DANIELLE STEEL'S MIXED BLESSINGS

US, 1995, 86 minutes, Colour.
Gabrielle Charteris, Bruce Greenwood, Scott Baio, James Naughton, Bess Armstrong, Bruce Weitz, Alexandra Paul.
Directed by Bethany Rooney.

The mixed blessings of the title of this adaptation from a Danielle Steel story are children. However, the film comes down strongly on the side of children and happy marriages.

The structure of the film is straightforward, a focus on three couples who marry on the same day and who attend the same doctor concerned about fertility and having children. A young couple marry and are full of dreams. However, the wife still has ambitions to be an actress, the husband finds that he is sterile. When his wife becomes pregnant, the marriage collapses. When he wants a reconciliation, his wife has had an abortion. Distraught, he works with children, visits the orphanage where he grew up, meets a single mother with a daughter at the beach - and, of course, they fall in love as well as adopt a young boy from the orphanage.

The second couple is middle-aged, the wife desperate to have a child. They are both successful professional people but, after a year, discover medical complications that prevent the wife from conceiving. This causes some kind of emotional breakdown and she wants to separate from her husband, blaming herself that she cannot give him a child. Eventually they effect a reconciliation, adopt a baby (but there is almost a setback as the natural couple (parents?) want the child back but finally decide to have it adopted) and, rather miraculously, the wife becomes pregnant.

The third couple is older, lawyer and judge. He is about to become a grandfather, he marries his long-time colleague. She decides that she would like to be pregnant, they have artificial insemination processes, she has a miscarriage, eventually giving birth to twins, one of whom dies. She grieves but comes to terms with it and the film is able to have a very, very happy ending.

James Naughton and Bess Armstrong are very good as the older couple. Scott Baio gives a moving performance as the would-be father whose marriage collapses. Gabrielle Charteris and Bruce Greenwood are the middle-aged couple (Bruce Greenwood showing he could be a villain in Double Indemnity as well as portraying JFK in 13 Days). The direction is by Bethany Rooney and has a very assured female approach and feminine touch to the story.

1. The popularity of Danielle Steel's stories? Marriage, love, children, family? Difficulties and people coming through them? Generally in an affluent and comfortable atmosphere?

2. The settings in Seattle, the city, the homes, the doctor's surgery? The beach? The musical score and its mood?
3. The title, children as mixed blessings?

4. The structure of the film, the three weddings on the same day, the small interconnections through the doctor and fertility?

5. Issues of women and their desire to have children or not have children? Barbara and her not wanting children, yet conceiving and having an abortion? Diana and her desperate wanting to have a child, her sisters and other relations and their children? Pilar and her wanting to have a child with the time clock ticking? Her stepdaughter and her insensitivity as she was pregnant? The unmarried mother, her story about becoming pregnant, her love for her daughter? Her being prepared to adopt if her husband was sterile? The range of motivations of the women?

6. The marriage ceremonies, their moods, styles, love? Commitment? The transition to eleven months later, discussions about pregnancy? The first anniversary and celebration or forgetting? The attempts for pregnancy? The strength of the relationships, the difficulties, coming through difficulties with patience and loving fidelity?

7. Charlie and Barbara, her career, his going to the doctor and finding himself sterile? The tensions, her forgetting the anniversary? His being willing to reconcile? Her going to Las Vegas, her becoming pregnant, telling him and discovering the truth? His turning her out of the home, going to visit her, wanting a reconciliation, discovering that she had had an abortion? His being with the kids, playing, at the beach, the encounter with Beth, her daughter? Going to the orphanage, playing with the boy and asking him if he would like to be adopted? A happy future? (And a sensible portrayal of contemporary Sisters not wearing veils but wearing a uniform with a cross?)

8. Diana and Andrew, professional lives, their attempts for her to become pregnant, going to the doctor, discovering the effect of the IUD? Her disappointment, depression, her outburst against her sister at the family dinner? Her wanting a separation, Andrew not being able to understand, trying to give her space and time? His visits, her pushing him away, thinking he would blame her in twenty years time? The possibilities of surrogacy - and her disdain at the attitude of the couple wanting to become pregnant for the money? Her filing for divorce? Andrew, his continued patience, understanding and sensitivity? The ideal husband? The meeting again, her return, the possibility of building a marriage on this experience? Adoption, being present at the birth of the baby, the mother giving the baby to Diana? Caring for it for two months, the parents wanting to take it away, their change of heart? The extraordinary pregnancy of Diana and its effect on her? Their having the two children?

9. Pilar and Brad, their work together, their getting married, his daughter being pregnant? Pilar and her wanting to be pregnant and the stepdaughter's hostile reaction? Her father's reprimand? The tests, the visits to the doctor, the artificial insemination? Her miscarriage? Pregnant again, the twins, the joy, the difficulties of the birth, the death of the little girl, Pilar's grief? The funeral, her beginning to hold the little boy? Stepmother and stepdaughter and their children, the reconciliation?

10. The dramatic impact of this kind of soap opera presentation of serious themes? The emotional response? The daytime television response - valid nonetheless?

