MISS FIRECRACKER

US, 1989, 103 minutes, Colour.
Holly Hunter, Tim Robbins, Mary Steenburgen, Alfre Woodard, Scott Glenn, Amy Wright, Ann Wedgeworth.
Directed by Thomas Schlamme.

Miss Firecracker is an excellent piece of Americana. It is set in Yazoo City in Georgia, an ordinary small town, factories and shops, where the Miss Firecracker contest is one of the big events of the year and the girls feel that it is an achievement of ambition.

The film was written by Beth Hanley (Crimes of the Heart, Nobody's Fool) based on her play The Miss Firecracker Contest. It is full of insights into character, dramatic and comic situations, observations about America. The film is served. by an excellent cast led by Holly Hunter (Raising Arizona, Broadcast News). She carries the film. Mary Steenbergen is her cousin, the former Miss Firecracker, Tim Robbins (Bull Durham) is her eccentric cousin, Alfre Woodard (Cross Creek, Scrooged) is the daffy dressmaker and Scott Glenn has a more subdued role as a carnival rouseabout.

The film is a warm human document, full of sentiment and comedy, not taking the easy way out of solutions but yet full of hope.

1. Pleasing comedy, satire, quality of observation, optimism?

2. Georgia locations, Yazoo City, factories and homes, high society, shops, the carnival? Musical score, songs, use of 'The Star-Spangled? Banner?'

3. Beth Hanley's screenplay from her play? The alternate title? The strength of the dialogue, speeches, strength of character insight; situations?

4. The portrait of Carnelle and Holly Hunter's presence performance? The little girl watching the parade at the beginning and the end of the film? The fish factory, at work, the lunch hour, the overseer persecuting her, docking her pay, firing her? Her reputation in the town? Her appearance, the bright red hair? Her decision to enter the competition? Going to see Popeye and arrangements about the making of the clothes? Her style, way of talking, manner? Going to see Mac Sam and the bond between the two, sending the postcards, meeting every year, fond of him? Elaine and her coming, the hopes of the red dress? The symbolism of the red dress throughout the film? Preparation, the clothes, talking with Elaine, sharing with her? Her vision of her own life, giving it some meaning, redeeming her reputation? Having the orphan at hone, taking him out, the meal? The preliminary and her going? Our not seeing it? The desperate waiting for the phone call? The arrival of Delmount, the bond between the two? Waiting, washing her hair, the disappointment - her eagerness on the phone when she was accepted? Sharing the JOY with the family? The other girls and the people in the town laughing at her? The competition, her nervousness, her fall and her wig coming off? The lout throwing things at her and Delmount hitting him? Her success with her routine with 'The Star-Spangled? Banner'? The judges watching, the result, her coming fifth? Her reaction, disappointment, her toughness in going on the float? Wanting to be by herself? The time with Mac, Sam and wanting to be alone, his proposal, her not being able to accept? Going to the observatory? Coming home, finding the red dress and putting it on, the confrontation with Elaine? Her being freed by her attempting, participation, the red dress? Going to the observatory, her sense of achievement and hope?

5. Elaine, the cousin, the winner, the memories, their dress, leaving her husband, the Southern belle and her style, meeting Carnelle, deigning to talk to the neighbours, flirting with the manager of the contest? Not watching Carnelle's performance? Delmount's arrival, their fighting, her having put him into the institution? The question of the selling of the house? Her resentment of not being left anything? Flowers from her husband?, The tension of the night with Carnelle, the orphan at the meal and trying to comfort her? At the competition, her support? Reconciliation with Franklin? Delmount telling her the truth? The confrontation with Carnelle about the red dress? The red dress as hers and nobody else's? Her future?

6. Delmount and his work, picking up the dead dogs, deciding to leave, hopping the train? The impact of his personality, violence, in the institution? His speaking his philosophy of life? His vocabulary? His arrival, the girls in the town swooning? His friendship with Carnelle, fighting with Elaine? The meal with the orphan? Going to the shop, searching for the red dress, the impact on Popeye? At the carnival, his hitting the boy who insulted Carnelle? Walking off, in front of the train, his decision to return? Meeting Popeye, going on the boat, sharing with her, a future with her, watching the fireworks?

7. Popeye and her story, her way of talking, looking? Meeting Carnelle, glad she got the job, with Delmount and the search for the red dress and the material, her helping with the performance, with the flag during 'The Star Spangled Banner,' running off-stage? Delighted to be with Delmount, in the boat, the end?

8. Mac and his work, his health, his collapse? His attraction towards Carnelle, the postcards? Enjoying the show, praising her, praising her strength and taking it on the chin? Proposal? The talk with Delmount? His proposal being refused and his going on?

