LOVE AT LARGE

US, 1989, 90 minutes, Colour.
Tom Berenger, Anne Archer, Elizabeth Perkins, Ann Magnusson, Annette O'Toole, Kate Capshaw, Ted Levine, Ruby Dee, Barry Miller, Neil Young.
Directed by Alan Rudolph.

Love at Large was written and directed by Alan Rudolph, an idiosyncratic American writer-director. Having worked with Robert Altman, he began to direct in the late '70s with films like Welcome to LA, Remember My Name. He is unpredictable with films like Roadie, Songwriter, Made in Heaven, as well as the much more serious and offbeat Trouble in Mind and Choose Me.

Here he takes the private eye conventions and reworks them - with a touch of the red herring and with humour. He is obviously affectionate towards the genre.

Tom Berenger is the almost seedy private eye used by one of the most alluring femme fatales in the person of Anne Archer. Elizabeth Perkins is shadowing him - a female version of himself. There is a strong cast including Kate Capshaw, Annette O'Toole, songwriter Neil Young, Ted Levine.

It may not make all that much sense to the uninitiated - but for those who enjoy the genre and variations of the theme, it is both an affectionate parody and spoof.

1.The work of Alan Rudolph, audience expectations?

2.The private eye genre, the conventions? Affection and spoof?

3.The city, the ranch, the atmosphere, the songs and the score? The theme song and its being played throughout the film, the credits - as well as Miss Dolan singing it in Harry's dream, his singing it?

4.The screenplay and the use of the conventions, the way the private eyes talk, tough genre, the femme fatale, the villain, the mystery, the red herrings?

5.Tom Berenger's portrait of Harry Dobbs: seeing him with Doris and their fighting, lovemaking? the phone call for the job? The Blue Danube and the meeting with Miss Dolan, her sexual attraction, his taking the job, the enigma? His style, identifying the wrong man? Following him with attention, clever following? King and his work, family? The plane and the farewells? Getting a ticket, on the plane, the taxi and his following him, the interaction with the taxi driver? The motel and seeing Stella? Buying the car - and its explosion? Getting a lift from Stella? The ranch, looking at King, the entry into the house, the phone call, summing up Ellen's situation? The phone calls to Miss Dolan? The return, Stella on the plane? The visit to Mrs King and her being uncomfortable? Stella persuading him to be a partner? His attraction towards her? The hotel, Miss Dolan? The thug and the fight? The plan, the climax, the fight in the hotel? The real Rick? Meeting Miss Dolan at the station, farewell, returning to Stella - a future or not?

6.The first introduction to Stella, shadowing Harry? Her work as a private eye, giving him the lift? Talking, wanting to be partners, the plane ride home, the discussion afterwards? Her going back to see Ellen, confronting Ellen with the phone call, meeting the husband, the fight, her rescuing her? Her return, the final encounter with Harry - after the discussions with Marty and his accosting her?

7.Doris, erratic emotionally, sex-mad, jealousy, paying for Stella to tail Harry, the phone call and her social life?

8.King and his wife, at the nightclub, going home, the family, Harry not believing him to be Rick? His going to the farm, the relationship with Ellen? The two families? The change of lifestyle from executive to rancher? His relationship with each wife? Suspicions of Ellen, the confrontation, the fight in the bar? His return home to his wife?

9.Ellen, her love, the relationship with art, the phone calls, leaving?

10.Mrs King and her devotion to her husband, the farewells, the visits by Harry, her puzzle, receiving her husband home?

11.Art, work on the ranch, relationship with Ellen, the drinks of water, the fight?

12.The real Rick, at the nightclub, with the women, with Miss Dolan, in the hotel, his preparing to kill Miss Dolan, the fight and his being literally left hanging?

13.Miss Dolan as the femme fatale, parody, real? Her glamour, singing in Harry's dream? The phone calls, the hotels, a figment of the private eye imagination? The new hotel, encounters with Harry, with Rick, being seen off on the train?

