MARGIE

US, 1946, 104 minutes, Colour.
Jeanne Crain, Glenn Langan, Alan Young, Esther Dale, Lynn Bari.
Directed by Henry King.

Margie is a piece of nostalgia in the 1940s, after the war - reminiscences about 1928. In later decades it still seems a pleasant piece of nostalgia.

The film shows the life at American High School in the late '20s, the preoccupations, studies, growing up. Jeanne Crain is very attractive in the central role. A very young Alan Young is one of her boyfriends. There is pleasant colour photography re-creating the period. Director Henry King was a popular director of 20th Century Fox entertainment . (It is interesting to note the 1928 school debate on Nicaragua - interesting in '70s and '80s hindsight.)

1. An enjoyable piece of nostalgia? Americana? Youngsters growing up? College?

2. Attractive colour photography, the life in the small town, school, dances? The range of the musical score - the background of popular melodies of the time?

3. The title, the focus on Margie, the song? Margie in the mid-1940s, her husband and daughter, the reminiscences, the comparisons of the generations? Her growing up?

4. Jeanne Crain's attractiveness as Margie? her daughter, memoirs of 1928, her father visiting once a week, his role as an undertaker, her pride in him, her wanting him, to visit, his coming to the debate, his being impressed by her words on Nicaragua, his taking her to the dance? Margie and her grandmother, her grandmother's eccentricity, kindness and understanding, understanding of the boys, arranging for her father to take Margie to the dance, her tact with Mr Fontaine? Margie and her awkwardness, the play on losing her bloomers at the beginning, the skating, the dance? Her friendship with Marybelle, the contrast between the two, girl-chatter, Johnnykins and rivalry? The sequences of school, the crush on Mr Fontaine, the dining room, accidents? The debate and her presentation of Nicaragua? The build-up to the Prom? Her awkwardness, misunderstanding Mr Fontaine though attracted to her humiliation? Friendship with Roy, skating with him, his tonsils and Adam’s apple? The Prom, the dancing, the star, the bloomers? Her able to laugh about her memories? The importance of all these things for the teenager?

5. The boys at the school: Roy and his awkwardness, pleasantness, Adam’s apple, tonsils? Friendship with Margie? Johnnykins and his being with Marybelle, captain of the football team, dancing with Margie and Mr. Fontaine's judgment that he was a real drip? The debating and the style of debates? School activities? The crush on Mr Fontaine?

6. Mr Fontaine, the French teacher, trained in Paris, friendship with the girls, admiration for Margie, friendship with Miss Palmer? The encounters with Margie, misunderstanding, marrying her? Miss Palmer as the librarian, her own crush on Mr Fontaine?

7. The pleasant memories of the times, a seeming innocence, teenagers growing up, the next generation and World War Two?

8. The perennial popularity of this kind of Americana?

IL MARE

Italy, 1962, 110 minutes, Black and white.
Renato Scala, Umberto Orsini, Francoise Prevost.
Directed by Giuseppe Patroni Griffi.

Il Mare is a moving piece of film-making by Giuseppe Patroni Griffi, writer and director of many films over the 60s and 70s. He is clearly influenced by the films of Michelangelo Antonioni, especially the films made at the beginning of the '60s, L'Avventura. The film uses effective black and white photography, slow tracking over exteriors and interiors to try to film an environment for the psychological troubles of the characters. They are not explained, they are simply presented and explored. The complexities are left to the responses of the audience.

The film is very much one of the early '60s - and is interesting as showing the style of Italian film-making (in comparisons and contrasts with later decades).

1. The impact of Italian films in the '60s, the Italian film industry, the emphasis on style? Existential content? Quality and art-house film-making?

2. The writer-director and his work, exploring characters, environments, psychological themes? Within the exploratory styles of the Italian industry at the time?

3. Black and white photography, Capri and its seasons, moods? The sea, the land? An environment for characters?

4. The dramatic impact of the film? interest, exploration, understanding - enjoyment?

5. The basic situation at Capri, the winter? The characters found there? Reasons and lack of reasons for their presence, behaviour? Sketches of characters and behaviour? Purpose - purposelessness?

6. The young actor and his arrival, going to the house, his behaviour, the long, ruminative shots? The sea and his coming to an island? The actor, his career, theatrical in his behaviour and attitudes? Re-enacting his parts? Why his visit to Capri? The visit to the bar? His demands, alone? The young man in the street, their encounter, clash, physical, wrestling? Psychological struggle? Drinking, his dominance of the young man, hurting him? Their meeting the girl, the attraction? The puzzle? His ousting the young man, sending him
away? Discovery of the unconnected phone? The liaison with the girl, sexual encounter, the, morning after and his being unsatisfied, going in search of the young man - and his disappearance? Left at the sea? The purpose of the experience? What happened to the young man, what had he gained, lost? Purpose or futility?

7. The young man in the street, his presence, reason for being in Capri, a loner, drinking, the physical struggle, attraction, killing, taking risks, playing games, the attack on the old man, the encounter the girl, her participating in his activities? His being controlled? Wet, changing clothes, making the phone call - seeming to have relations in Rome? His leaving? To death? The pessimism of this exploration?

8. The woman and her being in Capri, her clothes Relating to the two men? Going on the games and risk-taking? Relating to the young man, the sexual encounter?