9c The girls in the town, swooning at the bar about Delmount? Going into the competition? The gawky contestant, her playing the piano and the turmoil during it?

10. The glamorous girl, her dress, look, looking down on Carnelle? Her performance of Scarlett's words in Gone With The Wind? Carnelle's praise? Her winning?

11. the sketch of the organisers, the old South style, singing and dancing, flirting? The values inculcated in the girls?

12. The contest, in itself, what it symbolised, for the town, requiring poise and style from the girls, their performance, achievement, finery?

13. A vivid portrait of a way of life, a piece of Americana, glimpses into, ordinary people, conflicts, love, resolutions, hopes?

MIKE'S MURDER

US, 1984, 109 minutes, Colour.
Debra Winger, Mark Keyloun, Darrell Larson, Paul Winfield.
Directed by James Bridges.

Mike's Murder is a story of '80s Los Angeles - the world of drugs, crime. The focus is on a young man caught up in this world, trying to be bigger than he actually was and falling victim to the organised drug syndicates. The events are seen through the eyes of a Young woman who works in the bank, played by Deborah Winger.

The film was written and directed by James Bridges who made such interesting films as The Babymaker, Paper Chase, 30.9.55, Urban Cowboy, The China Syndrome. The film preceding Mike's Murder was Perfect - a blend of expose of health centres and pop journalism with John Travolta and Jamie Lee Curtis. It was a rather sensationalised film. Mike's murder is the opposite in style - very slow moving, evenly paced, a focus on detail which seems uneventful but which permeates the audience consciousness. In this way it is very similar to European film-making.

The film was only a moderate success on release. However, it is interesting as an American attempt to make a Continental style thriller.

1. A Los Angeles story? Images of contemporary America?

2. The use of Los Angeles for locations, the atmosphere of the city: banks, apartments, tennis clubs? The world of affluence, drugs and vice? Police investigation? An ordinary story - the difference in film style?

3. The screenplay and its style: slow paced, tracking shots, close-ups, lingering on detail? Demands on audience patience and attention - yet the audience permeated with atmosphere and character? The parallels with European film-making? The challenge of the pace - especially with the portrayal of violence which is suggested rather than explicit?

4. The film's building up of Mike's character and personality: likable or not? Audience sympathy? His identity? Seeing him as tennis coach, relationship with Betty, sexual liaison? His disappearing? The drug dealing and the pursuit by the drug-dealers? His friends? Pete and company? Steve at the restaurant? His fear? The bond with Sam and his help? Philip and his friendship? His appearing and disappearing in Betty's life? Getting the lift with Betty, the car chase? The phone call to Betty and the sexual atmosphere? The passing of time, promises? The promise of a date, his being late? Going to the wealthy drug-dealers? The decision to steal the drugs? The chase? The violence of his (off-screen) death? Philip's story about Mike: the pick-up, homosexual companion, heterosexuality? The home video and his behaviour? Mike as a person, interest and sympathy, death? A typical victim of Los Angeles society?

5. The contrast with Betty and her focus? Deborah Winger and her personality and style? Work at the bank, promotion? Her parents and the phone calls, her father's lectures and caution? Her friendships? Going out, talking, meals? Alone? Her phone service and her answering style? Mike and the tennis coaching? Sexual relationship? The lift and the chase? Not seeing him for months? The phone call? Her being stood up? The puzzle? The news of his death and her grief? Her decision to follow up? The visit to Philip's home, his assistant, the behaviour on the video and her watching it? The reflection on her relationship with Mike? The introduction to the drug world? Pete and the phone call? Her going to the meal with her friend, her return to the house, Pete and the slow pursuit, the knife--terror, disappearance? The trauma of the events? The advice of her parents? Her coming back, resuming her life? Her assessment of her relationship with Mike?

6. Philip and his wealth, the manager of the rock group, the entrepreneur? His home, entourage, homosexuality? Relationship with Mike? Supporting him, money and debts? His identifying the body? The pathos of his telling the story to Betty, his love for mike?

7. His household? His assistant? Guests, sexuality, video, drugs?

8. Pete and Steve and friends? The drug deals, the contacts, small time, the stealing of the drugs, their fears, being chased? Pete and his being abandoned, his being stoned? Hiding, friends in pursuit, going to Betty, his madness?

9. A world in Los Angeles, the reality of the drug world and Consequences?

10. The emotional effect of the film? Audiences identifying with characters and issues? Sharing the situations? A challenge rather than an action and exploitive presentation of characters and issues?

