DESPERATE MEASURES

US, 1998, 96 minutes, Colour.
Michael Keaton, Andy Garcia, Brian Cox, Marcia Gaye Hardin, Joseph Cross.
Directed by Barbet Schroeder.

There is a lot of sentiment underlying the thriller Desperate Measures as cop Andy Garcia tries every means to find a compatible bone marrow donor for his young son. And it turns out to be Michael Keaton, trying to do a Hannibal Lecter. Nobody is surprised when he stages an escape attempt and there is a lot of tension as the pursuit rushes its way around the hospital and out onto the freeways with seemingly reckless abandon of dangers to everyone else and, so, to the credibility of the film. However, while it is up there on the screen, it builds up tension. The police want Keaton dead. Garcia needs to keep him alive for the operation. Tense but derivative.

1. Entertaining thriller? Police drama? Medical drama? Dramatic or melodramatic?

2. The city settings, the hospital, the prison, the interiors of the wards? The chases? The musical score?

3. The title, Frank and his wanting the bone marrow transplant from the criminal? Allowing the criminal out? His taking over, the attempt to escape, the violence? The chases? How plausible?

4. Frank Connor, widower, concern about his son, going into the files to find a compatible donor, going to the prison, the interview with Pete McCabe? The psychological confrontation? McCabe's agreement, going to the hospital? Frank with his son, with Dr Hawkins? The preparation for the operation? Mc Cabe getting away, the pursuit around the hospital, the melodramatics, the action, the confrontation? The police thinking Frank had sold out? The final escape, the pursuit in the car, the bridge? Shooting McCabe? but rescuing him from the river? The operation and his being reunited with his son? Plausible character, policeman, father?

5. Michael Keaton as Peter Mc Cabe, a variation on Hannibal Lector? His record? His admitting that he was a killer? The interview with Frank, his psychological playing with him? His use of the computer in the prison, getting the plans of the hospital? His agreement, the method of his being taken to the hospital? The meeting with Matthew? Being strapped down, the need for him to be freed, his escape? His skill in moving through the hospital, the chases, taking Dr Hawkins as hostage, the threats to the policeman? The threats from Frank? The need to keep him alive for the operation? His taking over the hospital, the infectious ward, on the PA system, watching everybody by surveillance? The final escape, the vehicle, Frank's pursuit, the bridge, his being shot? The ironic ending with his pulling the gun on the policeman?

6. The hospital staff, Dr Hawkins and her care, decisions, being taken hostage, helping Frank? The other nurses and doctors?

7. The police, the chief and his discussions with Frank, the threats to shoot McCabe? Frank persuading the policeman not to shoot? Their disregarding Frank's wishes, the attack?

8. Matthew, his medical situation, the need for the operation, his father's care, the interrupted operation, his helping his father, the discussions with Mc Cabe, Mc Cabe saying they were similar and his wanting to attack McCabe? The final operation?

9. The quality of the cast and the director - in a run-of-the-mill, implausible thriller?

DUMB AND DUMBER

US, 1994, 107 minutes, Colour.
Jim Carrey, Jeff Daniels, Lauren Holly, Mike Starr, Charles Rocket, Teri Garr.
Directed by Peter and Bobby Farrelly.

Dumb and Dumber was another step on the sudden rise to fame of Jim Carrey in 1993 and 1994. His rise, in fact, was not overnight because he had appeared in such films as Once Bitten during the 80s. However, with Ace Ventura Pet Detective and The Mask he had audiences laughing uproariously. And it is the same with Dumb and Dumber. It's probably enough to say that it is not as dumb and the trailers might lead one to believe. Carrey does a Jerry Lewis-style impersonation. Jeff Daniels is very good as his dumb friend. And, if you like bodily function jokes, then you're in for a treat! Carrey was to go on to an extraordinarily successful career with such films as Batman Forever and his comedies such as The Truman Show, Man in the Moon, Bruce Almighty.

This film marked the first feature directed by the brothers, Peter and Bobby Farrelly. They then made Kingpin and achieved great commercial success with There's Something About Mary. Other films include Me, Myself and Irene and the much more gentle and humorous Stuck on You.

1. The popularity of Jim Carrey, his films like Ace Ventura Pet Detective and The Mask preceding this film? His subsequent films? The style of his comedy, manic, impersonations, slapstick? Bodily function jokes? The more outrageous humour? His mimicry and his funny lines? Combined here with Jeff Daniels playing dumb? A successful combination for the box office?

2. The work of the Farrelly brothers, their type of humour, zany, with people on the margins? Visual humour, verbal humour, bodily function humour? The sometimes caustic edge of their comedy?

3. The film as a road film, from Rhode Island to Aspen, Colorado? The territory covered? A piece of Americana - comic style? Dumb and Dumber style?

4. The title and its reference to Harry and Lloyd? Who was really dumb and who not? Their dumb characters, behaviour, incidents, decisions?