9. The film as a presentation of a world out of season? Microcosm? The people, the bars, the hotels, the boat? What kind of world was established and explored?

10. The film as a symbol of the human condition? Contemplative style? Insight for audiences?

MARCELINO PAN Y VINO

Spain/Italy, 1955, 91 minutes, Black and white.
Pablo Calvito, Juan Calvo, Fernando Rey.
Directed by Ladislao Vajda.

Marcelino Pan Vino is a de1ightful film. It is certainly a film for children that will delight adult audiences as well.

It is a reverent film, capturing the atmosphere of a friary, religious fervour and the simplicity of faith. It also provides an interesting Christ-figure - the man in the attic is found to be the suffering Christ reaching out his hand to accept the gift of bread from a little boy.

The film was made in Spain in the mid-50s. It uses amateur actors who all rise to the occasion. What might have been over-pious or mawkish, comes across as engagingly fresh and delightful. It is enjoyable to watch - and repays reflection.

1. An entertaining film? Delight far young audiences? Adults? An inspiration?

2. The quality of the black and white photography, the use of light and darkness, black and white and compositions? The atmosphere of the friary, of the landscapes, of the -interiors, of the attic? The musical score - and the pleasing ballad?

3. The story within the story: the Franciscan friar, the feast of Marcelino, the sick child? The dramatising of the story about the building of the friary, the old farmhouse after the wars? The Mayor's agreement? The establishing of the monastery and the group of friars? Their style
of religious life in the monastery?

4. The baby on the doorstep? The surprise, the search for the parents? The decision to keep the baby? Calling him Marcelino? Marcelino growing up in the friary? The monks depending on him for the spirit of joy there? His nicknames for them all? The discipline of his not going to the attic? The story of the man in the attic? Marcelino and his playfulness, his imaginary friend Manuel? His talking to him? The courage to go up the stairs? The discovery of the man with his arms outstretched? His running away, the curiosity? his compassion for the man on the crass? Getting some bread for him, the hand reaching out and taking it? The friendship and their being together In the attic, talking together? The monks following Marcelino to the attic? Marcelino and his wish to see the mother of the man on the cross as well as his own? The monks discovering the child lying by the statue? The quality of the performance of the little boy as Marcelino, credible?
His joy, life in the monastery, his friend, the relationship with Jesus on the cross? The ballad and his life in the friary being illustrated by the ballad?

5. The group of friars: the Superior, the various brothers with their nicknames - 'Brother Door', 'Brother Ding Dong', 'Brother Bad', 'Brother Cookie', 'Brother Baptism'? Their love for Marcelino, the discipline about going to the attic, their following him up the stairs? Their amazement? The place becoming a pilgrimage centre?

6. The Mayor, the blacksmith, the young mother, the civil guard? The gallery of characters building up the main story?

7. The dramatisation of Christ on the cross - the crucifix, the little bow not knowing its meaning, responding with compassion, sharing his bread, his conversation with Jesus, his being with Jesus?

8. A fable illustrating God's love for human beings, the response of humans to his love - the childlike faith?

MADAME CURIE

US, 1943, 124 minutes, Black and white.
Greer Garson, Walter Pidgeon, Robert Walker, Dame May Whitty, C. Aubrey Smith, Van Johnson.
Directed by Mervyn Le Roy.

Madame Curie followed Blossoms In The Dust and Mrs Miniver with the casting of Greer Garson and Walter Pidgeon. They were to star in other films including Mrs. Parkington, The Miniver Story, Scandal At Scourie, Julia Misbehaves. This is an attractive romanticised biography of Madame Curie and her husband, Pierre.

The focus is on Greer Garson and she gives a dignified and elevated performance as Madame Curie, perhaps too dignified. Walter Pidgeon is more robust as Pierre. There is an interesting supporting cast with good performances from Henry Travers and Dame May Whitty as Pierre's parents. Robert Walker and Van Johnson appear in early roles as does Margaret O'Brien. The film has all the gloss and the literate biographical presentation of important people. It is in the vein of the Warner Bros. biographies of the thirties but done with more measured pace. Direction is by Mervyn Le Roy who made the move from gangster films and thrillers to this kind of romantic film in the forties - directing Greer Garson in Blossoms In The Dust and Random Harvest.

1. An interesting biography of a celebrated woman? A romantic drama? The presentation of a story elevating the human spirit - especially important during World, War II? How well does it stand now - in comparison with biographies of its time, with later cinema and television treatments?

2. Production values, black and white photography, sets -and decor, atmosphere, romantic score? The teaming of Greer Garson and Walter Pidgeon and their popularity during the forties?

3. The film as a Greer Garson vehicle? The introduction to Marie and her being highlighted (haloed?) in her lecture? The growth of a Polish migrant skilled in science? Her marriage? Her research? experimentation? Her intuitions and hardiness in pursuing scientific success and acclaim? Greer Garson's style in portraying Madame Curie?

4. How romanticised a biography? How accurate? The portrait of Marie and her Polish background, studies in Paris, poverty, opportunity, success in exams? The courtship of Pierre Curie? Marriage? The happiness of their marriage, family? Insight into radium, the long years of experimentation? Pierre's death? Madame Curie's place in French history, the history of science? The final claim?