14.The love manual and the descriptions of emotions, waiting - as applied to the characters? The title of the film - and its relationship with the characters? The lyrics of the song?

LOST IN YONKERS

US, 1992, 90 minutes, Colour.
Richard Dreyfus, Mercedes Ruehl, Irene Worth.
Directed by Martha Coolidge.

Lost in Yonkers is the film version of Neil Simon's Pulitzer Prize-winning play. Mercedes Rule and Irene Worth both won Tonys for their performances on Broadway.

The film is semi-autobiographical, the setting in the war years with two boys going to live with their grandmother in Yonkers while their father tried to get business as a salesman around the United States.

Irene Worth is very strong as the iron-willed and dominating grandmother. By contrast, Mercedes Rule portrays her daughter who has not fully developed and whom she considers as a child. It is an invigorating and ingratiating performance.

The film also has a good role for Richard Dreyfus as the uncle who is irresponsible. David Strathairn is the theatre usher whom the Mercedes Rule character falls in love with.

The film was directed by Martha Coolidge, whose films include Rambling Rose, Angie, Out to Sea.

1.Neil Simon and his reputation, his skill in writing comedies, his humour and one-liners? An award-winning play?
2.The re-creation of the '40s, New York and Yonkers, cars, clothes, atmosphere and decor? The musical score?

3.The title and who was lost in Yonkers: the two boys and their mother having died, the father going searching for work, with their grandmother in Yonkers? Bella and her treatment by her mother, wanting to fall in love, wanting a life? Louis and his being mixed up with criminals, his relationship with his mother? Johnny and his mental ability, with his family, unable to go to the Army, unable to marry Bella? Grandma herself and her being widowed, her still mourning the death of two children, not relating well with her living children?

4.The voice-over, the explanation of the situation, the boys, their perspective - especially the ending?

5.Their father and his grief at his wife's death? His job taking him on the road, driving to his mother's house, the plan for the boys, their reaction to living with their grandmother? Greeting her, greeting Bella? The decision about staying with their grandmother?

6.The build-up to Grandma's entry: a widow, the two dead children, her steel manner, Germanic background, Jewish background? Her reaction to the boys and their kisses? Eddie being overwhelmed by her? Her treatment of Bella, her explanation that Bella was still a child and was treated that way? Knowing Louis, his irresponsibility, being a thief? Gert and her nervousness in going to her mother's house, the frog in her throat and her change of voice? Grandma and the way she treated people, sitting enthroned, her reaction to each of the characters? Listening about the boys, the shop, the house, where the money was hidden? Louis and his reaction to his mother and to Bella's announcement of engagement? Bella and Johnny and Grandma walking out? The build-up to the significant scene between Grandma and Bella, the explanations, Bella and her telling of the truth, Grandma and her acknowledgment of herself - but only weeping when Bella went out? The boys leaving? Grandma still unhappy?

7.The portrait of the boys, their expectations, Grandma deciding who was smart or not? The letters to and from their father? Playing with the kids in the neighbourhood? The fascination with Uncle Louis? Keeping an eye out and being paid by him? The relationship with Bella, supporting her, interest in Johnny? Helping her with her explanation of the engagement?

8.Bella, her genial character, making mistakes and laughing them off, wanting to feed people, care for them? The meetings with Johnny at the cinema, the awkward talking, going for a walk? Johnny and his not having good days? Bella and getting people to ask her questions about the engagement and her explanations? Her response to the various reactions, especially Louis? Her decision to leave? The build-up to the scene where she returns home and the confrontation with her mother? The information given about her finally leaving home and sending the postcard?

9.Louis and the discussions about henchmen, his relationship with the kids, with his mother, daring them, swimming? The gangsters and the money? Giving the money eventually to Bella after being critical of her engagement?

10.Gert, her place in the family, coming over to help, her fears and nervousness of voice?

11.Johnny, as an usher, not being accepted for the war, saying he couldn't read? The proposal, the plan for the restaurant? His always finding that it was not a good day?

