships?