DANIELLE STEEL'S HEARTBEAT

US, 1993, 95 minutes, Colour.
Polly Draper, John Ritter.
Directed by Michael Miller

Danielle Steele's Heartbeat is one of the many television movies made in the early 1990s of the novelist's romances. They tend to follow a pattern - affluent American society, marriages and marriage breakdown, a portrayal of family, the possibility of reconciliation or a new life, the promotion of traditional values of love, romance and marriage. Heartbeat is no exception.

Polly Draper is attractive as the television executive, in love with her husband, abandoned by him when she becomes pregnant, he seeing it as a betrayal of the promises made before the marriage. She encounters a divorced television executive, her neighbour, who is very supportive. He is played by John Ritter as the film calls him, `a nice guy'. He also has two children. The rest is quite predictable - enjoyable in watching the emotions as the plot takes its course. This film was directed, as were many of the others, by Michael Miller.

1. The popularity of Danielle Steel's novels? The formula? The values? The romance and the happy endings?

2. The Californian locations, the television studios, the supermarkets, the homes, hospitals? The forest and the lake? The typical American affluent locations? David Shyer's musical score?

3. The title - especially with reference to Adrienne's pregnancy? Bill's comment about heartbeats?

4. Adrienne's story: her work as an executive, her partner? Her love for Steven? The social and his bad reaction to the children? Her comments about children? His wanting to make a good impression? His not wanting children? Her telling him about the pregnancy, his bad reaction? His demand that she have an abortion? Her going to the clinic - the dramatic pause for the audience to wonder whether she terminated the pregnancy or not? Her meeting Steven, her explanation of what she had done? His walking out, clearing the house, setting the lawyer on her, the divorce? His complete disregard for her? Her loneliness, her discussions with her friend? The chance meetings with Bill, the decision to go with him and the boys camping? Her getting on well with the boys, saving Tom's life? Hospital and the truth about the baby? Bill's support? The birth of the baby? Her ringing Steven, his coming to visit, his demanding attitudes and willingness to forgive her? His departure? Her worrying about Bill, his coming to the hospital, the declaration of love, the baby taking his name, the wedding?

5. Bill, the soap opera, his relationship with the star, her affair? Being written out of the soap opera? The director and their discussions - and his trying to pick up the nubile girls playing volleyball on the beach? Bill and his love for his boys? The chance encounters with Adrienne, inviting her to the party, listening to her problems? Inviting her to go camping, propriety, enjoying the time away, his reaction to her saving Tommy? The discovery about the pregnancy and his hesitation, his support of her, love for her? His reaction to Steven's presence? Coming again to the hospital, the planning of the marriage? The new family?

6. The boys, their love for their father, camping, the dog, getting on well with Adrienne?

7. The world of TV, news, soap operas, the tantrums of the stars, their being written out of the show? The popularity of the soaps?

8. Steven and his selfishness, ambitions, the promise made by Adrienne, his walking out on her, depriving her of everything? The return to see the baby and his condescending attitude?

9. Traditional romantic values? Soap opera style? Audiences identifying with this kind of story?

DANIELLE STEEL'S CHANGES

US, 1991, 96 minutes, Colour.
Cheryl Ladd, Michael Nouri.
Directed by Charles Jarrott.

Danielle Steel's Changes is one of several telemovies and series made from the very popular romantic novels by Danielle Steel.

The films work according to formula, glamorous characters, heartfelt crises, romance, tragedy. While the world of the characters is affluent, the situations in which they find themselves appeal to television audiences who can identify in some ways with them. While the world is of glamour, even of stereotype and cliche, it is the material of glossy popular entertainment. Cheryl Ladd and Michael Nouri are attractive leads - she an expert television researcher who wants to be an anchorwoman, he a top surgeon in a field of few specialists. The film was directed by Charles Jarrett, who in the '80s and '90s specialised in this kind of material, but whose films in the past include Anne of the Thousand Days, Mary Queen of Scots, The Dove, Escape to the Dark, The Other Side of Midnight.

1. The popularity of Danielle Steel and her novels? Ingredients, characters, situations, expectations? Wealth and romance? Tragedy?