DOGVILLE

Denmark, 2003, 177 minutes, Colour.
Nicole Kidman, Harriet Anderson, Lauren Bacall, Jean- Marc Barr, Paul Bettany, Blair Brown, James Caan, Patricia Clarkson, Jeremy Davies, Ben Gazzara, Philip Baker Hall, Siobhan Fallon Hogan, John Hurt, Zeljko Ivanek, Udo Kier, Cleo King, Bill Raymond, Chloe Sevigny, Shauna Shim, Stellan Skarsgaard.
Directed by Lars von Trier.

Lars Von Trier seems fascinated by moral and religious themes. So much of his imagery and his references are biblical. It has been easy to see his persecuted woman, Emily Watson in Breaking the Waves and Bjork in Dancer in the Dark, as martyrs, whose sufferings bring healing to men. Von Trier sets them up as redemptive Christ-figures.

As we share the experiences of Grace (and her doubting Thomas) in the community of Dogville, we trace the pattern of the Gospel: like Jesus coming into a lowly world, accepted despite suspicions, serving rather than being served, turned against and given her own passion. As the three hours running time pass, we seem to be being led in a most positive way. It is the way of forgiveness no matter what the offence - and, finally, Grace becomes the victim of women and children's malice and men's lusts.

This would have been so simple. We might have been using Dogville in years to come for seminars on grace. But, there is the enormous 180 degree turn in the final chapter of the film. When the unseen gangster finally arrives, we might surmise he represents the devil. But, then we see him, and discover that the Godfather might be God the Father and von Trier is challenging us to think again about John 3 where God so loves the world... It seems that in this US world, God so hated it that he sent his daughter to destroy it. If there is to be no more deluge, then 2 Peter says that the next destruction is by fire. And, in Dogville, so it is. With David Bowie singing about America's young over the final credits and the devastating collage of American photos, we are sent out of the cinema questioning the good and the evil in human nature and whether there can be any hope.

1. Lars von Trier, his career and reputation? Awards? Acclaim, hostility? Dogme and his credo? Not applicable with this film?

2. Von Trier as a troubled genius, his ingenuity, his film sense? Scandinavian background? Interest in the US without having been there?

3. The town, his use of the studio set? The looking down on it from a height? The names of the streets, houses? Outlines of things, the dog? The background of Thornton Wilder's play, Our Town, and Godville? The reverse with hostility from God in Dogville? The influence of Berthold Brecht and his theatricality, distancing his audience from his work in order to get them to reflect on the play and on their own experiences? The re-creation of the 30s atmosphere, the costumes, design?

4. The importance of the English dialogue, its polish? The narrator and John Hurt's tone? The information about the town, guiding our responses, indications of aspects of plot? Indicating irony?

5. The structure of the film in a prologue and nine chapters, giving the headings of the chapters? A Brechtian device giving the audience time to pause? The anticipation of what was to come, involvement and detachment?

6. The range of the international cast, their impact?

7. The interior life of an American town? As revealed by the narrator? As revealed by the characters, their speeches, their actions?

8. America, the film as an allegory? The reversal of approach by the end? From positive to destructive? The final collage of photos - and a critique of flamboyant and ultra-patriotic Americanism?

9. The background of the biblical world, Grace as a Christ figure, Grace, her name, being a gift, coming to serve and not be served? The spirit of the servant songs of the Book of Isaiah, welcomed spat upon, destroyed? The passion of Jesus? The Genesis themes and the destruction?

10. The reverse of John, chapter 3, God so loving the world as God hating the world? Destruction? Genesis and the destruction by water, second Peter and the destruction by fire? Any hope in this apocalyptic vision of America?

11. Nicole Kidman as Grace, her initial appearance, her screen presence, her strength, softness? Her arrival and the danger, the encounter with Tom, his helping and hiding her in the mine, arranging the meetings and her going to the meeting, meeting the townsfolk? Their initial reactions to her? Negative, some positive? The discussions, her being allowed to stay for two weeks? Her offering to help but their having no needs? Her being a gift to the town, grace to the town? Going to work for the people in the things that they had no need for? The effect on each of them? Seeing her with each during the two weeks? The next meeting, the signal of the bells and Martha ringing them? The people giving her gifts if she was not to stay? The final bell and her staying? In her house, the gardens, the orchards, the shops? Looking after the invalid woman? Helping Martha play the organ? Teaching William? Being a comfort to Mr Mackay? The friendship with Ben? The people being transformed?

12. Time passing, the police finally arriving, the notice about her being searched for? Touching the conscience of some of the townspeople? The nature of the law and their being righteous? Gradual change of attitude? The boy wanting her to spank him? Ma Ginger complaining about the trampling of the gooseberries? The various people being critical, cranky? Tom and his being bewildered by what was going on? His father and the hypochondria? Her having to do more work, half-hour shifts? The brutality of the sexual encounter:

13. The transition to punishment, her having the chain, moving with the chain, the harshness of the treatment, the persecution by the people, the meanness of the women, the sexual abuse by the men? Its effect on her - her patience, suffering? Graciousness?

14. The build-up to the escape, choosing Ben to transport her, giving him the money? Tom arranging it? Hiding with the apples? The journey, her arriving back? Made a prisoner? The phone call to the police, her waiting? The discussions with Tom, love for him, no physical sexuality, forgiveness?