5. Greer Garson's portrait of Marie, Marie as a character? Charm, gracious presence, hard-headed enterprise? Her studies and the encounter with the professor who helped her, the party and the encounter with Pierre Curie, research assistance, decision to go back to Poland, the weekend in the country, the acceptance of Pierre's proposal, the wedding, their children? Their researches? The curiosity about radium? Their applications for support? The use of the shed? The hard work, the storms, the heat? Their disappointments? The visit of the English scientist? The discovery and the achievement? The build-up to the evening out, Marie's dress, Pierre's buying the earrings? Her having to cope with his death? Her initial inability? The achievement after so many decades?

6. Walter Pidgeon's performance as Pierre? Caught up in science, anti-woman, his assistant David, the fascination with Marie, his whistling, the weekend, his proposal in the middle of the night, his skill at his work? His supporting his wife? The hard years of the experiments and, his continued support of her? The element? His last day and its happiness? The absentmindedness of his walking, his death?

7. The sketch of Pierre's parents - humorous touch, humane? The weekend in the country? The visit for the meal and the pair rushing to their experiments his mother's death from cancer?

8. The incidental characters and their contribution - the kindly professor and his bringing the English scientist to visit the Curies? David and his admiration for Marie? Van Johnson as the reporter wanting to get an interview with Madame Curie? The scientists, the Curie's children?

9. The dramatic focus of the film with the presuppositions about science, the role of women in science? The establishing of the elements? The breakthrough to the discovery of radium? The repercussions for the Curies' life in terms of time, money, energy, the burns on Marie's hand? The risks to health?

10. The achievement of the Curies in the discovery of radium - its adverse effects, its curative effects? Faith in the contribution of science and the need for pursuit of scientific discovery?

11. The impact of the film during the war - for morale-boosting? Its status now as a classic film biography? As a film showing the popularity of the team of Greer Garson and Walter Pidgeon?

MELVIN PURVIS: G-MAN (THE LEGEND OF MACHINE GUN KELLY)

US, 1974, 90 minutes, Colour.
Dale Robertson, Harris Yulin, Maggie Blye, Dick Sargent, Matt Clark.
Directed by Dan Curtis.

An interesting telemovie about the FBI agents, especially Purvis, during the 1930s. He has a confrontation with Machine Gun Kelly. Dale Robertson, veteran of many romantic melodramas and action features of the 1950s, is Purvis and Harris Ulan, better known as a character actor, is Machine Gun Kelly.

The film was written by John Milius who went on to direct The Wind and the Lion, Big Wednesday, Red Dawn as well as writing the screenplays for such films as Apocalypse Now and Conan the Barbarian. The film was directed by Dan Curtis who made his mark in television with the Night Stalker series and other films. He also succeeded with Dark Places. Over decades he also directed a number of telemovies including When Every Day Was the Fourth of July and finishing his career with the film about the sex scandals in the Archdiocese of Boston, Our Fathers (2005).

There was a sequel, The Kansas City Massacre with Robertson once again as Melvin Purvis but with Bo Hopkins as Pretty Boy Floyd.

1. What was the main impact of this film? How enjoyable? How successful a thriller?

2. How obvious was the television style of this film? Especially in the credits and their repetition? In the close-up style of the film?

3. Comment on its documentary style and flavour. The narrative by Melvin Purvis, the recreation of scenes and setting, the information given about the criminals at the end? What was the impression of realism and a slice of American history?

4. How do these films on the thirties and the gangsters fit into the atmosphere of the violence of the 1970's? The preoccupation of the 70's with violence? The attractiveness of portraying the thirties and its violence on the screens of the 70's?

5. Comment on this picture of United States' violence in the past and in the present, What insight into the American character, the inevitability of violence, its attraction?

6. There have been many films portraying the thirties and the gangsters. What are the main characteristics of this genre? As regards the recreation of the period? The exploration of themes? How successful an example was this, why?

7. How important was the depression for this background of violence? The values of the depression, poverty, the oppression of the rich, the rebels attacking society and trying to survive? Was this theme well explored and presented?

8. How important was the class struggle as presented in this film? Kelly and Kate, and their attack on the Chicago aristocracy? Poor people from the backblocks wanting money from the rich?

9. Were Kelly and Kate important criminals in any way? What kind of persons were they? Did the film explore their characters? did it explain why they embarked on crime and became a gang? Kelly as a strong or a weak man? The influence of Kate? The influence of money and the times?

10. the importance for the criminals of doing a big job? The attractiveness of the Chicago plot? Their skill in handling the situation? The recreation of the crime in the film, how well presented, convincingly?

11. The theme of betrayal? The criminals not trusting one anther and betraying one another? Money and violence and human betrayal?

12. What comment was being made on the rich in America in the thirties? The heir and his ransom? His assumption that he was of better character and of better background than the criminals? His easy way of life? His trying to seduce Kate and her response to him?

13. How important was the character of Melvin Purvis and the G-men pursuing the criminals? Purvis and his style, the relentlessness of his pursuit, his arrogance even to his cigars, the violence of his way of life in shooting criminals? The irony of the information about his latest suicide?

14. The presentation of the mystique of the criminals in the thirties? Popular opinion and support, the families of the criminals living and dying for them, the newspapers and the publicity?