2. The glossy world of television, New York, surgery and hospitals, Los Angeles? Beautiful homes? Musical score?

3. The title and the focus on the author, on changes in people's lives - themes?

4. Melanie, her personality, skill at her work? Television research? The background of her youthful marriage, her twin daughters and bringing them up? The bonds between them? The appeal for the difficult operation, the television decision to make it an issue? Visits to Los Angeles, watching Peter, admiration, the attraction? Meals together, his story? Return to New York, the assassination attempt on the senator, her return to Los Angeles? With him, the courtship? The holiday - her daughter's reluctance? Her reaction to his children? The time together, Val and her pregnancy, the miscarriage and abortion? The family crises? The marriage? Her work? Giving it up, Pam and her hostility, her daughter's antagonism, the boys and their problems? Peter and his absence, surgery? Growing apart? Her leaving, her friend in New York? Peter's return, the reconciliation, her pregnancy - and a future?

5. Peter, skill in surgery, at work, the television interviews? Attracted to Melanie? The background of his dead wife, her portrait in the house? His children? The bonds between them? Mel's return, the holiday together, the courtship? The romance, sexual liaison? Val's pregnancy and the decisions to be made? The marriage? His working with his children, letting them be? Caught up with the difficult patients? Alienating himself from Melanie? Her leaving, his going to see her, the pregnancy, the future?

6. Melanie's daughters, their life, relationship to each other, their mother? Not wanting to go on holiday, the attraction to Mark? The romance, the pregnancy? Hospital? The inability to talk? The wedding, the girls and their antagonism? Their realising of their harshness towards their mother, reconciliation?

7. Peter's children, the adolescent and his romance, pregnancy and responsibility, wanting to atone? The young boy and his need for a mother? The teenage girl, her formality, studies, antagonism towards Melanie? The change of heart?

8. Melanie's friends, advice? Television world?

9. Melanie and her ambitions, giving them up, Peter's ambitions? The new family?

10. Expectations, predictable material, glamorous and glossy - but audiences identifying with characters and their crises?

DR T AND THE WOMEN

US, 2000, 122 minutes, Colour.
Richard Gere, Helen Hunt, Farrah Fawcett, Laura Dern, Shelley Long, Tara Reed, Kate Hudson, Liv Tyler.
Directed by Robert Altman.

Dr T and the Women is, according to director Robert Altman, his love letter to the women of Texas. However, it would be interesting to hear a women's group discuss the film. Though written by a woman, Anne Rapp (who also wrote Altman's Cookie's Fortune) all the women in the film seem to be either stupid or self-centred. Richard Gere's Dr T seems the only rounded character and the main one with sympathy. It is his film and, in some sense, his redemption.

Altman uses his usual style of tracking characters, for example in the opening sequence in the waiting room of Dr T's surgery. There is also a wedding (reminiscent of his film The Wedding) and a cross-section of characters. Since most of them belong to a family, the film seems more compact than many of Altman's other films.

Richard Gere is believable in the central role, playing a character his age (50). Farrah Fawcett has a good role as his wife who is mentally ill. Helen Hunt is a no-nonsense gold professional. Laura Dern is a caricature of a Texas matron. Shelley Long is the long-suffering attendant at the clinic. Tara Reid and Kate Hudson (Goldie Hawn's daughter and like her in some mannerisms) are the two daughters and Liv Tyler is the family friend.

The film is very light, full of caricature of Texans, a world of glamour and women's problems, men and hunting and golf - with a tornado at the end which turns the film into something of a fable with a self-sacrificing finale for Dr T.

1. The style of Robert Altman's films? Multi-storied, multi-charactered, the camera weaving in and out of people's lives and interactions? The Altmanesque style?

2. Dallas, Texas, the city itself, the women's surgery, the malls and shops, the golf courses, hunting ranges, homes? Affluent Texas? Idiosyncratic and eccentric? The musical score and the songs by Lyle Lovett commenting on the characters and their actions?