15. The car arriving, the revelation that the mysterious stranger was her father? Her talking with him? The hit men with him and their previous visit? Grace and her experience in Dogville, her ideals, forgiveness, values? Her reaction to her treatment? Her New Testament response and turning the other cheek and turning to an eye for an eye and Old Testament vengeance? The shooting of all the people? The destruction by fire? Her succumbing to the temptations of her father - becoming satanic? Her exercise of power and cruelty? Ungraciousness, disgrace?

16. The effect of the 180-degree turn in her attitude, its effect? From grace to damnation?

17. Her father, the gangster, the role of gangsters in the United States, their control, godfathers? His being seen as a kind of God the Father?

18. Tom as the focus of the town, his name, relationship with his father, doubting Thomas? His age and experience, his love to talk, wanting to write, his calling the meetings, working on illustrations? His infatuation with Grace? Saving her after the two weeks? Watching the townspeople and their reactions, his joy, the change? His growing suspicious, his specious arguments, talking out loud? His decision to inform the authorities? His reaction to the sexual encounters, his own sexuality, Grace's refusal? His being shot along with everyone else?

19. His father, wise old man, the doctor of the town, Grace caring for his health, turning, hypochondriac?

20. Ma Ginger: Gloria her sister, their age, place in the town, the shop, the sales, the gooseberry patch and the bridge, Grace helping, attacked by Ma Ginger? Her using her money to buy the figurines?

21. The Hansons, as a family, the worried mother, looking woebegone, the reticent father? The children? Bill, not clever, encounters with Tom, Grace teaching him how to read? Liz, her wanting to avoid Tom's advances, initial jealousy, calm, accusing her of being seductive?

22. Chuck, his family, hostility, work in the orchard, his gradually mellowing, friendship as Grace worked with him, the rape? His wife, Grace helping her, the incident with the child, the spanking, the jealousy, the malice, going with the other women, smashing the figurines, not wanting Grace to cry?

23. Ben, alone, going to the prostitute, working with the cars, taking the money, betraying Grace?

24. Mr Mackay, his being blind, alone, gradually sharing with Grace, talking with her, his change and bitterness?

25. Olivia and June, helpless, Grace and her helping, especially with the toilet, and then being turned into a slave?

26. Martha, her reticence, not wanting to play the organ when there was no preacher? Ringing the bells?

27. The cumulative effect of this cross-section of people, of human nature, strengths and weaknesses, malice and brutality? Their fate - deserved or not?

DIRTY DEEDS

Australia, 2002, 104 minutes, Colour.
Bryan Brown, Toni Collette, John Goodman, Sam Neill, Sam Worthington, Felix Williamson, Andrew S. Gilbert, Paul Chubb.
Directed by David Caesar.

Although there are American gangsters in this film, it is particularly Australian. In fact, it is particularly a Sydney film. Overseas critics thought it exaggerated with a touch of farce. However, older Sydneysiders can tell you of the 60s and the days when there were violent disputes about poker machine sales' rights (and wrongs), about warfare and vendettas and how the New South Wales state premier of the time, Sir Robin Askin, has been unmasked as a corrupt politician.

This is not to say that Dirty Deeds is history. Rather it has touches of Aussie (Ocker) humour with its drama. It was written and directed by David Caesar who began his career in documentaries, made some feature films (especially Idiot Box about unemployed young men in Sydney and television culture and violence) and a number of television movies and series episodes. He has a good ear for the accents and speech patterns of his characters and it all has the ring of authenticity, no matter how exaggerated it may seem.

Most of this is to the credit of Bryan Brown who sounds 'fair dinkum' (Australian for 'authentic') in his rather inarticulate eloquence. He can be both sinister and charming - which is precisely what his gangster character is like. Toni Collette plays his gum-chewing, brook no rivals, tough wife. Sam Neill is a corrupt Sydney police officer who keeps a lid on everything. Sam Worthington is a young Vietnam vet who has to make choices for his life: thuggery or being a chef.

John Goodman and Felix Williamson are two Americans who are sent to Australia to seal the deal on local buying of poker machines. Goodman is older and a touch wiser and is content to ride with the situation, eventually seeing that with the money deals and murders, it is worth nothing. Williamson, on the other hand, is a trigger happy petty crook who does not understand Australia and who is more at home with double deals. When you stir all this together, you get a fairly true picture of those dirty deeds days - the time when Pizza is being introduced to Australia and the country is being transformed by international culture.

1. An interesting and entertaining film? Australian gangsters, the late 60s, Sydney? Australian society , the impact of the Vietnam War, the transition in cultures, in food, Americanisation?

2. The title, moral judgment? The song? The photographic style, flash and flair, angles, pace, editing?

3. The locations for Vietnam and the war, for Chicago? Suggestions? Sydney, the period, central Sydney, King's Cross, the suburbs? The outback and the Broken Hill locations? Musical score?

4. The set-up, Barry and his toughness, Ray and his turning a blind eye, corrupt policeman, Tony and Sal and their situation in the United States, having to bring the poker machine to Australia to do the deal, Sharon and her relationship with Barry, their son? Darcy and his arrival back from Vietnam, Margaret and her work in the bar, being set up in the flat?