15. The inevitable violence of the shoot-out, the impact on audiences?

16. The importance of having this kind of film as a re-creation of a striking part of American history?

THE MANGO TREE

Australia, 1977, 107 minutes, Colour.
Christopher Pate, Geraldine Fitzgerald, Gerard Kennedy, Robert Helpmann, Gloria Dawn, Diane Craig, Tony Bonner.
Directed by Kevin Dobson.

The Mango Tree is based on Ronald McKie's popular novel of growing up in Bundaberg, 1918; the screenplay uses the episodic style to provide an anecdotal memoir of an adolescent boy experiencing school life, World War I patriotism, first love and a gallery of pleasant and madly eccentric characters who make up the life of a country town. Beautifully photographed and nicely suggesting the period and its atmosphere, the film highlights Geraldine Fitzgerald's sturdy grandmother (in fact, the film is a tribute to grandmothers) and her influence on an affable Christopher Pate. Given so many episodes, the treatment seems uneven (and the characterisations suffer from this). Nevertheless, the film is pleasingly enjoy able.

1. An enjoyable Australian film? The transition from celebrated novel to screen? The quality of the adaptation? The significance of the title? Presence absence - of the mango tree?

2. The importance of colour, Panavision, the re-creation of Bundaberg In 1917-18? The atmosphere of early Queensland? The film's attention to décor, Costumes detail? The contribution and atmosphere of the musical score?

3. Audience involvement through the structure of the film? The focus on Jamie, the focus on his grandmother? The build-up of episodes, the cumulative effect? A way of life in a country town, a boy growing up, the influence of his grandmother?

4. Who is the central character of the film? Jamie or his grandmother? Why?

5. The portrait of Jamie? Christopher Pate and his appearance and presence, his build, his age? As an adolescent of 1917? As belonging to the atmosphere and traditions of the times? The introduction to him at Christmas and its atmosphere? The background of his family, his being influenced by his grandmother? His response to the boys going off to the war, the atmosphere of holidays, school? How timid a boy, how kind? The incident with the bolting horse? His consideration for the professor? His relationship with the maid? His relationship to women?

6. The background of the school, Hatch? Norah Montague and the French teacher? His grandmother's attitude? The ordinary way of life in a country town and the attention to day-by-day Incidents, personalities and people knowing their private lives, gossip? Grandma and her ignoring of gossip and treating people kindly? The influence on Jamie?

7. The way of life in the town with such incidents as cricket matches, the preacher, courting and weddings, the deaths at the wedding and the eruption of violence in the peaceful country town? Indication of violence lying beneath the surface?

8, How well did the film show Jamie's growing up, the selection of incidents, the illness, the professor's letter. the talking with his grandmother, his grandmother's death?

9. What had Jamie achieved as he left his town, his interrelationships with people as preparing him for his life?

10. The importance of the portrait of Grandma? her presence, her background and the explanation of her presence, her status and reputation in the town and the manner in which she lived there, the visual presentation of her home, her relationship with Pearl and reliance on her, the incident with Norah Montague, the fifty pounds and the gossip? Her care for the professor, looking after him, pyjamas? The mad lady? her reaction to Jamie's experience at the school, her influence on the Board and her emotional blackmail? Her presence at Church and her sense of the presence of God? Her presence at the wedding, the bolting horse? Her presence at the afternoon tea party for the war and her sense of patriotism? The honour of her background and ageing with the incident with the planes? Her growing old, her illness?

11. How well handled was her death scene? The importance of the communication between Jamie and herself, her reminiscences and joy, her quiet dying and the summing up of her life?

12. The portrait of the professor? Robert Helpmann's style? The type that he represented - the Englishman In Australia, the remittance man, his drinking and money? The scenes of his illness, his relapse? His talking to Grandma and Jamie? The confrontation with the preacher and his rising to the occasion and some heroism? The meeting with the patriots and his speech? His illness the pathos of his death, his letter? A portrait of an Australian type?

13. The madness of the preacher? His fitting Into the country town, his religious verve and mania, the nature of his madness, the hold over his niece, the housekeeper, his going into the bush, the wedding and his madness, the violence, his hiding in the workshop, the men against him and his death? What comment was being made about society with such a religious madman?

14. The sketch of Maude, her harsh life, her boyfriend Angus, the influence of the uncle? The pain in her life?

15. The portrait of Pearl, the devoted housekeeper, the shrewish tongue, the heart of gold? Her death?

16. The sketch of Miss Pringle and her influence on Jamie?

17. Wilbur Shaw and his character?

18. The story of Mr Somers and Beryl Montague, relationships, marriage, the gossip of the town, Grandma's influence?

19. The role of the police In the country town in the early 20th century? The sequences at the wedding, the pursuit of the preacher?

20. How interesting was the incident with Captain Hinkler, the war hero, planes, indication of changes in the 20th century?

21. The appeal to an Australian audience, a universal audience? The importance of nostalgia for and memory of the way of life of the towns, the times? The portrait of a family? A boy and his growing up?

MR WRONG

New Zealand, 1985, 88 minutes.
Heather Bolton, David Letch.
Directed by Gaylene Preston.