3. Richard Gere as Dr T? His work in the surgery, the crowds, his pleasant and affirming manner? His concern about his wife and her illness, the scenes with her, his compassion and love, listening to Dr Harper and her explanations of the illness, explaining them to his sister-in-law and daughters? His desperation? His going to the hospital and wanting to see her, her claiming him as her brother? The bedroom scene and her saying that sex was not nice? His trying to cope? The relationship with his daughters? Having his sister-in-law and her children in his house? With Carolyn and her devotion? The individual patients, Dorothy and her hypochondria, the patient wanting his support for naming a freeway after a Dallas woman? His going to the meeting? His male friends and their hunting, talk, golf? The encounter with Bree, the friendship, the talk, playing golf with her, his being weary and her listening, going home with her, the beginning of the affair? His reliance on her, meals together, ringing her up, her coming to the office - and yet her breezily going off to New Orleans? The repercussions of the wedding, Connie telling him about Dee Dee and her lesbianism? His examining Marilyn? His wanting help from Bree? The wedding, the farce, his laughing, getting in the car and driving away, going to Bree and her rejection of him? His phrasing the dream future as a male chauvinist fairy tale and her rejection of it? The tornado, the gale force blowing him away, landing in the desert, the young girls, being called to deliver the baby? His exhilaration in bringing the baby to birth? A symbol of his future or not?

4. Kate and her going to the mall, not in contact with her daughters, wandering Tiffany's, wandering the mall, dropping her clothes, going into the fountain, being arrested? Sully's visit to her in prison? Dr Harper and the explanations of the Hestia complex? Her retreating to infantile stances? Sully's explanation of the illness - the woman who has everything, nothing to strive for, pampered by love? Her retreat into this world, at the institution, claiming Sully as her brother? At the wedding and the same symptoms - with the guard from the institute with her? Her forever being ill?

5. Peggy and her divorce, the Texas matron, drinking, a caricature of the respectable woman always trying to get a nip? Her three children and the playing at home, baking the cakes, the maid helping? Her relationship to Peggy, trying to help Sully? The phone calls from Connie wanting her on-side, the phone calls from Dee Dee wanting her on-side? Trying to be all things to everyone?

6. Dee Dee and Connie, their relationship with their mother, with their father? Going to the mall, the dresses, the shops? Connie and her jealousy? Dictating to Dee Dee about not having the wedding outdoors (and being justified)? Not wanting Marilyn as maid of honour? Her own work in guiding people around the Kennedy sites - and the parody of Kennedy conspiracy theories, museums? Her telling her father the truth about Dee Dee? Reassuring her father about herself? Dee Dee, the wedding (and the audience not seeing the bridegroom until the ceremony itself)? Her work as a cheerleader, on the mobile phone, being reprimanded? Her wanting Marilyn to be maid of honour, the friendship with Marilyn, the kiss? Connie and the confrontation? Marilyn and her friendship, being fitted out with the dress, going to the doctor for an examination, her perception about Dr T's reaction? The Graduate-like farce and the bride running off with the maid of honour?

7. The clinic and the staff, the busyness, the style of clients? The range of women's problems? Dorothy and her hypochondria and seductive style? Her being tripped by the old woman and going to hospital - and rejecting Sully? Joanne and her smoking, asking Sully to help her with the council, the meeting? The other women, the pandemonium? Carolyn and her devotion, managing everything, intervening, covering up - and he parody of her would-be massage and seduction sequence? Under the desk? Her finally giving her notice?

8. The golf club, the men, men's talk, hunting, shooting, golf?

9. Bree and her arrival, the young men and their reaction? Her professionalism and skills? With Sully, their friendship, the new clubs and helping him? On the golf course and the sprinklers? Taking him home, the beginning of the affair? Their meetings, his dependence on her? Problems with Kate and her sympathy? His hopes for the future? Her coming to the office, her comments on Dee Dee and the lesbianism? Matter-of-fact, jocose? Her going to New Orleans - and her seemingly cavalier attitudes? Sully finally going to her, her expecting the other man, her not being able to go with him? Her attitudes towards men and her relationships?