MERRY CHRISTMAS MR LAWRENCE

UK, 1983, 124 minutes, Colour.
David Bowie, Ryuichi Sakamoto, Tom Conti, Jack Thompson
Directed by Nagisi Oshima.

Merry Christmas Mr Lawrence is based on some stories by Laurens van der Post, The Seed and the Sower' and the short stories 'A Bar of Shadow' and 'The Sword and the Doll'. The screenplay was written by its Japanese director Nagisa Oshima in collaboration with Paul Mayersberg (Eureka). Oshima made such films as The Ceremony, Empire of the Senses, Empire of Passion.

The film was made in New Zealand and in the Cook Islands, standing in for the tropical Java prison. Pop singer David Bowie is the main British character while Japanese pop singer and composer Ryuchi Sakamoto is the Japanese Commander of the camp. Serious actor Tom Conti is Colonel John Lawrence and is paralleled with the Japanese Sergeant Hara played by Japanese comedian Takeshi. The-supporting cast is led by Jack Thompson as a very British, stiff upper lip, officer.

The film is a questioning of Japan's involvement in World War Two, the impact of the war on the ideology of the Japanese empire, the coming to terms with the defeat in World War Two. It also shows the meeting of East and West as interpreted by Oshima. While the film is a Japanese production, with style designed for Japanese audiences, it is also a British production (by Jeremy Thomas - Mad Dog Morgan, Eureka, The Last Emperor) and is designed also for western audiences.

1. A portrait of East meeting West? World War Two and the perspective of the '80s - for the Japanese, for the British?

2. The work of Laurens van der Post, his fiction, his experiences, his point of view? Oshima and the adaptation of van der Post's work? The collaboration of Paul Mayersberg? A western film in structure and . style? An eastern film (even, as suggested, a Buddhist meditative film)? The contrasting world views and their mutual influence?

3. The blend of Japanese and western styles: the structure of the sequences, their fluidity, parallels, hierarchies? The stars and their careers and generally working against popular image?

4. The location photography, the Cook Islands and New Zealand for Java, the tropics, the prisoners' camp, the flashbacks and the English mood? The musical score?

5. Audience attitudes towards World War Two, Japanese and British? Identifying? The Japanese focus and the war, the reasons, success and failure, the taking of prisoners and the treatment, the Emperor and Japanese loyalties, values? Defeat? The importance of death in the Japanese culture? Repression and codes of honour? The repercussions in 1946?

6. Western audiences and the point of view: identification with the prisoners, British codes and customs compared with the Japanese, honour and loyalties? Japanese cruelty? Japanese war criminals? 1946?


7. The structure of the film and the parallels: Gonoi and Selliers, Lawrence and Hara Kiri? Codes, culture, personalities?

8. The portrait of Captain Gonoi: his age and experience, manner, his experience in Manchuria and the military uprisings? In charge of the camp, his behaviour, his attitude towards the Korean guard, Kanemoto? The command to commit hara kiri? His ordering the prisoners to watch? Hicksley and h-is defiance? Not revealing the weapons experts? His visit to Batavia, his interceding for Selliers? Relationship with the officers and the guards? His attitude towards law? The parade, Hicksley and his defiance, Hicksley's execution? The attitude of Selliers, his coming forward, kissing him on both cheeks publicly? Selliers buried, his taking his hair? Japanese prisoner of war, his death? Codes of honour and death?

9. The contrast with Hara: the comic actor in this role, his work as a guard, his comparisons with gonion, contrasts? The importance of his drinking, Merry Christmas Mr Lawrence, releasing the prisoners? Lawrence's visit to his in 1946 and their perspective on the experience, the camp, Gonion?

10. Tom Conti as Lawrence: civilised, his background, place in the camp intermediary, his narration and point of view? His relationship with Gonion, with Hara? Tempering the severe stances of Hicksley? Sympathy with Selliers, the imprisonment, the attempt to escape, freedom? Listening to Selliers - absolving him? His visit to Hara at the end? The British perspective of 1946?

11. David Bowie as Selliers: his war experience, his place in the camp, career, enigma, the parallel with Gonion? Their background and breeding? His guilt, in prison, the plan to escape? Telling his story to Lawrence? The importance of the flashbacks: the school, his brother with the hunch, his love for him, going to school, the boys and the bullying, his disowning his brother, the consequences? His attitude towards Gonion, the decision to kiss him publicly? The effect on Gonion? His being buried, the taking of his hair and its being dedicated at the shrine of Gonoi's ancestors in Japan?

12. The portrait of Hicksley, Jack Thompson and his stern militarism, echoes of The Bridge on the River Kwai? British codes, execution?