12.Portrait of a family, Americana, the generations, harshness, love and lack of love, the impact on the various members of the family - and the need to break free?

LOST ANGEL

US, 1943, 91 minutes, Black and white.
Margaret O'Brien, James Craig, Marsha Hunt, Philip Merivale, Henry O'Neill, Donald Meek, Keenan Wynn.
Directed by Roy Rowland.

Lost Angel is a pleasantly sentimental star vehicle for the young Margaret O'Brien. It was one of her earliest films - amongst others were Journey For Margaret, Canticle Ghost, Meet Me In St Louis. James Craig and Marsha Hunt were second-level stars at MGM, but fit in nicely to this story. A young Keenan Wynn also appears. The stars don't seem to be intimidated by the strong presence - precocious presence - of Margaret O'Brien.

In this film she is a highly-educated six-year-old, scientifically trained from her birth. However, as she moves out of the institute she discovers magic and human emotions. The film is sentimental, of its time - but pleasingly so.

1.Enjoyable entertainment? Sentiment? Children and education?

2.Black and white photography, the American city, the score? The song in the cabaret?

3.The foundling at the orphanage, the scientists meeting and their plan, naming the girl Alpha? The collage of the plans for her education during the years? Her prospects? The pros and cons of this plan?

4.Mike and Katie and their friendship, clashes, his work at the newspaper, games with the boys, her love for him, his excuses? Her singing at the club? Clashes?

5.The interview with Alpha, Mike and his Harvard background? Talking with Alpha, discovering how clever she was, calling her `Professor'? His stories about leprechauns and magic?

6.The presentation of the staff, their age and education, style, plans? The measles and the quarantine?

7.Alpha and falling in love with Mike, going out, seeking him? The walk around New York? Talk of leprechauns, seeing the monkeys and the dogs, Times Square? Katie and her song? The clash with Alpha? The difference between liking and loving? Alpha crying? The spaghetti and her being sick?

8.Alpha and Packie, her intelligence, knowing about the gun, getting him to read fairy stories and correcting his pronunciation, reading fairy stories to him? Defending him? His gifts to her?

9.Mike and his work, Packie, the search for the killer, bringing him back to the apartment, vindication of Packie?

10.Alpha going back, the people from the institute, her pain at Mike's words? Mike and Katie arguing? His leaving, on the train, the child, his return?

11.Alpha sick, wanting to see Mike, the crowd in her room, Katie, Mike's return, the happy ending?

12.A blend of sentiment and human themes? Children, education, love?

LOS OJOS VENDIDOS

Spain, 1978, 110 minutes, Colour.
Lola Cardona, Geraldine Chaplin, Carmen Maura.
Directed by Carlos Saura.

Los Ojos Vendidos is a film by one of Spain's most prolific and respected directors, Carlos Saura. In the '70s he made such films as Cria Cuervos and a number of films with his then wife Geraldine Chaplin. During the '80s he made a number of flamenco dance films including Carmen and Blood Wedding.

The film is an attempt at psychodrama, a message film about repression and torture during the Franco regime - in terms of narrative as well as dramatised events presented theatrically. Geraldine Chaplin portrays the would-be actress caught up in the work of a director and living the part of a victim of torture.

The film is an early critique of the Franco regime - a trend that continued in Spanish films feeling liberated after Franco's death - and continuing into the '90s.

1.Spanish atmosphere? The '70s? The film as a memoir and critique of the Franco regime? The work of Carlos Saura?

2.The city, outdoors - but the interiors and the apartments, theatre, hall? The classical music score and its mood and commentary?

3.The title, the reference to torture, the focus on the woman, the psychodrama?

4.The speeches in the theatre, the dramatisation of the torture? The Spanish background, the personnel on the panel, the speech, performance - and the final massacre?