10. The detail of life in Dallas? Malls, women's meetings, hens' parties? The Council? Golf clubs?

11. The build-up to the wedding, the glamour, the style? The farce and the elopement? The storm and everything blown to pieces? The special effects of the tornado? The meaning of the finale and Sully and his life in helping women to be creative and give birth?

12. Themes of men and women, relationships? Men's perspective, women's perspective?

DR WHO

UK, 1996, 100 minutes, Colour.
Paul Mc Gann, Eric Roberts, Daphne Ashbrook.
Directed by Geoffrey Sax.

Dr Who is a classic British television character portrayed by a number of classic British actors including William Hartnell, Jon Pertwee and Tom Baker. The series was revived in the mid '90s - with the backing of American finance and American television support. The part of Dr Who went to British leading man and character actor, Paul McGann? (The Rainbow).

The film, however, has an American setting with American stars, including Eric Roberts as the villain.

The film relies also on the expectations of the American audience in a post-Star Wars era. Purists were not very happy at this trans-Atlantic migration of Dr Who. Many of the fans, however, were pleased that the series continued in yet another form.

1. The popularity of Dr Who - the television series, the doctor himself and the variety of British actors who portrayed him? The tradition of the character, the time-warp stories? Expectations?

2. A UK-US co-production? Finance? The expectations of the American backers to set the film in Los Angeles and to gear it towards an American audience?

3. The opening and the introduction to the doctor, his assistant and the personification of evil? The build-up to a confrontation? The nature of space and space travel? Time and time travel? Mutations?

4. Los Angeles at the end of the century and the millennium? Civil chaos? The telephone box and the doctor's presence, his assistant? The assistant and his being mugged, going to the hospital? His death, the surgery? The two hearts?

5. The Chinese boy and the gangs, the violence, helping, taking the victim to the hospital, finding the wallet? The emergency room and the control? The pursuit, action? His decisions? His helping the doctor?

6. The surgeon and her skills, the operation, the mystery, the encounter with Dr Who, taking him home? Her work at the hospital, the chase, the action, moving in further dimensions? Her love for Dr Who?

7. Paul McGann? as Dr Who, continuing the tradition, making the doctor his own? Questions of identity, consciousness, having to learn again, the reliance on the surgeon - in the context of Los Angeles in 1999? The villain and the personification of evil? Control, the battle for control, the dangers?

8. Eric Roberts as the villain? The confrontation with the doctor, the death of the assistant? His taking over the personality of the young Chinese boy? Evil, power, the clash with the doctor? Ultimate destruction?

9. The themes of light and darkness, good and evil, shadow and the dark side?

10. A Dr Who for the 1990s - in anticipation of aspects of the millennium and urban chaos as portrayed so often in American futuristic thrillers.

THE DRUM

UK, 1938, 96 minutes, Colour.
Sabu, Roger Livesey, Raymond Massey, Valerie Hobson, Desmond Tester, David Tree, Francis L. Sullivan.
Directed by Zoltan Korda.

The Drum is an entertaining action adventure of the British Empire, set in India before partition. It was filmed in Wales, standing in for India - with some authentic location shots as background. It was an early Technicolor film from London Films under the supervision of Sir Alexander Korda. It was directed by his brother Zoltan Korda, who made such films at this time as The Four Feathers, The Jungle Book.

Roger Livesey gives a stiff upper lip performance as the hero, Valerie Hobson the heroine. Raymond Massey is the villain and Francis L. Sullivan is the governor. The focus is on Sabu as a young Indian prince.

The film has the atmosphere of India, captured in such films as Gunga Din. However, the setting is more contemporary, the '30s - and the treatment somewhat Boys' Own adventure story. However, it is one of those rattling adventure films.

1. Entertaining action adventure? India before partition? The end of empire? The '30s?

2. The colour photography, the atmosphere of India and the Himalayas? Wales substituting for India? The locations, the action sequences, the Indian towns, the palaces? The musical score?

3. The title, the focus on Prince Azim, his learning to play the drum from the Scottish drummer boy? The timely warning on the drum before the intended massacre?