Mr Wrong is a thriller from New Zealand, co-written, produced and directed by Gaylene Preston. Director Geoff Murphy (Goodbye Pork Pie, Quiet World) contributed to the screenplay.

The film is a thriller about a haunted car. The focus is on a terrorised woman, well-played by Helen Bolton. The murderer of the dead owner of her car appears and threatens her. The film relies on atmosphere, suspense, some shocks.

An entertaining feature of a familiar genre.

1. An enjoyable thriller? The touch of the occult? The focus on the terrorised woman?

2. New Zealand Production values: the location photography, the atmosphere of the city, the house, the open road, the countryside? Music? Editing and pace for suspense, shocks?
score and atmosphere?

3. Title and its irony? Meg Alexander meeting Mr. Wrong instead of Mr. Right?

4. The film's focus on Meg Alexander? Seeing her buy her car, people's reactions to her having a Jaguar, her satisfaction in driving it home, drowsiness, the strange experience by the sea? The moaning in the car? Arrival home? Her nightmare and seeing Mary Carmichael? A premonition of what was to come? her scaring her as she c1eaned the car? The visit home, meeting her old friends? The return to the city? The rain, the level crossing, seeing Mary Carmichael, the man getting into the car? Her growing fears? His talk about hitch-hikers and danger? Her ordering him out? The empty tank which was full? Arrival home and the fright with Bruce? Her nerviness? Her work, her reading the paper, discovering the truth? Her meeting with Wayne in the country, his visits in the city? Her flat-mates and their concern? Her wanting to sell the car - and the concern about the woman with the dog, the rich man and the door not opening? At night at home, her apprehensiveness, the phone calls, Bruce, the man in the house - and the car horn blowing and saving her? Her blaming Mary Carmichael? Her eventually getting in the car? Racing the train? Wayne following her? Mr Wrong in the car, to the seaside, the threats, her escape, Mary Carmichael killing him? The car, going by itself and crashing? Her release?

5. The man in the car, his way of talking, the sinister murderer, his appearance? Frightening Meg? her putting the bin out? The roses? His watching the house? The phone calls? Stalking her in the house but by Mary Carmichael? in the car, the speech about the beauty of dying and the -irony of his absolute terror as he died? Ghost or real?

6. Mary Carmichael, her presence in the car and in Meg's dreams? The information from the papers? Her saving Meg and getting her revenge on her murderer?

7. Val and Sam, flat, friendship with Meg? Phone calls? Sam and her relationships with Bruce, with Martin?

8. Bruce and his being in the house, his menacing Hg, apologising? An opportunity for scares? The contrast with Wayne and his devotion, taking Meg out, arrival all helmeted on his motor bike? Pursuing Meg to save her?

9. The focus on the car, the salesman and his pitch (and refusing to buy it back)? The car and the drive, people's attention to it, Meg's boss and his disapproval? The gradual haunting of the car? Its being the means for the murderer's death? Destroyed?

10. The owner of the antique store, his responses to Meg, his relationships?

11. The perennial appeal of this kind of thriller? The touch of the occult? The terrorised woman? Heroics and self-reliance? The poetic justice or crimes and murderers? Vengeance?

MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD

US, 2003, 140 minutes, Colour.
Russell Crowe, Paul Betany, James Darcy, Max Pirkis, Robert Pugh, David Threlfall, Billy Boyd, George Innes.
Directed by Peter Weir.

It comes as something of a surprise to hear that Peter Weir has made a historical naval epic. Yet, in the thirty years
since his first full-length feature, The Cars that Ate Paris, Weir has brought his intelligent and refined sensibility to a
wide range of genres, in recent years often taking four or five years between films. The Cars that Ate Paris was a
small-scale comic horror story. He followed it with Picnic at Hanging Rock and then his imagining of aboriginal myths in Sydney, The Last Wave. He has portrayed war in his masterpiece, Gallipoli, Asian political thriller in The Year of Living Dangerously, murder mystery among the Amish in Witness, the retreat from civilisation in Mosquito Coast, creativity in education in Dead Poets Society. He made only three films during the 1990s: Green Card, Fearless and The Truman Show.

Master and Commander is quite epic in scope, based on the seafaring books by Patrick O'Brien. The central character is a fearless, just, even noble captain, Jack Aubrey. Russell Crowe brings his best dignity to the role, as impressive as his performance as Gladiator. He is not perfect, becomes obsessed with his pursuit of a French ship through the Atlantic, round Cape Horn and into the Pacific as far as the Galapagos Islands, but tries to admit and rectify mistakes. The setting is 1805, the aftermath of Nelson's victories with the British navy's goal of preventing a Napoleonic invasion of England. Weir stages the battles at sea with vigour.

What is important for the film is its detailed picture of day by day life on board ship, the camaraderie, rivalry (and
superstition) amongst the crew, the bonds between the officers (and the young nobility who do their apprenticeship at sea). It is tough but not as soul-destroying as is sometimes presented in more melodramatic stories. We feel that we have been to sea here and understood what was required of the seamen.

The other principal character, played by Paul Bettany, is the ship's doctor, a naturalist with an avid ambition to record species of plants, birds and animals. The Galapagos islands are a paradise for him (and the film was shot there) but he has to face the realities of Britain being at war and his principal duty being to serve and obey the captain. Captain and doctor are good friends, can speak honestly to each other - and relax by playing chamber music together.