13. The experience of Dijon, Kanemoto, relationship of the men, sexual exploitation? The execution?

14. Men together in prison, relationships, sexuality? Repression?

15. Prisoners, prisoners of war, the codes, Japanese interpretations?

16. The importance of death in both cultures? As a matter of honour? Stoicism? Loyalties?

17. The aftermath of World War Two, Lawrence's visit to Hara? The interaction of East and West? The effect on Japan?

MERRILL'S MARAUDERS

US, 1962, 98 minutes, Colour.
Jeff Chandler, Ty Hardin, Will Hutchins, Claude Akins.
Directed by Samuel Fuller.

Merrill's Marauders is a tough American war film, more typical of the 50's than the 60's when it was made. Set in Burma, it is a war mission film concentrating on the impossibility of the mission, the enormous capacities of endurance of some of the men and their heroism. Good when it stays with the problems of the Americans, weaker when it turns to heroics and the killing of hundreds of Japanese. The film is above average and raises the usual war questions.

1. When does the film become a better than average war film?

2. What does the film show of the limits of human endurance and the decisions that have to be made to keep exhausted men going?

3. Was the film a realistic presentation of war? Why?

4. In what lay the heroism of the men?

5. Were the military heroics overdone, especially in the killing of so many Japanese or was this realistic enough? Did the patriotism of the final sequence spoil the film?

MEN WITH WINGS

US, 1938, 106 minutes, Colour.
Fred Mac Murray, Ray Milland, Louise Campbell, Andy Devine, Walter Abel, Virginia Weidler, Donald O'Connor.
Directed by William Wellman.

Men With Wings traces the history of aviation from the turn of the century to the '30s. It is the work of William Wellman, pilot and film director, responsible for such films as the first Oscar-winning movie, Wings.

The film stars Ray Milland and Fred Mac Murray, very popular at this time. The film has some good stunt work as it re-creates the development of aviation from the Wright Brothers to World War One to the postal services and air mail of the '20s and '30s as well as the developments prior to World War Two. The film was made in colour, one of the earliest films in colour.

1. Impact in the 1930s, now? The history of aviation? The developments in 30 short years? The contribution of William Wellman to films about aviation?

2. The colour photography, aerial photography, the range of period over 30 years? Production values? Stunt work?,

3. The title, the tribute to the aviators? The American focus, the Wright Brothers, the war the air mail services, the air force? History and tribute?

4. The focus on 1903, the work of the Wrights, their achievement? Ranson and his interest in planes, experiments, technology? The newspapers and their interests - lack of interest?

5. Ranson and his experiments, Peggy and the boys, their kite, love for aerial experimentation? Ranson's death and its effect?

6. Scott and Pat and their growing up together, achievement, skills? World War One and its repercussions?, Peggy and her love for Pat? Scott's loyalty and devotion?

7.. Pat and his involvement in World War One, wandering, his marriage, the birth of the' children, his friends, going off to Morocco, flying without instruments, the Depression, China, his death? His love for aviation? Love for Peggy - but unable to stay? His daughter? His inability to work in an office, his need to take risks?

8. The contrast with Scott, his loyalty, love for Peggy and devotion to her, technical knowledge, the air mails, taking care of Peggy, Pat and his experiments, the flight without instruments? Money, Joe? The end - and the tribute?

9. Joe and the comic touch, friendship, buddy, hard work?

10. The comic touch with the uncle and Hank? Their continual sparring about newspapers, reporting of aviation news? Their attitudes towards Pat and his heroism? Towards Scott? The uncle relenting and his involvement in aviation?

11. Peggy and her friendship with the boys, the impact of her father's death? Service in the war, marriage? Being left alone? The children? Being separated from her husband - the news of his death? The final tribute?

12. The blend of action and romance? Poignant touches? Thirty years of achievement?

MEN IN WAR

US, 1957, 104 minutes, Black and white.
Robert Ryan, Robert Keith, Aldo Ray, Sen Yung.
Directed by Anthony Mann.

Men in War is a very good Korean War film. Like such films as Lewis Milestone's A Walk in the Sun, with a World War Two setting, Men in War focuses specifically on a small group of infantry on one day in Korea. The introduction highlights that by focusing on the infantry one can understand the waging of a war. The film, in black and white, focuses on this small group, the enormous pressures they are under with attack, snipers, isolated and cut off and having to move from one hill to another. The photography focuses on this kind of isolation, frequently giving attention to small details such as marching feet to give the impression of the isolation. The audience certainly shares in the experience of the platoon.