4. The focus on India and empire? The presence of the British? The local tribes? Coexistence, antagonisms? The power politics, within the Indian families? Jealousies, violence? The diplomacy of England? The troops and battles?

5. Prince Azim, his place on the throne, the assassination of his father? His sinister uncle? His relationship with the British, with Carruthers? Loyalties? His friendship with the drummer boy? His uncle usurping the throne, his escape, his disguise? His going to the British? His going back, his uncle wanting to kill him? The plan of the massacre - and his return, not believed by the governor, helping his friends, playing the drum in warning? His assuming the throne - and his (now seemingly odd) expressions of loyalty to his British friends?

6. Carruthers, the undercover agent, disguised as an Indian, contacts in the marketplace? The British contacts within the Indian communities? His return to base, report to the governor? His relationship with Marjorie, their engagement? The dangers in the north, his return, Marjorie going with him? The friendship with Prince Azim? The sequences with the drummer boy? The negotiations, Azim's uncle and his advisers? Knowing the difficulties, facing the difficulties? Diplomacy, going to the banquet, the days of celebration? The possibility of the massacre - the warning, the final fighting and restoration of Azim to the throne? Marjorie, her strong support, going with her husband? Her saving Prince Azim, his loyalty and gratitude to her?

7. The sinister uncle, his advices, the assassinations? Power struggles? Holding court, his wanting his nephew's death, plans? Diplomacy, deception? The feast, the intended massacre? The final confrontation and his death?

8. The governor, the difficulties of the position in India? His secret service? Relationship with Marjorie? Prince Azim and his advice, doubting whether to believe it or not? The confirmation of the advice? The troops marching north?

9. The picture of the British troops in India, their work amongst themselves, friendships, the drummer boy? The clash with the prince - and discovering he was a prince? Teaching him to play the drum? The soldiers, barracks, barrack life, marching north? Fighting?

10. The action sequences, the battles in the hills? Ambushes, strategies? The set-up in the palace, the machine guns - and the final fight during the feast?

11. Popular Boys' Own adventure tales from the British Empire?

DRESSED TO KILL

US, 1946, Black and white.
Basil Rathbone, Nigel Bruce, Patricia Morrison.
Directed by Roy William Neill.

Dressed to Kill is one of the last of the Basil Rathbone-Nigel? Bruce Sherlock Holmes stories. It is as entertaining as any in the series. Basil Rathbone is the serious Holmes, Nigel Bruce is the blustering and bumbling Dr Watson. (The film's plot has a resemblance to the plot of the later spoof on Sherlock Holmes and Watson, Without A Clue.)

1. The popularity of the Sherlock Holmes stories? Mysteries? The characters of Holmes and Watson? Villains? The popularity of this series? Updated - how effectively?

2. B-budget, black and white photography, studio sets? The atmosphere of England? The two stars and their status?

3. The quality of the plot, the mystery? The unravelling of the mystery, the clues, the confrontations?

4. The prison, the making of the music boxes, the auction, the sales, the pursuit of the music boxes - and the subsequent murders? The message in the music box, the code with the music? The plates for counterfeit five-pound notes?

5. The prisoner in the prison, his communicating to his associates? Hilda Courtney, her glamour, her ability for disguise (as the charwoman)? The two men who worked for her? The murder of the music box collector? Her confrontation with Holmes? Leading him into the trap? Killing him? Going to Dr Johnson's house, the arrest? The two men who worked with her, their brutality?

6. Sherlock Holmes, playing the violin, his concentration, solving cases, relationship with Watson? Following clues, the music boxes, Stinky and his situation, going to his house? His death? Tracking down addresses, the auctions? The little girl and the visit of the charwoman? The cigarettes and his investigation? Collaboration with the police? With Hilda Courtney, the gang attempting to kill him, his shrewdness in escaping, the clues, the confrontation? Giving the credit to Watson?

7. Watson, bumbling, writing the stories, offering ideas without realising their implications? His gossiping? The visit of Hilda Courtney and the smoke bomb? Taken from his story?