5. The focus on Lloyd, Jim Carrey's screen presence, the limousine driver, his meeting Mary Swanson, his finding her very attractive? The trip to the airport? His talking to her, her listening, telling the story of his life? Seemingly hopeless? Her leaving her briefcase, his getting it, finding his limousine towed away, his being sacked?

6. Harry, his work as a dog groomer, his van and its looking like a dog? His losing his job? Lloyd's decision to ask Harry to go to Aspen, take the briefcase, his hopes of meeting up with Mary? The irony that the briefcase has the money, ransom money for Mary's husband, his being kidnapped?

7. The background to the kidnapping, the personality of Nicholas Andre, his relationship to the Swansons, their wealth? His thugs, Joe Mental and J.P. Shay, the information about Lloyd and Harry, their pursuing them?

8. The road movie aspects of the film, Lloyd and Harry and their interactions, the dumb and dumber talking? The incident with the trucker, gay, violent? The meeting with the State Trooper? The thugs catching up with them - and the ironic humour of the red hot chilli pepper-eating contest? Joe Mental and his death?

9. Arriving in Aspen, wanting to see Mary, their clash, the briefcase opening, the money? Their decision to spend the money, the suite, the new clothes (and their colours and style), their buying an expensive car? The innate honesty - the IOU notes? Their adventures - and misadventures, especially with Harry and his tongue sticking to the frozen pole?

10. The gala, the Icelandic snow owl, Mary at the Aspen Preservation Society, the Swansons and their role with the society, Andre and his presence? Lloyd and his meeting with Mary, attracted towards her - but Harry finding her, his going out with her? Lloyd and his reaction, the laxative in Harry's drink? The information about the briefcase, Andre and his taking them both? Harry and the result of the laxative, the longest and most vigorous diarrhoea scene in cinema history?

11. Harry, the FBI, the bullet-proof vest? Mary and her going back to her husband? Lloyd and Harry reconciled, on the road again?

12. The overall impact of the humour, the touch of the crass with the touch of the clever?

THE DAY WILL DAWN

UK, 1942, 98 minutes, Black and white.
Ralph Richardson, Deborah Kerr, Hugh Williams, Griffiths Jones, Francis L. Sullivan, Roland Culver, Niall MacGinnis?, Finlay Currie, Patricia Medina.
Directed by Harold French.

The Day Will Dawn is a British film for morale-boosting during World War II. Made after the Battle of Britain and Dunkirk, it focuses on occupied countries in Europe, specifically Norway. It also shows British intelligence and the British Navy in trying to cope with the U-boat invasion coming from Norway and the North Atlantic.

The film was written by Terence Rattigan, best known for such films as Separate Tables, The Prince and the Showgirl, The Deep Blue Sea. It was directed by Harold French who also directed Rattigan's French Without Tears and was later to do a number of very British films after the war, especially adaptations of Somerset Maugham's stories, Trio, Encore, Quartet.

The film has a strong cast, especially with Ralph Richardson and character actors like Finlay Currie and Francis L. Sullivan. It was one of the earliest films for Deborah Kerr, aged twenty-one at the time of the film's release. She gives a rather more lively performance than her rather more dignified performances later. (Within ten years she and Finlay Currie were appearing in an American spectacle, Quo Vadis, she as a Christian and he as St Peter.)

The film focuses on the role of journalists, the contribution of the media to the war effort, the nature of the war effort and self-sacrifice asked of Britain especially with so many Continental countries occupied by the Nazis.

1. A film of its time? 1942 and World War II? The state of Britain? Hitler's advances? The occupation of Continental countries like Norway?

2. The black and white photography, the war sequences and action? The atmosphere of Britain, of Norway? The musical score by Richard Addinsell (The Warsaw Concerto)?

3. The title, the atmosphere of hope? The actual dawning of the day for the execution of the hostages in Norway?

4. The explanation of the war situation as perceived in 1942? The Nazis, their domination, the example of their taking over Norway, importing soldiers in merchant ships, building a base for the U-boats, toppling the government? Spies, German-Norwegian? relationships, hostages and killings? The arrogance of the Nazis? The threat to Britain, the memories of Dunkirk? Morale-boosting? The final attack of the British Navy saving the day?

5. The focus on Colin Metcalfe as the hero, lesser aristocracy, idle, sports reporter? Frank Lockwood getting him the job? His going to Norway, his easy life, his growing interest in the war situation? His being absent from Oslo and his being sacked, Frank Lockwood arriving from Finland and bringing the bad news? The irony of Colin's contacts, the pub, the German spy and her reporting? The captain of the boat, going on board, his patriotism, his daughter and her strength on the boat? The attack? Landing, the information about the U-boats and the German presence? His return to Oslo, his being abducted? The attack on the ship, his return to London? The information to the editors, the papers? The Navy and its need for finding out about the U-boat base, the camouflage? The officer who had dealt with Colin in Oslo (talking about snipe-hunting)? His approaching Colin in the pub, leading him on, taking him to Navy Intelligence, his job?