Robert Ryan has an excellent role as the leader of the platoon. Aldo Ray is an aggressive Sergeant who is looking after shell-shocked Colonel played by Robert Keith. There is a good supporting cast which includes a very young Vic Morrow. The film was written by prolific author Philip Yordan. It resembles other Korean films like Milestone's Pork Chop Hill. However, by concentrating on the small group, it avoids much of the romanticism and heroics of other films. The director is Anthony Mann who moved from small budget B-thrillers in the '40s to a series of Westerns with, especially, James Stewart in the '50s and such popular films as The Glenn Miller Story and Strategic Air Command. During the '60s he was to move to bigger budget, more ambitious films as E1 Cid and The Fall of the Roman Empire.

1. The impact of war films? As a record of a particular war? Of the heroism of the soldiers involved? Of suffering? Of uncertainties? Strategies, battles? The nature of enmity? Aggression, fear? Death? The quality of this film as a war film?

2. The focus of the title - the presence of men only in the film? War as historically, a man's occupation? American men in Korea? A small group and the bonds between them? Their experiences, fear, shell-shock, violence and death? Their being cut off? Their not knowing the overall plan? 1he struggles amongst themselves? The struggle with the enemy? The strengths of men in war, weaknesses? Benson and Montana representing two aspects of men in service, leader who must try to hold the men together, the aggressive man who shoots first and asks questions afterwards? The fact that these two men were the sole survivors?

3. The atmosphere of Korea, the black and white photography, the open landscapes, the hills to be taken? The black and white photography and its creation of atmosphere,- of silence and stillness, of menace? The profiles and close-ups of the individual men? The attention to detail which drew the audience's attention into the confines of that small experience? The musical score and its atmosphere? The final choral song?

4. The focus on the platoon, the long opening sequence with its attention to detail of each man, each experience, the tensions, snipers and stalking enemy and death? The loss of communications?, Benson's decisions? The journey of the men? The encounter with Montana and the Colonel? The stalking of the enemy? The bombardment? The reaching of the goal and the destruction of the platoon? The title referring to the platoon and to the platoon as symbolic of soldiers?

5. Robert Ryan's performance as Benson - his being In command, his lack of sleep, the need to make decisions, his courage? His relationship with each of the men, his care and concern for them? His strength in decision-making? His personal background, family, being in Korea - and the responsibilities? Guiding the men, the trek, the taking of the ammunition, the jeep, the clash with Montana, concern about the Colonel? Killian's death? The bombardment and his strategy? The arrival at the hill? The clashes with Montana - and his dislike of him and his methods? The strategy on the hill, the destruction of his men? The finale with Montana, the reflections on the situation, the giving of the medals, the rescue? Portrait of a leader?

6. Montana and his saving the Colonel, the jeep, his wanting to go on, not be involved? Clashes with Benson? Illustrating the tensions of the situation? His taking Killian's place, his sense of hearing and alertness, hilling of the stalking enemy? His care and concern for the Colonel, the Colonel treating him as a son, his wanting to rescue and save him? The final assault on the hill, his recognition of the deception by the enemy with their calling out as Americans, the Colonel's going into battle, his following him, the final discussions with Benson?

7. The portrait of the men in the platoon: Zwickley and his fears, youth, the support of Killian, his driving the truck, his getting Killian's helmet, his own death? Killian, the hero in the platoon, his skill with the truck, the lyrical scene where he sat down, put the flowers in his helmet, took off his shoes, was killed? Reardon and the communications, his wanting to mend the phone, his survival? Lewis and his tension, the sniper killing his friend, his hysteria? His place in the platoon, the minefield and his letting the others know? His death with the mines? The other men and their fears, hesitations, participation in the journey, the heroism of the final attack?

8. Robert Keith as the Colonel - his skill in portraying the shellshock of the man, his inability to speak, his being tended by Montana, his wanting to communicate, the final realisation of what was happening, his deceiving Montana and going into battle, his heroism and death? The film's comment on veterans via this character?

8. The presentation of the enemy - as snipers, as stalking the platoon, as bombarding, the skill in ousting the sniper - and Montana's skill in finding the enemy? The prisoner and his fears, leading them, through the minefield, going up the hill? The final confrontation and the deaths on both sides?

10. The film's themes of war and heroism, the futility of war, the heroism of waging of war even when the participants do not know what it is about? The film as reflecting war, anti-war?

MAURICE

UK, 1987, 140 minutes, Colour.
James Wilby, Rupert Graves, Hugh Grant, Ben Kingsley, Denholm Elliott, Simon Callow, Billie Whitelaw, Barry Foster, Judy Parfitt, Phoebe Nicholls.
Directed by James Ivory.

Maurice is a film version of E.M. Forster's semi-autobiographical novel, 'Maurice'. It is produced by Ismael Merchant and directed by James Ivory, the team responsible for the excellent adaptation of Forster's A Room With a View. After a career in India, Ivory made a number of adaptations of American and English classics, including Henry James' The Europeans and The Bostonians, Jean Rhys's Quartet as well as the Forster adaptations.