8. The police, their collaboration with Holmes? The crisis for the British government?

9. Entertaining mystery, the popularity of Holmes and Watson?

THE DRIFTER

US, 1988, 90 minutes, Colour.
Timothy Bottoms, Kim Delaney, Miles O'Keefe.
Directed by Larry Brand.

The Drifter is a psychological thriller of sex and violence. It was written and directed by Larry Brand (Backfire).

The material is conventional, however it is treated at times in a sensationalist way. Kim Delaney is Julia, who picks up a drifter played by Miles O'Keefe (Tarzan the Ape Man). They have a torrid sexual encounter. She then returns to her husband, Arthur, played by Timothy Bottoms.

There are complications with private detectives, the police, the drifter. There is a final confrontation and a sadistic menacing of Julia by a maniacal private detective. This is one of those films which seems to relish the torment of the heroine - even though, ultimately, she is vindicated.

Interesting in its way - but too sensationalist compared with other films of its kind.

1. Action thriller? Psychological drama? Fidelity and infidelity?

2. The American road, the American city, homes? Stunts and special effects? Musical score?

3. The title, the reference to the drifter, his influence on the heroine, the repercussions of their affair? His return at the end and saving the heroine?

4. Julia, on the road, the breakdown of the car, the encounter with Trey? His helping her, refusing to pick him up, changing her mind, the affair in the motel? Her skills in design? Her return to Arthur? Her relationship with him? Her business life, social life? The police? Arthur and his hiring the detective? His death? The final violent confrontation, her terror? The arrival of the drifter, his being shot? His saving her and killing the intruder? The arrival of the police? Her future?

5. The drifter, on the road, helping Julia, the pick-up, the affair, the influence in her life, Arthur's reaction, the detective? His reappearance, injury, saving her?

6. Arthur, the loving husband, his relationship with Julia? The conventions? The irony of his hiring the detective? His death?

7. The police, their support? Arriving at the end?

8. The ugly, violent confrontation with the madman, his background, his taunting Julia, his abusive and foul language, the sadistic violence, her turning the tables on him, his weakness, fright, his death?

9. A psychological thriller - with sadistic overtones?

THE DRESSMAKER

UK, 1988, 91 minutes, Colour.
Joan Plowright, Billie Whitelaw, Jane Horrocks, Pete Postlethwaite.
Directed by Jim O'Brien.

The Dressmaker is based on a novel by Beryl Bainbridge, about the British response to the Americans coming to Liverpool during World War Two. The setting is 1944. The film was directed by Jim O'Brien.

It is the story of two sisters, expertly played by Joan Plowright and Billie Whitelaw, as well as their niece, played by Jane Horrocks. The two sisters are opposites - one serious and introspective, the other very much outgoing. Their lives are affected by their young niece being infatuated with an American GI.

The film re-creates the atmosphere with great interest as well as tension: the daily life in the house, the dressmaker, the sister working in the munitions factory, the brother a butcher, the singsongs and parties, the outings, the presence of the well-fed and wealthy Yanks. The film offers a critique of the very Britishness of the British. (The film could be compared with many of the films about war - Hope and Glory, Yanks, Hanover Street.)

1. The atmosphere of World War Two, Liverpool and the British cities? The adaptation of the novel for the screen?

2. The atmosphere of Liverpool, the city itself and its streets, the houses? The countryside? The sense of period? The war? The range of songs and the score?

3. The strength of the performances, especially by the two sisters?

4. The title and the focus on Nellie, the ordinariness of the dressmaker, her out of the ordinary behaviour?

5. The framing of the story with the three women in the house, their work, the end of the day, putting out the light, going to bed - and all in order? And the irony of what happened in between?

6. Joan Plowright as Nellie: her age, experience, looking after their mother, preserving the past? Her relationship with Margo, the touch of jealousy? Jack as the younger brother? Her love for Rita and mothering her? Her work in the house, making the dresses? Her religious attitudes? The rations and her not wanting to go against the law? Making the dresses, the dress for Valerie and her party? Control in the house, permission for Rita to go to the singsong, her reaction to Margo's going? Her visits to her brother, the laundry, at the butcher's? Her angers, her looking after the boy who cut his hand, her chopping of the rabbit? Being upset by Margo? Trying to buy the cigarettes and her being upset? Her attitude towards Wesley, meeting him, the formalities of the visit, the meal? Going to the engagement party, her observation, wanting people to behave? Returning home, suspicions, her seeing Wes and Margo, getting the scissors, hitting him, his death? Her taking control, cleaning up, sewing the shroud? Her longing for the old days and everything restored?