6. Colin, the return to Norway, parachuting in, the dangers of Nazis in the forest, his going to the safe house, Olaf and his taking him across to the town? His meeting with the people, hiding in the German-Norwegian? meeting, seeing Kari and thinking her a traitor? His not having papers, the search, her putting the lights out, his escaping? His finding out the truth about her? Her father's return? The group meeting in the house, Olaf taking them to the boat, their going to guide the bombers to the exact location of the U-boat base? Its being destroyed? The Germans taking hostages, the refusal of the hostages to speak, Colin amongst the hostages, their being interned, to be executed at dawn?

7. Kari, her love for her father, her father's outspokenness, captain of the boat, patriot? The friendship with Colin? His being interned, Kari able to effect his release because of her relationship with the police chief? Colin and his falling in love with her? Her giving him the information about the base? His return, seeing her with the police chief, not trusting her, finding out the truth? His return, her father's death? Their being interned, talking during the night, the anticipation of the dawn? Their being saved?

8. Frank Lockwood, Ralph Richardson's bluff style, the journalist, helping Colin, work in Finland, giving him the notice about his being fired? In France, the rescue, Colin meeting him, his death?

9. The Norwegians, patriotism, their being occupied? Hostility towards the Nazis? The dance, the band playing the music, the people banging on the tables and the floor? The police chief and his being partly German, his alliance with the Nazi chief, wanting to marry Kari? The confrontation with the chief, his being shot?

10. The Nazis, the official, under cover, the oil refinery, bringing in the men, the occupation, the war? Chasing people in the forest, the U-boat attack and its strength? The British attack and the Germans being taken prisoner?

11. The Navy Intelligence, the officer and his talk about snipe-hunting, his shrewdness in recruiting Colin?

12. Olaf, the wedding, Colin's presence, dancing with Kari? The police chief? Olaf and his taking them in the boat, his being one of the hostages, his wife going to Kari to plead for help? His final release?

13. Spies, German information, British spies, the role of espionage for the success of the war?

14. The discussions about the media, the editor and his executive, hiring Colin, firing Colin, the need for the media in the morale-boosting exercises for Britain in the war? The role of Winston Churchill, his being elected prime minister, support behind him, his speeches and their being quoted, especially the "day will dawn" speech at the end?

THE DELIVERY OF ELAINE

US, 1996, 95 minutes, Colour.
Mare Winningham, Chris Cooper, Lloyd Bridges.
Directed by Elodie Keane.

The Delivery of Elaine is a television drama which begins as a domestic story, a middle-aged woman looking after her aged doctor father who had lost his legs in a shooting incident many years earlier. She begins a correspondence with a prisoner as part of her church work. When the prisoner is released, the film moves more towards melodrama as family secrets are revealed. Things are complicated for the woman herself, a relationship with a married police chief, finding out more and more truth about her father, her discovering that she was pregnant.

Mare Winningham is convincing as the woman embroiled in crises she never imagined. Chris Cooper (Oscar winner for Adaptation, in such films as American Beauty, October Sky) is the prisoner. Lloyd Bridges, in one of his final roles, is the father.

On reflection, the plot and its development seem more and more implausible, but, while on the screen, it is an interesting drama/melodrama.

1. An interesting film? Characters? Situations? Drama becoming melodrama as family secrets are revealed?

2. Small-town America, ordinary life in the town, homes, teaching, the police, diners? The contrast with the prison? An authentic atmosphere? The musical score?

3. The title, the focus on Elaine, her being imprisoned by looking after her father, her emotional imprisonment, his not telling the truth and that imprisoning her? The correspondence with Charlie, emotional, his ability to reveal the truth? Her relationship with the police chief, her pregnancy? The death of her father, her leaving the town? Her future life?

4. The portrait of Elaine, her age, her mother's death, her father's losing his legs? Her spending her years at work, teaching, looking after him, his whims? His crustiness? His refusal to answer her questions about what happened? The woman at the church urging her to write to Charlie, the voice-over with the range of letters? Her shock when he was released and returned to the town? Her asking the police chief for help? The confrontation with Charlie and the puzzle about his presence? The phone calls from the police chief, her time with him, her pregnancy, his not leaving his family? Her friendship with the deputy? Bob, the disabled boy? Hector, the old man? Charlie and his raising issues, giving her the photo, the confrontations with her father? Her gradual discovery of the truth, the documents? Chris's mother? Asking her father, his offhand way of dealing with it? The booking for his going back into his office, his being murdered? Elaine and her killing her father? The investigation, her reaction to Chris's arrest? The deputy working things out, the chief of police letting her go? The farewell to Charlie? The letter, with her baby, with her sense of what she had done - and hoping that God would forgive her? The delivery?