An impressive and interesting film.

1. The epic design of the film? Impact? Re-creation of history? History of the navy, the sea, battles?

2. The work of Peter Weir, his intelligent approach to film-making? For an adult audience? The adaptation of celebrated novels? The strong cast?

3. The re-creation of the early 19th century world, the sea, ships, life at sea in its detail, the battles? The musical score?

4. The editing, the pace, the personal drama, the social drama, the military action drama? A pacing which coordinated all these aspects into a final entertaining film?

5. The title, the issue of command in the navy, the far side of the world and the Atlantic and Pacific Oceans, in the early 19th century, battles and supremacy, scientific advance and investigation?

6. The transition from the 18th to the 19th century? The significance of the Napoleonic wars, Napoleon as an 18th century leader beginning the romantic revolution and world-conquering aspects of the 19th century? The expanding world into the oceans and far countries of the world? Cape Horn? The Galapagos Islands? The English in these waters combating the French? The role of Britain in the Napoleonic wars? The tradition of Nelson and the stories about Nelson told by Aubrey? The naval heritage? The beginning of empire? Aubrey's comment on the development of ships, the technology, his language about the modern era and its changes? The nature of fighting, strategies, disguise, guerrilla warfare on the sea? The consequences?

7. The themes of command and leadership? The trained officer, Aubrey and his life in the navy, coming up through the ranks? The combination of dedication and humanity, his culture, friendship with Maturin? The role of leadership on a vessel of war, the role of the commander with the men, with the officers? The importance of rules and orders? The danger of obsession with leadership, with goals, especially military conquest? Aubrey's comment about decisions, especially in choosing the lesser of two evils? The culture of punishment, the flogging, persecution by the men, the "Jonah" considered as a jinx on the ship - leading to the officer's suicide? The acknowledgment of the need for humanity as well as discipline?

8. Russell Crowe's screen presence as Jack Aubrey, his age, experience? His command, his ability in sailing, running a tight ship? The orders given to the men, reasonable? His good nature with the officers? The first fight with the Acheron, caught, fighting, the effect of the battle, the repairs? His estimation of his opponent? The detail of life on the ship, the meals, the joke about the lesser of two weevils, his friendship with Maturin, intellectual discussion, playing the musical instruments, the development of the paradigm of science with the paradigm of war?

9. The information about the French ship, the decision to pursue it, the disguising of the Surprise as a whaling ship? Taking the Acheron, the fight, the details of the battle, the dead captain - and the irony that it was a substitute and that the real captain had escaped?

10. The world of the Galapagos Islands, Maturin and his wanting to go there for research, his having Lord Blakeney as his assistant? Blakeney and the loss of his arm? Maturin and the detailed nature of his drawings of flora and fauna? His interest in insects? Aubrey and his promise, not allowing Maturin to land, the pursuit of the Acheron? His obsession and the breaking of his promise? The quarrel with Maturin? The return to the Galapagos Islands, his allowing him to go ashore? The visual impact of the Galapagos, the flora and fauna, the specimens, Maturin and his collecting specimens? The importance for the development of science in the 18th century? His seeing the Acheron sheltered in the bay, his decision to return, the arduous journey returning to the ship, allowing Aubrey to pursue the Acheron?

11. The battle sequences, action, hand-to-hand fighting? Strategies and tactics? The wounded, the doctor and his operations? The role of Aubrey and his leadership? The various officers, their ability with command? Lord Blakeney, the injury to his arm, the amputation?

12. The personalities in the crew, the ordinary working men, the details of life, below deck, work on the deck, meals? The officers' dining room? The importance of respect? The victimisation of Hollar, his fear of the men, his unsteadiness in command, the men persecuting him as a Jonah, his growing desperation, killing himself? The insubordinate sailors, insults, Aubrey ordering the flogging? The officers who had the potential for command, Aubrey giving them opportunities, finally giving the sailor, Pullings, command of the ship? Issues of responsibility, insurrection amongst the men, the 18th century fostering of superstitions?

13. The younger officers, their experience, learning by fighting? The older sailors, orders, rank and promotion, the captain's table?

14. The picture of the French, the enemy, Napoleon as demonised in his wanting to conquer the world, the seas? The conquering of the French, Aubrey taking the ship, seeing the dead captain, realising the truth, going in pursuit?

15. The theme of British conquest of the sea, the beginnings of empire? The film's portrait of war, the role of the navy, training, men at war, the British heritage?

THE MILLION DOLLAR HOTEL

Germany/US, 1999, 121 minutes, Colour.
Jeremy Davies, Mila Jovovich, Mel Gibson, Jimmy Smits, Peter Stormare, Amanda Plummer, Bud Cort, Julian Sands, Tim Roth, Gloria Stewart.
Directed by Wim Wenders.

Million Dollar Hotel is a strange and exotic piece of cinema. It is the work of German director Wim Wenders. Wenders emerged in the 70s in Germany with many striking films including King of the Road as well as the version of Patricia Highsmith's Ripley story, The American Friend, with Dennis Hopper.