5. Barry and Bryan Brown, screen presence, type, ocker, nice with his family, Aussie attitudes, yet harsh? His relationship with Sharon, his son, yet his relationship with Margaret? The ethos of the police and collaboration with Barry? His Australian traditions, puzzled by the new, especially pizza? His henchmen, the scene of them smashing the machines? The confrontation with Freddie, the shooting, his assistant? Warned by Ray? His being the boss, at home, with Margaret?

6. The Australian style of the film, language, slang, tone, information, non-American, the changes in manner, eating, the laid-back style?

7. The United States, Tony and Sal, failed Mafia, Sal and his being trigger-happy? Tony and his learning from experience? The travel to Australia, Sal and his ignorance? The poker machine and the connections? The flashbacks to their experiences, their failures? Their mission, going to Australia, in the gazebo, Sal and his phoning the US every day? Hollywood and his betrayal of Barry? The link with Freddie, killing Norm? Their all present at the funeral? The set-up for a confrontation?

8. Darcy and his experience of the war, the Vietnam scenes - especially with the helicopter and the pizza arriving? Darcy and his ambitions to run a restaurant? Barry being his uncle, looking after him, taking him in? His not wanting to be subservient to anyone? His military friend and their conversations? Barry giving him a job, delivering messages? Collecting the guns from his military friend? Inviting Tony and Sal to the party? At the party, his learning about the job and Barry? His new flat, next to Margaret? Their clash, their meetings, her comfortable being in and out of his room? The growing relationship? Barry seeing Margaret hiding outside the building? Darcy going to the centre with Barry and the group, Barry getting him to come back to Sydney, his inability to kill Freddie? Darcy and his wanting to cook, his experiments with pizza, Tony teaching him, Tony's advice? In the outback, his declaration that he wanted to stay, his relationship with Margaret, her staying? Their future?

9. The role of the police, Ray as a character, at socials, meeting the criminals, cover-up, arrival at murder scenes, intimidating the young police, talking about murder-suicide, his deals?

10. Sharon, her relationship with Barry, at home, the dinner, her relationship with her son, going to the functions? Her telling off Margaret and saying she was like that ten years ago? Her ultimatum to Barry?

11. The social for the American visitors, the senator, the connections? The social at home, Tony amazed at Barry's talking to his son in a blunt way? In the centre, Barry setting up Tony and Sal, Sal and his shooting the senator's pigs? The police, the exercise of power? The framing of Tony and Sal?

12. Tony, his decision to stay, Sal and his going back? The set-up of Barry pretending to shoot Darcy, Margaret and Tony? Their staying in the centre, finding the money from the poker machine hidden by the American Mafia? Their future?

13. Tony, learning from experience, genial? Sal, the contrast, trigger-happy, in league with Freddie? The petty criminals of Sydney and the poker machines?

14. The theme of Aussies beating the Yanks? The amoral/moral tone of the proceedings?

DARKNESS FALLS

US, 2003, 85 minutes, Colour.
Chaney Kley, Emma Caulfield, Lee Cormie.
Directed by Jonathon Liebersman.

With so many scary movies these days and a tradition of slasher teen movies, it is an eerie pleasure to watch Darkness Falls. The logic of the plot is not strong - but that doesn't matter. It is the atmosphere, jumps and screams and a spookie malevolent ghost which are the main attractions. South African director, Jonathan Liebesman, made his American horror story in Australia on a small budget, but it looks very stylish indeed, boasts a frightening creature created by Stan Winston and is edited to maximise frights for the audience.

We have heard about the benign tooth fairy. In this legend, a kindly old lady, Matilda Dixon, who lived 150 years ago, gave children coins when they lost their teeth. Unfortunately, she was disfigured in a fire, wore a mask and incurred the suspicions of the townspeople who finally accused her of killing two children and hanged her. Now she is back, not only in nightmares, but flying through the darkness to destroy all those who see her - and she does quite a thorough job! But, of course, she has to meet her match: a young man who was tormented by her as a boy, his girlfriend and her brother who is suffering the same fears of the dark. Only 85 minutes, playing it straight rather than as a send-up, it has more scares than most scary movies.

1. A successful horror film? Chills and scares? Creepy atmosphere? Audiences enjoying this kind of horror story?

2. The opening credits, the story of the tooth fairy, Matilda and her kindness in the past, giving the children coins for their teeth, her accident and the fire, the disfigurement of her face, wearing the mask, the townspeople of Darkness Falls and their antagonism towards her, the horror of her face? The accusations that she had killed two children? The townspeople hanging her - and then the news that the children were safe? Her coming back as the ghost to haunt and destroy? The plausibility of the premise - and the variation on the good tooth fairy?

3. Widescreen photography, the atmosphere of the town, the atmosphere for the action and the scares? The details of the town, the homes, the streets, the hospitals? The roads at night, the homes, hospital, the lighthouse? The musical score? The irony of the name of the town?

4. The prologue, Kyle, as a young boy, his tooth, his being bullied? At home with his mother? The coming of Matilda, the scares, his asking for his mother, her going down the corridor, her death? The police coming and taking him into custody?

5. The passing of twelve years, Kyle and institutions, police suspicious that he had killed his mother? His memories of the young girl and his promise to take her to the dance? Her visit to his room and his not going out? The burdens of the past and his moving away?