5. Charlie, his background, in prison, cooking, learning a skill, the parole board, his leaving? The correspondence with Elaine? Managing the fire in the diner and getting the job? Seeing Elaine, the threats by the police chief? The revelation of the truth, his mother, the truth about his mother and the doctor? His being accused of the murder, arrested? His being let go? The farewell to Elaine? His getting a job, becoming a chef, the success of the restaurant?

6. The father, the true story, his callousness, his having his daughter as a slave? His moods? Refusal to answer her questions? His wanting to go back to work, going to the office, his being killed?

7. The supporting characters, the complexity with the police chief, his work, his relationship with Elaine? The deputy, his love of food, admiring Charlie's cooking, investigating, finding the murder weapon, knowing the truth? Bob, the simple-minded young man, his friendship with Elaine? Hector, the old man and his admiration for the doctor?

8. The plausibility of such a scenario, the crime, no charges made, the years passing, Charlie and his knowledge, coming out of prison, engineering Elaine's delivery and knowing the truth? The murder and her being able to go free?

DANCING AT LUGHNASA

Ireland, 1998, 92 minutes, Colour.
Meryl Streep, Michael Gambon, Catherine Mc Cormack, Kathy Burke, Brid Brennan, Sophie Thompson, Rhys Ifans, Daryl Johnston.
Directed by Pat O' Connor.

Dancing at Lughnasa is an adaptation of the celebrated play by Brian Friel. On stage it had an extraordinary impact, especially when the sisters who lived together suddenly burst into vigorous, pagan-like dance. While this happens in the film, and has its impact, the treatment of the play is very much in the travelogue style, beautiful sequences of the Irish countryside in its 1936 setting.

The drama is strong, a group of sisters living at home, dominated by the older sister, played with finesse by Meryl Streep. The youngest sister, played by Catherine Mc Cormack, has had an affair with a travelling salesman and has a young child. The other sisters work in the town, have difficulties in communicating, build up a community at home. Into this community comes their brother, a missionary in Africa who has been adversely affected physically and mentally by his time in the missions. He is played by Michael Gambon.

The film recreates a period in Ireland, with a Donegal setting, in the aftermath of the civil war and the Black and Tan experience. It also shows a rigid Catholicism. Underlying this, however, are the roots of the Celtic spirituality, the spirituality associated with nature and the druids which tends to surface at different epochs of Irish history, especially when the Irish are under pressure.

The film was directed by Pat O' Connor, whose early films in Ireland, Cal, A Circle of Friends, led to a Hollywood contract and a film Inventing the Abbots and Dancing at Lughnasa.

1. The transferring of Brian Friel's play to the screen? Opening it out? The Irish landscapes? The drama out of doors? The famous dance sequence and its impact? The strong dialogue from the theatre?

2. Donegal, 1936, the countryside? The home and its interiors? The town itself, workplaces, social functions, the church? An authentic atmosphere? The musical score - the Irish songs and lyrics, melodies?

3. The title, the focus on the dancing sequence? Lughnasa and the overtones of pagan religion, the druids, nature religion, passionate and sensual dancing? The contrast with the traditions of Irish Catholicism, its strictness, rigidity in governing people especially in such activities as dancing and the seeming freedom given to the body?

4. The portrait of the Mundy sisters? All unmarried, their ages, relationships with each other, the teaching, keeping house, the mentally slow sister and her knitting gloves? The delineation of their characters: Christina and her being the youngest, her relationship with Gerry, his moving around, her having the child, the status in the community, his growing up, eight years old? Her devotion to her son? Her love for Gerry, her acceptance in the family? Kate, her being the oldest, her sense of responsibility? Her being a teacher? Her attitude towards her religion, strict Catholicism? The expectations in the family, their behaviour, religious observance? The influence over Christina, the other sisters? Agnes, her place in the household, her work with Rose, Rose and her knitting the gloves, bringing in some money? Minor characters? Maggie, keeping house, dowdy, her attitude towards herself, her need for more self-respect, her relationship with her other sisters?

5. Jack, his years in Africa, priest, his physical illness, his mental illness? His wearing the collar? His status as a priest in the village, in the household? The status of priests in the Irish church? Father Carlin and his visit? The authority given to the priests?

6. Michael, the boy in the household of women, growing up, his relationship with his father? Daily life, school? The influence of his mother and his aunts?

7. Gerry, 1936, being away on his travels, his decision to go to Spain, the war against Franco? The comments about the Vatican and its church alliance with the Franco regime?

8. The build-up to the celebration of Lughnasa? The Celtic festival of light? Kate and her strict attitude, seeing it as pagan? Agnes and her wanting to celebrate? Agnes and her promise to Rose that they would leave together and run away?