7. The contrast with Billie Whitelaw's Margo: at home, a widow, her tension, headaches? At work, extroverted, singing and dancing? Her love for Rita? Inviting herself to the singsong, performing, dancing? The outings and checking on Rita? Worrying, telling Nellie about Wes? The meeting, coming late, her vivacity? Her trying to tell Rita the truth? The sexual encounter with Wes? Found by Nellie, cleaning up? Her future?

8. Rita, Jack's daughter but calling him Uncle Jack, memories of her mother, the pearls? At home, frightened, waking up in the night and coming in with Nellie and Margo? Awkward and shy, meeting Val, the invitation to the singsong, the dress? Shyness, meeting Wes, talking, finishing up in the cupboard? The outings, the movies, the beach? Approving only of kissing? Reticent about sexuality? Not seeing Wes, waiting for the phone calls? The meal and its formality, her awkwardness? His phone call, Margo telling her that he wouldn't be coming back, her anger and not believing her? Going to the engagement party? Her sadness at Wes's going, everything back to normal - but her waking up from a nightmare in the night? The final image of the film?

9. Jack, the butcher, widower, care for his daughter, the visits, concern about Rita and Wes, the meal? His reaction to the human blood? His managing the shop?

10. Wes and the Americans, gawky, the outings, the singsong, his intentions, sexual relationship? Outings, petting and Rita's reactions? His boredom? The meal and its formalities, his response to Margo? The phone call to Rita, wanting Margo to tell her the truth? His letters - and Rita discovering that he couldn't read? The sexual encounter with Margo, his death? A symbol of the other Americans in Liverpool, well received by Val and her family, not well received by Nellie and her family?

11. Val, her exuberance, excitement about the dress, the singsong, the Yanks, her engagement party? Her mother and her vivacity?

12. A portrait of Liverpool, memories of the past, values, principles, prim Britishness, surface behaviour, the reaction to the exuberant Yanks (and Rita telling Wes not to run after the British soldiers exercising), the impact of the war, rationing, the outsiders, Jack's words of racial prejudice? A sense of realism in the critique of British behaviour?

DREAMER

US, 1979, 86 minutes, Colour.
Tim Matheson, Susan Blakely, Jack Warden.
Directed by Noel Nossek.

Dreamer is a light sports drama made in the wake of the success of the success of Rocky. If focuses on tenpin bowling - not the most dramatic of sports.

Tim Matheson is the local champion, Jack Warden is his coach. Susan Blakely is his girlfriend. He goes to tournaments, practises at home, argues his case for being a member of the bowling association. He meets his rival, clashes with his girlfriend, his coach gets ill and dies. He wins.

The film is quite pleasant - in an American style.

1. Entertaining drama? For sports fans? Tenpin bowling?

2. The American small town? Bowling tournaments? Audiences identifying with characters and places? Musical score, theme song?

3. The title, the focus on the young man, his ambitions? Conversations about dreaming - and Harry's dreaming as well?

4. Dreamer, the young boy and the credit collage of the history of tenpin bowling, his work in the alley, growing up and winning? The championship and his rival? Winning the cup, coming home, buying the car, telling Harry the news? His boss, fixing the machinery? Karen's arrival - and her being hurt? The bond between the two, relationship, covering it up at home? Clashes? His training, his work, his boss and the question of partnership? Harry and the training? The letter about the association, his going to St Louis, barging into the office, arguing his case and winning? The clash with Karen, the jealousy of Spider? The tournament, the car breaking down? Winning? Harry and his collapse, illness and dying? Reconciliation with Karen? The support of the town, the championship, the TV interviews, the tournament on television? His victory - and the bowling alley in memory of Harry? An American small town hero?