During the 80s and 90s, Wenders continued to make films in Germany, especially what is considered his masterpiece, Wings of Desire and its 90s sequel, Far Away So Close. He also went to the United States, especially with the backing of Francis Ford Coppola and made a film about Hammett with Frederic Forrest. He made a number of films in the United States, including The End of Violence. He also went international with his again, exotic piece, To the End of the World.

Wenders also moved into the documentary area, especially with The Buena Vista Social Club and his films about the American Blues.

With Million Dollar Hotel, he had the financial backing of Mel Gibson's company, Icon. Mel Gibson appears as a very strange FBI agent, always in a brace, interrogating people about a death in a very seedy hotel in Los Angeles. The irony of the Million Dollar Hotel is that it is inhabited by a range of people with mental problems. It is not the death that is the focus of the film but rather a young man, played very well by Jeremy Davies, who sometimes capitalises on his mental impairment. He is infatuated with a young woman, Mila Jovovich, who is equally enigmatic. Other members in the hotel include Peter Stormare who thinks he is John Lennon, Gloria Stewart, Amanda Plummer.

The film has a lot of existential dialogue - which would be off-putting for those who are looking to see Mel Gibson in a murder investigation. It is of interest for those who are fans of Wenders, his verbal and visual explorations of the human condition. While the film won several awards, it was, as might be expected, not a box office success. The story was contributed by Bono, who also supplies the musical score.
1. The impact of the film? Too enigmatic for the popular audience? For fans of Wim Wenders, German cinema, existential cinema?

2. The work of Wim Wenders, his European sensibilities, working in the United States? A satisfactory combination or not?

3. Los Angeles, the exteriors of the hotel, the interiors, the roof? The city as a character? The musical score, Bono's songs, the Beatles' songs?

4. Suicide, murder, detection? An existential reflection on the situation?

5. The structure and framework: Tom Tom and his voice-over, his mental state, his perspective, the meaning of life, the meaning of death, his running to jump from the building, his falling, his memory of the two weeks, the focus on Eloise, his reflection on life before he hit the ground?

6. The residents, the strong cast, their particular eccentricities, madness, individually, together? Life in the hotel, the hotel as a microcosm? The death of Izzy? The questioning of Geronimo, his sharing the room with Izzy, the arrest? The importance of the tar paintings, people assuming that Izzy did them, really done by Geronimo? The art dealer, his melodramatic and histrionic explanation of the paintings, his like and dislike, their value? The plan for the sales and the benefiting of the residents? Their joining in the deceit about who did the paintings? Agent Skinner and his entering into this world?

7. Mel Gibson's performance as Skinner, his appearance, wearing the brace, his phone connection, talking with his fiancee and the plan to meet her? The FBI background, his manner, the parody of police? His assistants and his working with them, their collaboration? The interrogations, his bluntness, his theories? With Izzy's father, the discussions in the car, his promises to find the truth? His picking on Tom Tom, his seeing Tom Tom's attraction to Eloise, the pressure on Eloise, making her wear the aural and visual bug? His physiotherapy, listening? His meal with Tom Tom, cajoling him into revealing the truth? Geronimo, his target? The irony of Tom Tom's confession on the video and his disregard of it, the clash? The irony that Tom Tom actually did kill Izzy? The other authorities, their accepting the video, Skinner and his sticking to his theories? An odd portrait of an agent?

8. Tom Tom, his life in the hotel, naïve and innocent, his room, his friendship with Geronimo? The pressure from Dixie and Rachel? Izzy, his friendship? His infatuation with Eloise, watching her, following her? Her coming to his room, their long discussions, the sexual experience? The meal with Skinner, his playing games with Skinner, the confession on the video to help the group act for the paintings? The reality of his pushing Izzy? His decision to jump off the building?

9. Izzy, his rich background, his dominant father and the pressure on the police? The art, drugs, friendship with Geronimo, the assumption that he did the paintings? The flashback and his discussions with Tom Tom, understanding him, his death?

10. Eloise, ethereal, the comment that she was not really there? Her reading, going to the bookshops? The interrogation by Skinner, his pressures that she find out the truth from Tom Tom, her succumbing, going to his room, listening to him, the bond between the two, sharing the time, love, sexuality? Her seeing him die?

11. Dixie, his thinking he was John Lennon, the playing and singing, conniving with Rachel? Rachel and her stridency, the plans and the pressures?

12. Geronimo, claiming to be an Indian, actually Hispanic? The arrest, his wanting to claim the art? The tar paintings? His going to prison - and his release?

13. Jessica, the old woman, rough, part of the plan?

14. The manager, trying to conceal things from Skinner, his succumbing, organising the group?

15. The art dealer, his speech, his roundabout manner, supercilious and superior?

16. The cumulative effect of this experience of the residents of the million dollar hotel, the death, the investigation? Insight into human nature?

THE MATRIX RELOADED

US, 2003, 138 minutes, Colour.
Keanu Reeves, Laurence Fishburne, Carrie-Anne? Moss, Hugo Weaving, Jada Pinkett-Smith?, Harold Perrineau, Helmut Bakaitis, Gloria Foster, Harry Lennix, Robyn Nevin, Anthony Zerbe, Lambert Wilson, Monica Bellucci.
Directed by the Wachowski Brothers.