9. The celebration of Lughnasa, Kate and her having lost her teaching job and its effect on her? Night, finding Rose drunk, her meeting with Danny, and the knowledge that he had been seeing her secretly? His being a married man? The slow build-up to the dance sequence, the motivations for each, their breaking into the dance, including Kate, the wildness of the dance, the passion, the sensuality? A symbol of breaking free from the rigidity of the household, of the church's influence?

10. The aftermath? Gerry and his going to Spain? The news about the factory, the knitwear, Agnes and Rose not having any outlet for their work? Their leaving, the fact that they were never heard of again? Kate, her staying, her attitude towards the family, the loss of the family?

11. The technique of voice-over, the adult Michael, his commenting on his growing up, on his mother, the sisters, the way that they had educated him and brought him up? His reflections on the impact of the music and the dance?

12. A portrait of Ireland in the 1930s? Seen in the light of subsequent 20th century Irish history and change?

DEAD SILENCE

US, 1991, 88 minutes, Colour.
Renee Estevez, Carrie Mitchum, Lisanne Falk.
Directed by Peter O'Fallon.

Dead Silence is a film which focuses on three young college students and the style of the film is geared to college students identifying with the characters and with the moral dilemmas they find themselves in.

Renee Estevez is the daughter of Martin Sheen and Carrie Mitchum is the granddaughter of Robert Mitchum.

The film shows three different young women having a spring break in Palm Springs and suddenly the perpetrators of a hit-run death. The moral dilemma is whether they go to the police or whether they run. The central character, a young journalist, is for going to the police. Her friend, an ambitious law student, does not want her life ruined. The third young woman is away without permission, fears her father and is very nervy and indecisive - especially as the car was hired with her credit card.

They decide not to go to the police and suffer the consequences. The young journalist is actually asked to report on the finding of the body and the investigation. The nervous young woman eventually kills herself, leaving the assured young woman in a limbo, the police knowing and her life being ruined. The film is a popular TV moral fable.

1. Telemovie for the home audience, the younger audience who would identify with the characters and the situations?

2. The university settings, homes? Spring break at Palm Springs and all the exuberant goings-on? The desert, the police investigations? The media?

3. The title, its reference to the action and decisions of the young women?

4. The film taking its time in setting up the characters, their bonds, studies together, the journalist and her hopes, the ambitious law student wanting to get into Columbia and failing, the wealthy girl and the challenge for her to graduate? Their going on the spring break - and the young girl not telling her father? The gaudiness and behaviour of the spring break, the drinking? Their drink-driving and fooling around on the desert road?

5. The accident itself, the shock, the effect on their emotions, consciences? The different responses of each young woman? The lawyer taking the body into the ditch, the decision not to go to the police? Their return to the hotel, covering up, getting the car repaired and paying big money, cash?

6. The two girls returning to the university and graduating? Sunnie and her applying for the job as a journalist, her having to start early? The irony of her being asked to report on the finding of the corpse, the investigation? Her questions, the phone calls to Zanna and Joan? Her employer realising that something was wrong, inviting her to talk to her?

7. The party for the graduation, Joan's father and his gift? Her being unable to, the phone calls, the decision to go to Palm Springs when the policeman wanted to interview her about her credit card (the same policeman who had caught her at the scene of the crime)? Zanna and her rationalisations, studying all the legal cases where accessories to crime were present and whether they were guilty or not?

8. In Palm Springs, Sunnie and her reporting, talking to her boss? Joan and her gradual despair, feeling she was deceived by Zanna, her previous dive into the pool and her killing herself in the motel pool? Zanna, her shock at the suicide, talking to Sunnie?

9. Sunnie's decision to go to the police - and the film ending? What would happen? Her moral responsibility? Extenuating circumstances? The future for Zanna?

10. A moral fable, television style, to jog consciences and ask audiences what they would do in similar circumstances?

DANIELLE STEEL'S VANISHED

US, 1995, 86 minutes, Colour.
Lisa Rinna, George Hamilton, Robert Hays, Alex de Linz.
Directed by George Kaczender.

Danielle Steel's Vanished is one of a number of television movies made in the 90s from her bestselling novels. Most of them are set in contemporary US. However, this film begins in France in the early part of the 20th century and moves on from there to the United States. Different from the other films, it is something of a period piece, recreating a period of affluence in the period before World War II.

Lisa Rinna is the put-upon heroine, suffering the accidental death of her child and her husband being unable to bear the death of the child and be with her, even though he loves her. She has the opportunity to marry a very affluent tycoon, played with suntanned charm by George Hamilton. However, his sole ambition is to have a son and heir and extraordinary deeds follow - including the abduction of his son (played by Alex de Linz from Home Alone 3, One Fine Day). Robert Hays is the detective on the case - who falls in love with the heroine, thus ensuring a happy ever after for all concerned except for the dastardly George Hamilton and his mistress, his secretary who has second thoughts about what she has become involved in. Entertaining romantic melodrama.