5.Juan and his work, the memories of his youth, his aunt and his work, the coal? The transition to the theatre, his success? Teaching and classes? His control - and loss of control? The relationship with Amelia and Manuel? The visit to the dentist? Amelia leaving her husband, the beginning of the affair? His illness and going out into the countryside, thinking that he would die? The drama and his training of Amelia, coaching her to make the speech about the torture? His empathy with her? His being bashed? His death?

6.Amelia, her marriage, wanting to act, her tension at the lessons, unable to let herself go, gradually loosening? Her leaving her husband, her moving in with Juan, the affair? Its effect? Her performance, identifying with the woman who was tortured? The drama of her speech? Her death in the massacre?

7.Manuel, his work as a dentist, the relationship with Amelia, Amelia leaving him, his antagonism towards Juan, later helping him?

8.The portrait of the actors, the drama classes? Their performance in the theatre piece?

9.The issues of the '70s, the memories of the Franco regime, questions of conscience and justice?

LORD OF THE FLIES

UK. 1990, 90 minutes, Colour.
Balthasar Getty, Daniel Pipoly.
Directed by Harry Hook.

Lord of the Flies was filmed by Peter Brook in the early '60s, a black and white version, a respectful, even experimental treatment of a literary classic.

This film is an updating to the '90s, a transferring of the plot to the United States and surrounding islands of the Caribbean. It was made in colour, directed by Harry Hook (The Kitchen Toto). The references are to the experiences of American boys of the '80s and '90s, as is the language. The plot also makes the transition from choristers to students in a military academy.

However, the themes of William Golding's novel remain the same: a disastrous world in which the children crash onto a deserted island, the drive towards civilisation and orderliness, innate drives in human nature for disorder, vindictiveness, violence, superstition.

Those who like the initial version may feel that this interpretation is not as purist as it might be. Those unfamiliar with the original might find that it is a straightforward narrative exploring the themes of a significant novel.

1.The status of the book? Readership, study? The initial film? Its status? The impact of the remake? For the '90s?

2.The work of William Golding, his perceptions about human nature, society? Ethics and morals? The comment on the human condition - as exemplified by pre-adolescent boys?

3.The 1990s, the perspective of the director? The Bahamas locations for the island and the sea? The use of colour?

4.The transition from the boys as choristers to a military academy? The elimination of religion - and the substitution of American ideology and the military? The American tone? The boys as products of the '80s, their sophistication, their language, precocious?

5.The use of Golding's plot, the adaptation and its impact?

6.The experience of the crash, the boys having to cope, the underwater sequences and the eerie unreal world and their emerging onto the island? Their age, the raft, the pilot and his injuries, their having to cope?

7.The atmosphere of the island, its resources, the water? Their setting up society, coping, hierarchy, rules, the conch, order, formality and informality? The success of this new society? Their motivation and drives? The transitions, the collapse? Symbol of civilisation?

8.Ralph, his personality and character, status in the school, with the boys, his manner of leadership? The conch? A boy of integrity? His friendship with Piggy and support of him, the inevitable clashes with Jack?

9.Jack, personality, his age, his exercise of leadership? The rogue, the hunter? The confrontations with Ralph? Envy? The taunting of Piggy? The hunt of the pig, the establishing of the warriors, the blood and the bloodlust? Their decorating themselves? Implications of savagery? The experience of killing and going out of control?

10.The importance of the fire, the signal, the guardianship of the fire? Piggy and his glasses, Ralph using them, Jack using them?

11.The pilot and his delirium, wandering away, his disappearance, the clothes in the water?

12.The pilot, the mosquito net, interpreted as a monster, as a god to be appeased? The pilot deranged? The boys and the killing of the pig - and the offering to the Lord of the Flies?

13.The clash between Jack and Ralph? Clash of personalities? Beliefs? Piggy as intermediary? The importance of the feast and the invitation?

14.Simon, his simplicity, guarding the pilot? Coming with the news of his death? Seen as a ghost? His murder - deliberate, bloodlust, the followers of Jack and their killing Simon?

15.Piggy, his trying to make peace, his glasses taken, smashed - and Piggy's death?