The film elegantly re-creates the period of the Edwardian era in decor and costumes. It also re-creates society, university and, business. It also recreates an atmosphere of the status of homosexuals in the period after Oscar Wilde - Forster did not publish the novel during his lifetime for fear of recriminations. The film explores the theme of male relationships.

James Wilby is effective in the central role (and went on to make A Handful of Dust. Hugh Grant and Rupert Graves, (A Room with a View, A Handful of Dust) act well as the men who relate to the central character. There is an excellent gallery of English character actors and actresses in the supporting roles, including Billie Whitelaw as the hero's mother, Denholm Elliott as the doctor friend, Ben Kingsley as a hypnotist.

The film is an interesting adaptation of Forster's work as well as a recreation of Forster's world.

1. The impact of the film: drama, exploration of themes?. The creation of period? The perspective of E.M. Forster: society, relationships, homosexuality?

2. The re-creation of period: pre-World War one, the English coast, the countryside, the estates, the use of Cambridge locations, London, offices, wharves? Costumes and decor? The musical score: background, period, choir music?

3. The adaptation of the novel, its reputation, Forster's view? The perspective of the '80s?

4. The comment on England and the English, their attitude towards human nature, Puritan traditions, Christianity, society, propriety and respectability, the law?

5. The introduction and the teacher. the boys on the seashore, educated together, prim style? The teacher as a father, explaining sexuality, the drawings on the sand, the use of Latin tags? The irony of the women seeing the drawings and hurrying their daughters away? His kindness and concern, his expectations, the wager about the marriage in ten years?
The gentle irony in his meeting Maurice in the museum ten years later, trying to identify him, his being mistaken, his concern?

6. The glimpses of Maurice's early life, the use of places and dates for the structure of the film, audiences filling in the back round? Audiences getting to know Maurice, understanding him, feeling with him?

7. The world of Cambridge, Maurice and his background, study, his mother's support and her love, the friendship of the doctor, his relationship with his sisters? The Greek tutorial and the Dean translating (omitting the reference to the relationship of the Greeks)? The impact of the exploration of Plato's philosophy and love? The reception and Lord Risley
and his pomposity and talk? Maurice's reaction? The meeting with Clive, the common interest in music, the growing friendship, the motor bike ride and skipping classes? Clive's declaration of love and its impact on Maurice, his recoiling? Clive resisting Maurice? The growing intimacy, semi-platonic ideas? Maurice being sent down and having to go to work? Clive's reaction, the family reaction?

8. Maurice at home, the religious atmosphere and his decision not to go to church (and the discussion with Clive and the rejection of Christianity)? The visits to Clive and his mother? The servants and their place, Simcock and his reticence but knowing what went on? The maids - and their seeing Clive and Maurice together in the room? Their reticence? Maurice and Clive and their careers, the bonds between the two families, the visits? Clive's success, his fainting and his illness, Maurice taking care of him?

9. Lord Risley in the bar, the encounter with the soldiers, the bets about the sixpence, the seduction and his arrest, his plea to Clive to defend him, going to court, the condemnation by the judge, the sentence, Clive's presence? Maurice and his reading the paper in the train, the approach by the old man in the train and his rejection? Maurice and his generosity, training the youth to box? At home with men? In the shower room, the horseplay in the shower?

10. Clive and his decision to go to Greece, the beauty of the vistas, the letters, his visit to the family, his friendship with Ada? Maurice's angry reaction and hurting Ada about the relationship with Clive,- his later apology? Clive and his decision to get married, the phone call, putting Anne on the phone? Maurice's being hurt? The question of going to the wedding, his going to the wedding and his presence?

11. The beauty of Pendersleigh: Maurice being at home there, with Clive and Anne? Pippa and her husband? The hunting, Maurice going hunting? The presence of Scudder and their ignoring them, Scudder as a servant? The film's introducing of Scudder unobtrusively - but yet a strong presence? Scudder watching Maurice? The leak in the house and having to move the piano, Scudda's presence? Maurice leaning out the window and Scudder seeing hie?

12. The character of Scudder, the servant, his place? His work? Watching Maurice, seeing him at the window? The talk and Maurice's rebuff? His coming during the night, the relationship, the night together? Maurice telling Clive? His leaving and Maurice's embarrassment with Sincock? The cricket match, Scudder and Maurice playing? The notes - and Maurice misinterpreting and fearing blackmail? Maurice accosting him at his work, their going to the museum (and the encounter with the teacher)? The night together in London? The sensuality, the emotional relationship? The decision about migrating? Maurice going to the boat, meeting Scudder's family? Scudder not there? His decision to go to the boathouse, finding Scudder - and his not receiving the telegram? The future for the two men?