1. The popularity of Danielle Steel's novels? The affluent world in which they are set? The romantic, high-class soap opera characters and situations?

2. The Paris settings, Switzerland, the period between the wars? Move to New York City, its affluence, homes, Wall Street? The musical score?

3. The title, the ominous sense of anticipation throughout the film, the abduction of the boy and his rescue?

4. The idyllic focus on Mariel and Charles, their love for each other, their child, on holidays, Mariel and her being distracted, the accidental death of their child? Consequences for her and the time in the sanatorium? Charles, his disappearance, his inability to face the situation? His chance encounter of her years later? The interactions, his threats, his desperation? The irony of the way in which Malcolm used these encounters?

5. Mariel, alone, her abilities, return to New York, seeking work, being taken up by Malcolm? Feted, courted, restaurants etc? Proposal, the marriage? The importance of her being pregnant? Her gradually being confined to the house, its effect on her? The birth of the boy? Malcolm and his having the nanny look after the child? Mariel and her being deprived of care for her child? Brigitte and her being in the background, supportive, sinister? The years passing and Mariel falling out of favour with Malcolm? Their clashes? Her place in society? Her place in the home, feeling estranged in some ways from her child, the intrusive work of the nanny?

6. The disappearance of the boy, her desperation? Malcolm and his concern, the accusations against Charles? The echoes of the Lindbergh case?

7. Taylor and his investigations, his concern for Mariel, being more and more attracted to her? The examination of the case, the clues? The chauffeur, the nanny? The realisation that Malcolm had kidnapped the boy, and kept him confined?

8. The investigations, the court sequences? Charles in court? Mariel and her response? Taylor and his presence? The unmasking of Malcolm, the reaction of Brigitte, her contribution to the truth? The explanation of his motivations, wanting a son and heir?

9. Dastardly deeds, the extremely rich and their ruthlessness, lack of morality? The poor heroine and her being used? Her love for her child, the happy ending - and a prospective stepfather? The popular ingredients of this kind of romantic telemovie?

LE DINER DES CONS

France, 1998, 80 minutes, Colour.
Jacques Villeret, Thierry Lhermitte, Frances Huster.
Directed by Francis Veber.

Le Diner Des Cons was a great popular success in France in the late 90s (with talk of its being adapted for the American screen by Woody Allen). Francis Veber has spent a lifetime creating pleasant farces about odd couples. His films include The Fugitives (Americanised with Three Fugitives) as well as La Cage Aux Folles.

He has imaginative set-ups to bring his odd characters together. This time a group of snobbish businessmen invites people they consider as eccentric idiots to dinner to get them talking and make fools of themselves. One of the group discovers a tax officer whose hobby is to make models of famous edifices out of matches. When he comes to dinner, the host has ricked his back at golf and cannot go out. The alleged idiot stays, offers to help, makes so many mistakes and messing things up by phone calls, misinterpreting situations, impersonating people_

The film is very funny at times with Jacques Villeret as the "idiot", a touch snobbish himself, sure of many aspects of his own personality, yet able to make a mess of so many things. Thierry Lhermitte is the straight man, the egotistical man who wants to make a fool of others, his wife has left him, who is intolerant of people hurting him but does not hesitate to mock others.

The film takes place over one evening, at the home of the publisher with the bad back. The farcical situations involve his wife, his mistress, the man from whom he stole his wife but who is a friend, a tax collector who is able to give information as to where the wife might be - but who does a swift appraisal and is about to charge the publisher with tax fraud.

The characters are very well performed, the farcical situations humorous and, while seemingly over the top, are performed in a realistic way which makes them all the more humorous.

1. The popularity of the film? The characters? The situations? The farcical aspects? The hurtful aspects, kindliness overcoming?

2. The French settings, the interior of the house - the film based on a play, opening out the dialogue and the action but remaining within the house? Musical score?

3. The title, the indication of the theme? The group who consider themselves superior, the way they talked with one another, condescending and patronising? Their collecting the eccentric fools, having them to dinner, getting them to talk, for example the man with the boomerangs and his long harangue about their use in Australia?

4. Brochant and his plan, the advice about M'sieur Pignon, inviting him to come first to his apartment? His laughing at him before he arrived? Pignon arriving but Brochant with his bad back? Pignon and his concern, with the doctor? His helping, carrying him, falling on him? The mix-ups, especially with the answering machine saying that Brochant's wife had left him? His trying not to listen, his wanting to intervene? The phone calls, especially the mistress? Pignon mixing up the mistress with the wife and telling her a story and ousting her? The novelist and Pignon impersonating the film producer, hanging up at the wrong time, ringing back? The novelist coming over, seeing the situation, his laughter? Brochant's discomfort? The arrival of the mistress and the realisation of wrong identity? The plan to get the tax auditor over to find the address and phone number of where the wife might be? The watching of the football and the complexities? The tax man, his manner, the meal? Their having hidden the paintings and his discovering them? His talk about tax situations, his eagle eye, supported by Pignon? The phone call to the man-about-town, discovering that the tax auditor's wife was there, his upset, his talking to her on the phone? The wife and her phone call, the accident? In hospital - and Pignon's sympathetic call, persuading her to forgive her husband, talking about his kindness? Her ringing back and his answering the phone and giving the plot away - and the immediate ending?