6. Michael and his fear of the dark, in hospital, Cat and her looking after him? Her decision to get in touch with Kyle, the phone call, the making of contact, the memories of the past? Asking him to come? His coming to the hospital, meeting Cat, meeting Michael, feeling that he could not do anything?

7. Kyle in the town, the bullies attacking him again? The fights? His decision to help Michael?

8. The police, the chief and the memories of the past, his son? The suspicions of Kyle, especially when the bully was killed and his head cut off? The arrest? The other police and their friendship, those who were antagonistic?

9. The hospital, the doctors, the treatment of Michael? The various tests? Their wanting to put him in the machine for the scan, in the dark? Kyle hurrying to warn them not to put him in the dark? The attack in the hospital? The attack on the lawyer?

10. The latter part of the film and the build-up to the confrontation with Matilda? The police and their being destroyed by her? The group in the car, the gradual elimination of the victims? Cat, Michael and Kyle being left to fend for themselves in the lighthouse?

11. The importance of being in the light, all the attempts to be in the light, in the hospital, the corridors, escaping? Lights going out, generators failing, getting lamps, their limited light? In the lighthouse, the confrontation with Matilda, the dangers, Michael having to reach for the switch? Their survival?

12. The visuals for Matilda, her appearances, her murderous brutality, wanting people to be in the dark, her fear of the light? The range of deaths? The confrontation in the lighthouse, the fights, the light, her being destroyed?

13. The epilogue with the young boy and his tooth under the pillow, his mother putting the coin - and audiences expecting Matilda to come again?

14. The effectiveness of playing the film straight rather than with ironies or innuendos and references to past scary films? Its being more effective for this?

DOOM WATCH

UK, 1972, 85 minutes, Colour.
Ian Bannen, Judy Geeson, George Sanders.
Directed by Peter Sasdy.

Doom Watch is a cinema spin-off from a popular television series on ecology. It is rather stilted in its presentation, awkward in much of its acting. However, it does show concern for environment in the late 60s-early 70s, especially with radioactive material being dumped, with oil spillages and with garbage deposit in the ocean.

Ian Bannen has a starring role as a scientist who visits a remote island collecting evidence of oil spillage. What he discovers is a village which has been affected by eating fish which have been contaminated by the radioactive material. The film then has aspects of a horror film as the villagers ban together to conceal what has happened to them.

George Sanders in one of his last roles plays the admiral who is in charge of the dumping of the radioactive material.

While the film is particularly dated, it reminds us that serious issues of pollution and contamination are still current.

1. Impact of the film? Derived from a television series? A fable about the environment and contamination?

2. The title, the reference to the organisation concerned about ecological disasters?

3. The island setting, Cornwall, the sea, isolation? The contrast with London and the laboratories? The Admiralty?

4. The credibility of the plot, the radioactive material dumped by the navy, the contamination of the fish, the disposals companies dumping their rubbish, the canisters exploding because of radioactivity? The final image of the film with the dead fish and the canisters?

5. Doom Watch and the investigation, Dr Shaw and his discussions in London, going to the island, collecting the specimens, their being examined in London, the illness being diagnosed?

6. Dr Shaw and his arrival on the island, suspicions and hostility, at the pub, with the vicar, with the various characters who insult him? His getting lodgings, meeting with Victoria, her being a foreigner, two years on the island, the teacher? Her finally agreeing to help him?

7. The sketches of the various characters on the island, the body in the ground, its disappearance? The police? The attack on Dr Shaw in the barn? The gradual revelation of the disfigured islanders? Finding the man, his trusting him? Dr Shaw calling the villagers together, the speech, the diagnosis, the threat of death, the islanders reacting against him? His desperation, the phone call, the people in the pub, finally agreeing?

8. The Admiralty, the admiral and his comments, the revelation of the truth, the uncovering of the radioactive material? The trawler and the garbage disposal company, the owner? Travelling to the dump? The picture of environmental contamination?

9. The horror aspects of the film, the disfigured characters, the violence, the dogs and their fight and the attack on Dr Shaw?

10. The possibility of doing good, the islanders being removed and medical help being given? The final image of the contamination in the sea?

DONATO AND DAUGHTER

US, 1993, 89 minutes, Colour.
Charles Bronson, Dana Delaney, Xander Berkeley.
Directed by Rod Holcomb.

Donato and Daughter is a routine police thriller. It is in the vein of the series of films made by Charles Bronson focusing on the Family of Cops. Bronson made it when he was seventy, and was to make a few films afterwards including Death Wish V.

He appears as the patriarch of the family, keeping family secrets, tough in his work, risking to sacrifice his reputation for his family. The murder mystery is interesting, the serial killer is murdering nuns. It transpires that he was rejected by a girlfriend when they were young, as she was going to join the convent. He has been vindictive against nuns ever since.

The police person in charge of the case is played by Dana Delaney, playing tough, after her success on television in the series China Beach. She plays Donato's daughter and the screenplay wrings out the tensions between the two, working together on the case with some hostility, finally reaching a reconciliation as her father rescues her from the killer on the top of a building. Xander Berkeley is the self-confident killer.

1. The popularity of this kind of police investigation film? Murder mystery? The police procedures? The audience knowing the murderer before the police and watching the confrontations and chases?