It is difficult to remember a time when there was no Matrix. The 1999 release of the original film not only pleased fans of science fantasy but drew academics and philosophers into discussion about its issues as well. A world where human beings were under threat from machines, especially the sophisticated machines created by humans. The story of rebels who were trying to break through the tyranny, especially its black-suited and dark glasses agents, were the new heroes. And, of course, the principal figure was Neo, the One, who was destined to be the Saviour. Loved back into life by Trinity, his destiny is clear.

And so we arrive at The Matrix Reloaded with Matrix Revolution to be released in November 2003, completing the trilogy. The financial success of Reloaded has meant that millions around the world wanted to continue the experience of the menaced futuristic society and think about the issues raised. It has also meant that many critics who like to lop successful films have now praised the action sequences (even more spectacular with Neo being able to fly and Agent Smith able to replicate himself at will to do battle with Neo) and the decor and special effects (even more elaborate than before). However, many have ridiculed the discussion sequences, some dismissing it as gobbledygook. One of the troubles with this kind of dismissal is that when a serious issue like human freedom and choice is discussed, it makes demands on the minds of the audience which some critics resent, declaring it holds up the action. Those who valued the reflections on the dimensions of existence, human freedom and the purposiveness in choice will not be disappointed.

Neo has matured since The Matrix with Keanu Reeves very comfortable in the role. Carrie Ann Moss is more serious and more loving as Trinity. Laurence Fishburne has more gravity as Morpheus. A number of new characters are introduced, including Lambert Wilson as a kind of Turette sufferer who compulsively swears and is vulgar in French, some light moments which precede one of the more important philosophical discussions.

Just as this film relies on knowledge of the original, so it relies on the third part. It is an interim film in terms of plot. Neo and the rebels have staved off attack, but the respite is only temporary.

1. The impact of the original film? Visual, action? Philosophy? Expectations of the sequel?

2. The visual impact of the film, colour, editing and pace, action and effects, sets, costumes and décor? Musical score and atmosphere? Final song?

3. The title, the Matrix and the machines in control of human beings, the role of humans, the lack of power and control, the rebels in Zion? Lies and the truth? The quest for freedom?

4. The technological background, information technology, cyberspace, the Matrix, being plugged in, being programmed, programs being deleted, overridden, changed? The victims and the controllers?

5. Themes of power and control, choices and freedom, the significance of causality? The purpose of the world, of human life, the nature of human nature? Beyond the immediate, the transcendent, power and God-like creatures, redemption?

6. The core group after the first film? Morpheus continuing his dreams, intuitions, wanting the truth, finding the possibility of being deceived, his clashes with Lock about the strategy? The backing of the council? His friendship with Councillor Hamann, their discussions like-mind? The meeting with the council, the president of the council, the call for ships to go out on mission, volunteers? His being plugged in? Life dreams and reality? Trinity, the theological overtones of her name, continuing strong, yet vulnerable, the fearful dreams, her love for Neo, saving him? Being saved by him? Neo and the development of his personality, the transition from Mr Anderson to The One? The new skills, his knowledge, ability to fly? The significance of his fight sequences? The love for Trinity? Going on his mission and expectations that he was The One?

7. The machines, especially those burrowing down to Zion, the visuals, the tentacles, the drilling, getting close? The question of who controlled the machines? Fighting them, the council, Lock and his opposition to sending ships? The traitor? The volunteers taking the ships? The personalities in the council, especially the advice of Councillor Hamann?

8. The team on the ship, going into Space? Link, his personality, at the controls? Young and brash? Morpheus wanting him to trust him? Going home to his family, the niece and nephew? The human touch? The reality of leaving and going on mission? His availability? His skills in helping the team, especially during such action as the car chase, the fights, in the mazes?

9. Niobe, her past relationship with Morpheus, her present relationship with Link? Surly, yet volunteering to go on mission? Her skill in her work?

10. Mr Smith embodying the enemy, the suit and dark glasses, the agent, his presence in the first film, his being an agent of the machines, his way of speech, referring to Neo as Mr Anderson, his ability to fight, transform other characters? The innovation of his being able to multiply himself? The variety of fights with his multiple personalities attacking Neo?

11. The visit to the Oracle, her role in the first film, talking quietly with Neo, an ordinary black old woman, her enabling him to see, come to the truth about himself, find a way of vision, of action?

12. Merovingian, his lifestyle, French, his pleasure in uttering vulgarities in French? His speech about choice, causality? His relationship with his wife? Going out to the other women? The wife, her anger with her husband? Her decision to help the team, taking them to the key-maker?

13. The key-maker, his room, literally having the keys, his explanations, leading them into the maze of rooms, to find the controller, his death?

14. The architect, age, experience, sitting in his room, the background of his control, the television panel with the scenes of Neo's life? Neo and the confrontation?

15. Neo and his growth as a person, emotionally, the relationship with Trinity? The torment of her falling in his dreams? His warning her not to go out? The dream being fulfilled? Her being shot, his ability to go into her and take out the bullet, love and healing?

16. Neo and his work as redeemer, expectations on him, his ability to fly, his ability to fight?

17. The impact of the long chase sequence, as part of the plot, special effects, Trinity at the controls, the crashes as well as the pursuit?

18. The role of the council in Zion, the president, Hamann, the traitor?

19. The build-up to the confrontation with the machines, the dangers, Trinity, Neo - and their coming back to life: to be continued?