5. Pignon, his work, his wife running out on him, his sadness and loneliness? His considering the other man an idiot? His being flattered to be invited to the dinner, the possibility of a book, his photos of his matchstick buildings? His hurrying, the arrival, putting his foot in it, wanting to be kind, brainwaves, wrong timing, hanging up the phone, getting too involved in what he was talking about on the phone, especially buying the rights of the novel? His overdoing it with the mistress, the phone call to the wife? His explanation to the wife about Brochant and his overlooking the rudeness and how hurt he had been by the evening?

6. Brochant, straight man, insensitive? His going along with all the plans, his growing exasperation throughout the night at all the mistakes? Leblanc coming over, their plans, the desperation with the tax inspector? Hiding the paintings? The accident - and everything seeming to come together? His change of heart? His admitting to Pignon that he was a fool and that he ought to invite him to dinner and Brochant himself would be the idiot?

7. Leblanc, the marriage situation, the film rights, the novel, his coming over, his laughter, trying to help with the collaboration?

8. The wife, her background, her exasperation with Brochant? Her disgust at the idiots' dinner? Her coming back, ousted? The possibility of her going to the tax evader? The accident, in hospital, listening to the story of her husband?

9. The mistress, Brochant and his irritation with her, the mix-up with her name, her coming over, her being insulted?

10. The tax collector, his love for football, his demanding Pignon barrack for his team? The dinner, the address, his tax appraisal, the disturbance when discovering his wife was with his client?

11. The French and their success at farce, farcical situations, timing? The importance of developing sympathetic and unsympathetic to give a vitality and meaning to the farce?

THE DEADLY LOOK OF LOVE

US, 2000, 95 minutes, Colour.
Jordan Ladd, Vincent Spano, Holland Taylor.
Directed by Sollice Mitchell.

The Deadly Look of Love is a junior version of Fatal Attraction. The young heroine of this film is caught up in her fantasies, the glamorous fantasies of women's magazines, soap operas, sentimental romantic love. She focuses her attention on men at her workplace, is introduced to a man from Chicago, forms an attachment to him which becomes an obsession. When he finally breaks off the liaison and tells her that he is engaged, her obsession overcomes her and she eventually murders the wife. However, when she is arrested, her seeming innocence makes an impression on many people. She even passes a lie detector test with enough chemicals to cure Alzheimer's, according to one of the lawyers. Holland Taylor steals the show as the defence lawyer, turning all the evidence against the man from Chicago. She does it in an highly melodramatic way in the court - which even the judge finds it difficult to interrupt. The ending is left somewhat ambiguous except that we do see that the young girl still has the engraved ring of the dead wife. The audience has to presume that the husband will go to trial.

This is an American version of a Mills and Boon story blending romance with the reality of the criminal court.

1. Popular material for a television movie? Dreams, fantasies, romance - and the American violence?

2. Cedar Rapids, the small town, the factory, the homes? The contrast with Chicago, the glamorous offices, the cityscapes? Affluent homes, country homes? The courts? Musical score?

3. The title and its indication of themes?

4. The portrait of Janet, seeing her with her parents watching the beauty pageant, wanting Miss Cedar Rapids to win, her getting First Runner-Up? place? Janet and her voice-overs and writing in her diary? Dissatisfied with runner-up? Wanting to be successful in everything? Her reading, women's magazines, fantasies? The affair with the man at work and her romanticising this and his disregard for her? Flirting at work, the encounter with Brett, the infatuation, the sensual relationship after his initial reticence? His encouraging her to fulfil all her dreams? Her moving to Chicago, allegedly at his invitation, the messages, the letters and cards? The affair and their meetings? The effect on her, dreams of going to Hawaii with him, wanting him to come to her sister's wedding? His telling her of his engagement, her passive listening to it after talking so much? Withdrawing into her own fantasies, watching the house, entering it? The murder? The arrest, her seeming innocence, her needlepoint - and "Janet and Brett Forever"? Her behaviour in the court, telling Brett that she loved him? The final letter, going to California, with his wife's ring - and the young man sitting at the table - perhaps being lured into her trap? The credibility of her character, behaviour, influence of her parents? The American fantasy world of glamour and romance?