5. Harry, the old man and his memories, photos, training of Dreamer, supporting him, the clashes, the clash with Karen, his collapse, death?

6. Karen, small-town girl, in love with Dreamer, wanting to be number one, her self-assertion, the relationship, the clash, giving him space, the fight with Harry and his collapse, her blaming herself? The relationship with Spider? The final relationship?

7. Spider, playing pool, his flirting with the girls, Flo? Flirting with Karen, helping with the luggage, the clash with Dreamer?

8. The members of the board, anti-Dreamer, the others accepting him? His rival - and the clashes in the tournament?

9. The bowling alley, the people playing, part of the American lifestyle? The two Hispanic repairers and their work, flirting, comic touches? The boss, his threats?

10. A cross-section of American town life, the place of tenpin bowling, champions?

DRAW

US, 1981, 98 minutes, Colour.
Kirk Douglas, James Coburn, Alexandra Bastedo.
Directed by Steven Hilliard Stern.

Draw is a humorous western, a telemovie made for American cable television. It is an upmarket movie, a star vehicle for Kirk Douglas with support from James Coburn. It is one of those reminiscent movies, the good old days of the western legends and the aftermath. Kirk Douglas is a retired gunfighter. James Coburn is a retired, alcoholic sheriff. An anxious town pits one against the other. Alexandra Bastedo is in support as an English Shakespearian actress on tour in the West. The film pokes fun at the various legends, the gunfights and the shootouts at high noon. It is done with tongue in cheek style by director of many telemovies, Steven Hilliard Stern.

1. Entertaining western? The legends of the West? Gentle spoof? Tongue in cheek?

2. The western town, the familiar streets, saloons, hotels, sheriffs' offices? The Mexican sequences? The terrain of the old West? The musical score? The stars and their western traditions in movies?

3. The title, expectations, gunfighters and shootouts, high noon?

4. Harry, Kirk Douglas in his 70s, fit, the old legend? The novels written about him? His retirement, his young friend? Going into town, the playing cards, beating Reggie? Reggie and his mean minded response? Harry going to the bank, people suspicious, the sheriff - the shootout and the sheriff's death? Harry the victim of injustice, getting his money, going to the hotel? The arrival of the Shakespearian troupe? Bess and her being the hostage? His relationship with Bess, reminiscing, talking things over, the sexual encounter? The arrival of Sam, the confrontation, Sam's visit to the room, their talking things over, the need for a showdown? The officials and their reaction? Wanting justice done, wanting Harry out of the room, afraid for the town? Harry and the build-up to the shootout, high noon? Harry shot? The humorous ending with Harry and the makeup, Sam and their all getting out of town on the stagecoach? Kirk Douglas's vigorous portrayal of an ageing western legend?

5. The contrast with James Coburn as Sam? In Mexico, drinking? The deputy searching him out, trying to get him back to the United States? Dragging him through the desert, the bandits and their attack, his drinking? Tying him to the donkey? Bringing him back to town, propping him up at the window? The townspeople and the discussions, his wanting to uphold the law? Going to the hotel room, friendship, clash with Harry? The talking with the townspeople, the preparation for the gunfight? His winning? But getting out of town with Harry?

6. Bess and the Shakespearian troupe, the pretentiousness of the Shakespearian actor, his performances in the saloon? Bess, the encounter with Harry, her story, her rehearsals, his reading with her, performance? Relationship? Helping him to escape? The makeup?

7. Reggie and his place in the town, wealthy, acting like a spoilt brat, the confrontation with Harry, his fears? Wanting to shoot? The siege, the officials? His comeuppance?

8. The sheriff, the confrontation with Harry, his death? The deputy and his officiousness, his plan to get Sam, going to Mexico, bringing him back? The marshal, the other officials? Preparation for trial? The watching of the shootout? Their being tricked as Harry and Sam escaped?

9. The presentation of the western town, law and order, the old traditions, the gunfighters and their violence, the townspeople and their trying to become respectable, getting rid of the gunfighters, their aggression, the marshal and justice to be done, the courts? Watching the shootout - as do audiences of western movies?