2. The Los Angeles settings, precincts, the apartments, streets? Atmosphere of authenticity?

3. The title and its focus on the father and daughter, the family relationships, the tensions, the love? Working together, clashes? Reconciliation?

4. The opening, the murder, the beginning of the investigation? The victims as nuns, the horror of their rapes and murders? The superior and her reluctance to collaborate? The discovery about Dorothy leaving the killer in order to enter the convent? Her death? Subsequent murders? The murderer masquerading as a nun? The nuns accepting him - in his disguise as a policeman escorting the nun to her convent?

5. The personality of Mike Donato, rough, success on the force, his bashing people? The secret about his son being a drug addict and his not telling the rest of the family? The strained relationship with his daughter, knowing that she was strong but not affirming her? His wife, her exasperation, her having to leave the city, an ultimatum to her husband that things would have to change? Her living with tension?

6. Dina and her abilities, in charge of the squad, selecting it, the interactions with her father, the squad observing the relationship? Her skills, the interrogations, the information, the footwork? Her father interpreting her and her reaction? The discovery of the murderer, the confrontation, the interview with the eccentric artist, discovering that the killer was supremely self-confident, resenting the psychological description put out, feeling humiliated?

7. The psychologist, the television conference, her profile? Putting out the opposite? The provocation of the killer, with his wife, his disguises, the rapes and murders? Business, dinners? The restraining order? The Donatos driving past him, having their meals? The confrontations, visit to his apartment? Their going back, his wanting to destroy the evidence, stabbing his wife?

8. Dina going to the apartment, the confrontation with her, her saying that she wanted to apologise, discovering the dying woman? The police coming, his taking her as hostage, her father following to the roof? The helicopter, the police and the confrontation?

9. The members of the squad, sardonic, reluctant to work with a woman, their friendship with Mike Donato? The pregnant woman, the pathos of her being killed? Being observed by the killer, his photographs?

10. A satisfying entertainment, murder investigation, portrait of a serial killer, a family of cops, tensions and reconciliation?

DEATH OF A BUREAUCRAT

Cuba, 1966, 84 minutes, Black and white.
Salvador Wood, Silvia Planas, Manuel Estanillo.
Directed by Thomas Alea Guttierez.

Death of a Bureaucrat has become a Cuban classic. It was made in the early years of the Castro regime, in the mid-'60s. It is critical of the regime and the development of bureaucratic control in revolutionary Cuba.

The film is a black comedy with excellent humorous touches - influenced by the cinema styles of Hollywood. It was directed by Thomas Alea who continued his career in Cuba, making such films in the '70s and '80s as The Last Supper.

The film has excellent black and white photography, a mixture of realism and surrealism - and it is of universal appeal in its critique of the bureaucratic mentality and its oppression of individuals.

1. An entertaining comedy? The quality of the humour? The serious undertones? Cuba in the '60s? Development of bureaucracy? The universal message?

2. The work of Thomas Alea in the Cuban film industry? His universal skills? His Cuban style? His interpretation of Cuba during the Castro decades?

3. Black and white photography? The authentic locations? The black and white photography for realism, for fantasy, surreal ism? The use of light and darkness? Cemeteries, streets, offices? The range of cinematic techniques: the speeding up of the action, the swift editing? The echo of American and European comedies, farces - with chase sequences? The parody of Ingmar Bergman and Fellini - dream sequences?- The humorous symbols inserted: the Grim Reaper, the Dracula fangs? The musical score? Enjoyment for cinema buffs?

4. The basic situation: the worker and the tribute to him, the comic review of his life (with echoes of Charles Chaplin in Modern Times, Metropolis and the comedies of the absurd)?

5. The funeral. the grief, the conducting of the funeral, the highlighting of the importance of the deceased's card, the pomp in burying it - and the bureaucratic consequences?

6. The focus on his widow - her grief, coping, the black comedy of the body reappearing, having to be held in the house etc.?

7. The focus on the nephew: an ordinary young man. his odyssey in trying to get permission to exhume his uncle: the experience of the officers, the officials, the impositions of bureaucracy? His treatment, the queues, the tables, the stamps, the smooth talk, the hard talk? The issues: the insurance for his aunt and the validity of the card, the need for the exhumation of the body, the further need to steal the body, bury it? The hardness of the cemetery director?

8. The farce and the experiences for the nephew? The audience sharing his exasperation? The reaction to the officers and their appearance, the desks, the queues, the personnel, their manners? Issues, causes?

9. The comedy of the digging up of the body and the humour about cemeteries? The carting of the corpse, the corpse at home, trying to bury it? Slipping the corpse into the cemetery etc.?

10. The nephew and his growing exasperation. the killing of the cemetery director - and the irony of a way to bury his uncle?

11. The film's comment on socialist governments, socialisation and bureaucracy, bureaucratic stupidity? Forms and regulations versus people? The memorable comment on bureaucracy via the variety of humour?

DEATH LINE

UK, 1972, 87 minutes, Colour.
Donald Pleasence, Norman Rossington, Christopher Lee, David Ladd, Sharon Gurney.
Directed by Gary Sherman.