5. Brett, his friendship with Gerry, knowing of the relationship, going out with Janet, resisting her, succumbing? His return to Chicago, his engagement, the heiress, his mother-in-law, his charm? Still meeting Janet? His growing exasperation, trying to tell her the truth, eventually coming out with it? The wedding, the pre-nuptial agreement? His not telling his wife about the affair? The wedding, their happiness? His working back, his going to be by himself? His wanting to talk to Janet? His grief at his wife's death, in the courts, Evelyn and her turning everything against him, his desperation? The plausibility of his being accused?

6. Janet's parents, her mother with the same kind of ideals, in the court, their declarations for their daughter?

7. The prosecutor and his being sure of himself, the lie detector tests? Taking the matter to court? Evelyn, her taking it, struck by Janet's madness in the interviews, the obsession, her theory that it was Brett who was the murderer, her pushing it to the limits in the courtroom, her performance, her tricks, histrionics? The jury, the judge?

8. The fatal attraction theme in a different setting? The madness of the sex-obsessed woman? The feminist lawyer and her turning the tables and making the man the victim?

DANIELLE STEEL'S ONCE IN A LIFETIME

US, 1994, 87 minutes, Colour.
Lindsay Wagner, Barry Bostwick, Duncan Regher, Amy Aquino, Rex Smith.
Directed by Michael Miller.

Danielle Steel has had many of her novels made into American telemovies, especially in the mid-90s. This is a rather more simple affair, more genial, more tearful. Lindsay Wagner is very attractive as the woman whose husband and little daughter die in a fire. Grieving, she discovers she is pregnant. Supported by a friend, she becomes a successful writer. She also becomes friendly with a teacher of the deaf who is very helpful with her son whom she learns is profoundly deaf.

The years go past, she fails to recognise the doctor's love for her, when she goes to the filming of one of her novels, she is swept off her feet by the dashing leading man. The audience can see that this is a doomed fling, and can see that she is destined to be with the doctor. However, it needs a car accident on Christmas Eve when she is knocked over to bring her to her senses.

Lindsay Wagner and Barry Bostwick are leading American stars in a wide range of telemovies and bring their genial presence to make this an acceptable glossy tearjerker - and feelgood movie.

1. The popularity of Danielle Steel's books, her characters, their backgrounds, affluence, emotional crises, struggles, love, reconciliation?

2. The title, Daphne and her talking about her love for her dead husband? Matthew and his trying to persuade her that she could love again?

3. The New York backgrounds, New England and the school for the deaf, the woods? The Californian film locations? Audiences enjoying this kind of lavish background? The emotional musical score?

4. The opening: Daphne, with Barbara, the party, her feeling alone, knocked over by the car, in hospital, the film going back to that during the flashbacks, the finale with Matt coming to see her, with her son coming? Barbara and her support? Her regaining consciousness, her being well, her love for Matt - and a future for the three of them?

5. The flashbacks: Daphne in the park and the game with Jeffrey, watching their little daughter? The celebrations, the fire, her being saved, Jeffrey and the daughter being killed? Her long grief?

6. Her going to New York, Barbara and her friendship, the strong friendship growing over the years, support, talking and listening, advice? Daphne finally employing Barbara?

7. The birth of the boy, discovering that he was deaf? Going to learn sign language, the meetings with Matt, his advice about schools, her resistance? Her possessiveness with Andrew, always with him, protective? Her finally being persuaded that she should take him to a school, meeting Matt again?

8. Andrew, as a little boy, the discovery of his deafness, growing up, always being with his mother, not having any friends, the birthday parties, Barbara, his mother doing everything with him? His having to go to school, his response, Matt as a father figure, very good at soccer? Daphne and her moving to the neighbourhood, ever-present with all the jobs in the school? Putting him to bed at night? His growing up, his growing independence of his mother, yet the bond with her? Going fishing with Matt, seeing him as a father figure? His mother's absence in Hollywood, going to the party, seeing her kiss Justin, his reaction, her calming him? Christmas, going skiing, to the hospital? A future with Matt?

9. Daphne, coping with her grief, going to work, writing, workaholic? Her publications, success? Barbara employed by her? The further success of her books, book signings? Hollywood, her going, being away from Matt, the phone calls, the visits? Being swept off her feet by Justin, the affair? Her expecting him to love her son, his cavalier attitudes, going off when he wished, her leaving him? Her pensiveness and the accident?

10. Matt, his skills, his family story, his deaf sister? Teaching, writing, running the school, genial, devoted to Daphne, yet not pushing himself on her? The visit to California, his stepping back for Justin? Her misunderstanding Harriet's presence? His going to the hospital and declaring his love?

11. Justin, the Errol Flynn-style film star, acting, the affair, declarations of love, not being bound down, not relating well to Andrew?

12. Barbara, the genial friend, the support?

13. An easily presentable story, characters, crises? At a soap opera level - but an opportunity for people to reflect on characters and themes?