13. The importance of Maurice's going to his doctor friend, the talk about relationships, homosexuality, the physical examination? The doctor's reassuring Maurice? His going to the psychiatrist, the hypnosis, the picture on the wall, the blocks about talking the truth, his fears about blackmail, the sexual encounter between the visits to the hypnotist? The inability to find a cure?

14. The cricket match, the encounter with Clive? Clive and Anne thinking that Maurice was going to get married? Telling the truth to Clive?

15. The sequences between Clive and Anne, a happy marriage, place in society? Clive looking, at the end, towards the boat-house, regrets?

16. The effectiveness of the film as drama, portraits of people in themselves, relationships? Forster communicating his perceptions of relationships and homosexual relationships, audience understanding and response?

A MATTER OF LIFE AND DEATH

US, 1981, 104 minutes, Colour.
Linda Lavin, Salome Jens, Tyne Daly, Gail Strickland, Gerard S. O’Loughlin?, Peter Donat, William Prince, Ramon Bieri, Ben Piazza.
Directed by Russ Mayberry.

A Matter of Life and Death is a very fine and moving telemovie. It tells the true story of Nurse Joy Ufemia, who discovered that she had a talent for nursing and working with the dying and who appeared on national American television to indicate possible new approaches in nursing. The film has been made for the television audience - it has an emotional appeal. However, the film is never sentimental. Linda Lavin is excellent as Joy Ufema showing the certainties and uncertainties as this dedicated woman begins to understand her particular gift and tries to persuade authorities for justice as well as kindness to dying patients. She receives excellent support from such actresses as Salome Jens as the hospital administrator, Tyne Daley as a psychiatrist and Gail Strickland as a dying cancer patient. It is an excellent American telemovie.

1. The impact of the film? Its message? its inspiration?

2. The title and the indication of themes? Joy Ufema and her talent, her experience in hospitals, her help with patients and the understanding of the meaning of life and of death?

3. The treatment of the story for home audiences? Telemovie style? Glossy production values? The television series style? The accessibility of plot and theme to the widest audience? Emotion, the stirring of sympathy? Empathy? Authentic locations? Character sketches? Situations? Musical score?

4. Joy Ufema and the publicity, leading to the television interview? Leading to the telemovie? A worthwhile life? A gift and a mission? Jog and her work, the opening with her arrival, the jokes with the negro lady, her response from the ward, the lack of equipment? The black woman's death and the lack of equipment? Her frustration and disappointment? Reassessing, her life and its meaning? Her age, experience? Her visit to her parents: the father closing the door in her face, the mother hiding behind the window? A disappointment to her parents? Not having a family? The decision to go to the city? The arrival at the hospital, the interview with Noreen Murphy, the possibilities?

5. The city hospital, her work, the support and then the clashes with the head nurse, with the staff? The old man wandering the wards? Joy beginning to stay with the patients, going out to buy them things? The complaints of the officials and fellow nurses? Her friendship with Noreen Murphy, Murphy's exasperation, turning against her? The staff meetings and the reaction of the head nurse? The range of people in the hospital? The reality of death? Cancer? The doctors avoiding telling the patients the full truth? The treatment of patients by telling them the truth, understanding their needs and trying to fulfil them, the clashes with doctors? The experience with adults and with children?

6. Joy's ability, her way of telling a patient that they were dying, talking with them, being with them, hearing their needs, understanding their anguish? The hospital treatment vs the patients' wishes?

7. The range of patients she encountered: the old man and his loneliness, the man dying in the ward with him, his wanting warm beer, her not being available at the time of his death? The big black man and the preparation for the operation? Mary and her dying of cancer, her family, their not wanting her to go home? The discussions with the children, with the husband? The labourer and his not being told that he had cancer? The man with cancer being the test for the doctor to trap Joy Ufema? His being on her side? The young boy, her dealing with him? the horse-ride?

8. The doctors and their approval and disapproval, the challenge to then, their changing their views?

9. The character of Noreen Murphy, her work at the hospital, sympathy, unable to agree with Joy, her reaction against the television program?

10. Her chance meeting with the psychologist, their friendship, the challenge to her for her motives, whether she should be on the television programme, her support?

11. The television and its possibilities, her decisions, the programme being shown and all associated with her watching, the variety of reactions?

12. Traditions in hospital treatment, authorities and their views, the challenges and how they are handled? The meeting of the board, their politicking?