Death Line, grossly re-titled Raw Meat, seems to be something of a horror classic. It succeeds very entertainingly in its portrayal of London police with Donald Pleasence giving one of his best performances, finely comic. Christopher Lee also appears briefly but tellingly. On the horror level, the picture of a lone survivor of an accident under London's tube is filmed with gruesome excellence, gaining sympathy for the human monster, giving him a Dickensian atmosphere and relying on the Beauty and the Beast fable. An innocuous young American couple provide the focus of excitement. But the film's blend of humour and horror make it a worthwhile example of the genre.

1. What was the ultimate impact of this film on the audience? Was it an enjoyable horror film? Why? Was it a well-made horror film? Why?

2. How well did the film use the conventions of the English Police drama? The character of the inspector and his assistant, the police woman with the cups of tea, the advice on historical aspects of London, the inspection of blood and the scientists? The portrayal of character, the emphasis on humour and deadpan dialogue, the reality of the investigations. Did the film develop these successfully and integrate them with the horror?

3. How successful a horror film was this? Did it frighten the audience successfully? Did it create an atmosphere of horror? Did it exploit horror and the audience? Its use of blood and gore? How interesting was the basic horror story? The historical explanation? The portrayal of the man and the woman and life on the death line? The killings and the chases at the end? Conventional or better?

4. The visual presentation of the man for the film and its impact? As figure of horror, half-human, a monster, but how humane was he? The use of the Beauty and the Beast theme for the monster? His relationship with his wife, inarticulate, the use of the victims for blood, his kidnapping the girl, the importance of his death and its pathos, his final cry? How well did the film in this character balance brutality and feeling?

5. Comment on the quality of the visual impact of the film - the goriness of the deaths, the refrigerators of the corpses, yet the muted colour, the framing of 19th century style pictures, the Beauty and the Beast theme, the portrayal of the man as a mythical character, the humanity of his chase with the lantern, his relationship with the girl, the pathos of his death and final call? The contrast of this with the garish beginning and the ordinariness of modern London?


6. How well did the film utilise violence? Did it exploit it?

7. The tone of the opening, its music, its garish colour, striptease world; the politics, in this world? The ugly tones of the modern world compared with the underground?

8. How attractive were the hero and heroine? Credible? The ordinary scenes at home, their studies and work in the bookshop, their conversation, and yet the conventions of the horror film the kidnapping and the chase, the relationship with the police? Did they fit in well with the rest of the film?

9. The film’s utilising of modern London to make the whole story credible. Was it successful here?

10. The implications of social comment in the history of the collapse of the underground and the companies not rescuing the victims, the murders as some kind of reeking with justice?

11. Comment on the success of the dialogue, the humour, Donald Pleasence's performance and style, the interlude with Christopher Lee and the M15 style, the intercutting of modern London with the underground?

12. How successful an English horror film was this?

DEATH IN THE GARDEN

France/Mexico, 1956, 96 minutes, Colour.
Simone Signoret, Michel Piccoli, Georges Marchal.
Direcgted by Luis Bunuel.

Death in the Garden is of interest as a '50s work by celebrated writer-director, Luis Bunuel. It is a Mexican- French co-production.

Bunuel, during the '50s, was to make a number of small-budget films in Mexico. They bear the mark of his insights, attitudes (especially towards society and religion) and his having to adapt to the Mexican film industry. The films are somewhat lacking in finesse, especially with his films of the '60s and '70s.

However, this film, made in colour, has an exotic atmosphere of jungle outpost and the isolated lifestyle of miners, prostitutes, missionaries. The film uses the device of throwing a group together, their learning to co-operate and then their bonds collapsing. The film has an excellent cast including Simone Signoret as the prostitute and an arresting
performance by Michel Piccoli as the tormented Father Lizzardi.

1. Interest in the work of Louis Bunuel? This film within the canon of his works? A French- Mexican co production? The French stars? The Mexican locations and the Mexican industry? A film of the '50s?

2. The significance of the title? An English translation as 'Evil Eden'? The emphasis on the physical and psychological environment? Religious overtones? The focus on the small group, society, crises, interaction, power, powerlessness, being trapped, freedom? The group as a symbolic microcosm?

3. Colour photography, the atmosphere of Mexico, the isolated towns, the mines, the jungle, the river? The crashed plane? The musical score?

4. The focus on the mining town, the society, government, clashes between officials and miners, the closure of the mine, the attitudes and behaviour of the military, revolutionary situation? How persuasive a picture of society in ferment? An isolated society - yet symbolic of the wider world?

5. The picture of smugglers, escapees? innocence, crime? The search for meaning in this kind of society?

6. The focus on the garden: reality, symbol, myth? The overtones of the Book of Genesis and innocence and temptation, seduction and death, sin? Knowledge, life and death? A secular parable about religious values?

7. The portrait of the group as a group, the melodramatic behaviour, their interaction? The establishing of sides and loyalties, tensions? Violence and death? The group becoming cohesive, the appeal to their better selves?

8. The discovery of the plane, food, jewellery, wealth? The emergence of greed, selfishness? The collapse of the cohesiveness of the group? The immediate emergence of violence and madness?

9. Chark as focus? His physical presence? A brutal hero, antihero? The film establishing his background, his initial behaviour with Marie? With Djinn? The contrast between the two women and his brutalised behaviour? The clash with the police, Djinn's betrayal, going to prison? The escape, the power, taking over the boat? His establishing himself as leader, laying down the rules, stand-over tactics? The reaction of Castin and Marle? Djinn and the suspicions as well as the sexual attraction? The contrast with Lizzardi and his religious values? The discovery the plane? The wounding of Chark and his carrying Marie to the

10. Marie as the innocent in the garden, the deaf mute girl, a girl of peace? Her experience of the trek, her father and his going berserk? Her surviving? The contrast with Djinn as the prostitute in the town, tough, the night with Chark, betraying him to the police for the wealth, her relationship with Father Lizzardi, trying to escape, the boat, her surviving in the jungle?

11. Castin and his age, tensions, care for his daughter, relationship with Djinn. his finally going berserk and his religious mania?

12. Father Lizzardi, background in the town, relationship with Djinn, religious attitudes, the Bible, the continual presentation of him as ineffectual and offering the Word of God rather than substantial help for surviving in the jungle? A man who could not survive such a journey?

13. The ambiguity of the ending - the prospects for Chark and Marie?

14. Bunuel's view of society, the inherent violence, power struggles, brutalising effect? The experience of human interaction? The film seen as parable, even allegory: brutal hero, innocent virgin, prostitute, priest? Bunuel's personal understanding of human nature. human values, religious values, organised religion? His satiric insights?

A DEATH IN CANAAN

US, 1978, 125 minutes, Colour.
Paul Clemens, Stephanie Powers, Jacqueline Brooks, Brian Dennehy, Tom Atkins.
Directed by Tony Richardson.

A Death in Canaan is an interesting and moving telemovie. It was directed by English director Tony Richardson (Look Back in Anger, The Entertainer, Tom Jones).

The film is based on a real-life story of a young man accused of murdering his mother. There is travesty of justice in police interrogating the suspect without benefit of lawyer, employing a lie detector and influencing a signed confession. The trial was very severe and the judge put pressure on the jury to reach a decision.

Paul Clemens is excellent as the suspect. There is a good supporting cast including Stephanie Powers, Jacqueline Brooks and Brian Dennehy. The film shows the people of Canaan supporting the suspect and after a three-year struggle being able to free him.

1. An interesting story? Dramatic impact? Emotional impact? Based on a true story? A piece of '70s Americana?

2. The atmosphere of the '70s, the police, crime, the administration of the law, justice? A critique?

3. The background of Connecticut. the town of Canaan, prisons. courts? The atmosphere of the small American town? The people?

4. The work of Tony Richardson? The English sensibility for this American story? The intensity of feeling?

5. The basic situation: the town, Peter, his mother. their relationship and interaction? His discovery of her? His stunned reaction? The telephone call, the police questions, the reaction of his friends. his not weeping?

6. His response to the situation? The police and their response - the officer and his self-assurance, his having done a course on interrogations, his literal application of what he had learnt, trying to establish an atmosphere of trust, persuading Peter, suggesting ideas, suggesting guilt, making him rely on him? The police keeping Peter waiting for hours, his being tired, his not being given his rights, no lawyer? His susceptibility to suggestion, his believing that he might have killed his mother and not remembered it, his dependence on the police, the officer being a father-figure to him? Their persuading him that he had done the murder? His experience with the administrator of the lie detector. his accepting all the explanations, the discussions about conscience and guilt, the way lie detectors worked? His beginning to protest? The typist and the confess-ion, his statements that he was unsure (and their not being put on the confession)? His fear of being mentally disturbed?

7. The portrait of Peter: a pleasant young man, young, easily led, susceptible? How plausibly presented was this kind of character? His relationship with his mother? Her reputation? The intrusive questions about her by the police? His friend, his friend's family and their reaction, support? The police critical of his not crying? His sensible approach yet easily influenced? His behaviour at the hearing., the question of bail. his release, his awkwardness at the party celebrating his release. his lack of awareness about his future? His performance in court and his appropriate answers? His grief at the sentence and his speech? The passing of three years? The final court case - and his naive remark about his mother at the end? A persuasive portrait?

8. The picture of the police - fair, critical? Their attitudes, administration of the town. surprised at a murder. over-confident in their handling of it? The interrogation, the techniques, not giving Peter his rights, the use of the lie detector, the secretary typing the confession? The reaction to people's criticisms? To the magazine article? Their answers in court - especially the administrator of the lie detector?

9. Peter's friends, the friendly family, the parents and their support, his friend? Forming groups, the priest (and the celebration of the memorial service at the mother's grave)? The charities, the fairs, the sales, the appeals? People's scepticism? The hiring of the lawyer - and the good intervention by the fellow-prisoner to help Peter? The lawyer and her robust style? The various people in the group continuing to offer their support?


10. The style of support? The real characters helping: Mike Nicholls, William Styron? The anonymous donor of the bail?

11. The lawyer, her skills - but her concern about civil liberties? Her pleas for Peter? Her response to losing the case? Declining to conduct the appeal?

12. Joan, her family, hearing the gossip in the town, being friendly with the family, going to the prison, writing the article, rounding up support, the final interview and the winning of the case?

13. The court procedures: the prosecutor, the attitudes of the judge and his severity, putting pressure on the jury.. the jury (with echoes of Twelve Angry Men) and their discussions and deadlock?

14. A portrait of police work and its inadequacies? The administration of justice and its limitations? The power to the people to rectify unjust situations?