13. The portrayal of illness, audiences understanding the illness and the trauma? The physical condition, psychological condition, emotional? Should dying patients be shielded from the truth?, The nature of the experience of death? The importance of the black mother and her dead child, the husband unable to do anything, Joy taking her to the morgue and her holding her dead baby and being able to accept it?

14. A film of challenge and hope?

MASQUERADE

US, 1988, 90 minutes, Colour.
Rob Lowe, Meg Tilly, Doug Savant, Kim Cattrall, Dana Delaney, John Glover.
Directed by Bob Swaim.

Masquerade is a plush thriller with the old plot about the heiress being threatened by the money-seeker. Meg Tilley is attractive as the vulnerable heroine, Rob Lowe ambles amiably through the part of the gigolo sailor, There is good support from Doug Savant as a double-dealing policeman. John Glover gives another variation on his sinister roles. Kim Cattrall is the bored wife of the yacht-owner businessman.

The settings on the U.S. East coast are lavish - both in the mansions and on sea. There is an atmospheric score - and a few unexpected variations on the theme. However, the film is fairly straightforward. Direction is by Bob Swaim, an expatriate American director who made big impact with his French thriller, La Balance.

1. Entertaining murder mystery? Romance?

2. Affluent world, society, boats, mansions, restaurants, the town? Atmospheric score?

3. The title, the plot, the boat?

4. The plot and the expected characters, situations? Appearances and reality? The twist with Gateworth, the twist with Mike? Changes in the characters? The final ironies?

5. Olivia as graduate, her dead mother, Gateworth as stepfather, the clashes with him, his girlfriend? Meeting Tim, attracted, talking, letting herself be seduced? Talking about herself, love and friendship? Against Gateworth,
the dinner, the sexual encounter, Gateworth's intrusion, the shooting? The decision about the cover-up, her answering questions? The effect on her? Relationship with Mike, his questions? The relationship with Tim, the marriage
ceremony? Her pregnancy, in love with her husband? The dangerous drive? The suspense and the possibility of her being killed?. Her seeing Tim's death? Her grief, discovering the photo. the fight with Mike and his death? The funeral and the finale with the truth about Tim and his attitude towards
the money? A happy future with her child?

6. Rob Lowe as Tim: the tailor, the sexual encounters with Brooke, escorting her to socials, gigolo background? The attraction towards Olivia, his gentleness with her, falling in love, sailing, the seduction? The dinner, in bed, confrontation with Gateworth and killing him? The irony of seeing him with Gateworth and knowing that he was part of the plan? His doubts, in love with Olivia, not wanting to kill her? The cover-up of the killing, the time and his going back to Brooke and her later using this with Olivia? Investigations? His work on the boat? Love, marriage? Mike and his threats? Not wanting to kill Olivia? Packing and the irony of trying to save her, his death - as planned for Olivia?. His final message about the money? Redeemed?

7. Gateworth and his ugliness, girlfriend, spurning of Olivia, the irony of the plan with Tim, the set-up, his ruthlessness, Tim killing him?

8. Mike and his niceness, law background, the police in the small town, his father working there, his devotion to Olivia?7 The murder and his covering up, taking the glasses? Suggesting Tim’s guilt and its being rejected by the police? Gateworth's girlfriend and the threats - and his killing her? The truth about his hatred for Olivia? In on the plan with Tim? The crash not coming off? Confrontation with Tim, pressure on him? Rigging the boat, the screwdriver in the drawer? Expecting Tim to be killed? The confrontation with Olivia and his death?

9. The police and their protecting the locals? The investigation?

10. Gateworth's girlfriend, the argument with the-police, putting the blame on Tim, her death?

11. Brooke as the bored wife, drinking, sexual liaisons, her husband, the boats, being catty towards Olivia?

12. Olivia's friends, their support, the lawyer, high society and glamour, the world of sailing?

13. Adequate murder mystery, twists? Evil and redemption?

THE MASQUERADER

US, 1933, 80 minutes, Black and white.
Ronald Colman, Elisa Landi.
Directed by Richard Wallace.

The Masquerader is one of many films that promoted Ronald Colman as a leading star in Hollywood and of the talkies. A silent star, he made the transition to sound films because in addition to good looks he had a fine voice.

He appeared in many (too many?) short features which were contrived for him. This film, like many melodramas of its kind, portrays Colman as a politician and also as a has-been journalist (anticipating his Tale of Two Cities, perhaps). Two Colmans for the price of one is the opinion of some commentators. The film does enable him to give a virtuoso performance in both characters - with comment on responsibility, public office, the role of journalists. There are also complications in relationships, needless to say. However, the film is very dated - an example of early '30s film-making.