16.Ralph exiled from the group, having to fend for himself, the melodrama of the chase, smoking him out, the victim of savagery?

17.The characters of the other boys, as individuals, the twins, their being part of the group, going over to Jack, not betraying Ralph? The peer pressure?

18.The final confrontation - the officer, his question? The civilised world from which he came - and the symbol of the order and savagery on the island? What world were the boys returning to? From the experience of Eden and Fall?

19.The ethical and moral questions of the film? What makes a human being? Ethics and integrity? Savagery? Good and evil, morality and sin? Leaders and victims? Symbol of society?

LORCA AND THE OUTLAWS

US, 1984, 100 minutes, Colour.
John Tarrant, Deep Roy, Joy Smithers, Cassandra Webb, Ralph Cotteril.
Directed by Roger Christian.

Lorca and the Outlaws was filmed under the title 2084 (in the year 1984, on Australian locations, with some Australian character actors - although the production was British).

Director is Roger Christian, art director on some of the Star Wars films. He also directed the excellent Academy Award-winning short, The Dollar Bottom. He also directed the John Travolta- Hubbard film, Battlefield Earth.

However, Lorca and the Outlaws is rather difficult to follow, the stars are not entirely sympathetic - and the narrative is not well drawn or presented. The film has echoes of Outland and Dune with planets in the 21st century supplying minerals to Earth. There are strikes and revolutions, brutal putting-down of uprisings, substitution of androids and robots for human activity in the mines. There is a young hero and heroine (who, unexpectedly, is killed at the end). There is a sympathetic robot called Kid - echoes of Star Wars.

The production qualities are at times quite spectacular - but not enough to sustain the complicated and poorly told narrative.

1.Entertaining science fantasy? The 21st century and the future? Intergalactic wars and travels? Hero myths?

2.The special effects and stunt work? The planets? The technology? The use of Australian landscapes?

3.The pace of the narrative, complications, loose threads? Audiences finding it difficult to follow?

4.The planet, the mines, the strikes and protests at the beginning, their being put down brutally? Captain Jowitt and his mandate to put down the revolution, to substitute the androids, to kill the humans? His methods, his mercenaries? The robot soldiers?

5.The protesters (very much 1980s)? Their being killed? The children and their rescue (and not heard of again)? Lorca and his mission, the outlaws? His relationship with Abbie and her attempts to save people? The friendship with Susie?

6.The attempts by Lorca and his friends to sabotage the landing craft, to get the spaceship going to return to Earth? The various adventures, dangers? Wending their way through the buildings?

7.Kid - the robot with the human touch, teaching the children history? Rescuing them? The hole drilled in the head? Friendship with Lorca and Abbie? With Susie? Sabotage, Captain Jowitt and his mercenary? The destruction, the betrayal? The final rescue?

8.Lorca and Abbie, youthful, their background, leadership? Adventures? The suddenness of Abbie's death? The friendship with Susie? Going to the spacecraft and taking off?

9.Captain Jowitt, human, cruel, putting down of uprisings? The messages and his mandate? The mercenary, dealing with Kid, pursuing Lorca, the huge earthmoving vehicle, Lorca and the pursuit and crashing the vehicle?

10.The popular ingredients from the Star Wars era? Blended to stories about the future?

LOOSE CONNECTIONS

UK, 1987, 90 minutes, Colour.
Lindsay Duncan, Stephen Rea, Robbie Coltrane.
Directed by Richard Eyre.

Loose Connections is an entertaining British road story, small-budget feature from Richard Eyre (The Ploughman's Lunch), a prominent stage and television director. Lindsay Duncan is the strong heroine, Stephen Rea (from Neil Jordan films such as Angel, Company of Wolves, The Crying Game - for which he received an Oscar nomination) is the seemingly nondescript hero. The film has comment on contemporary '80s Britain, the relationship between the sexes, feminism, British sport - and relationships.

1.Entertaining British road movie, battle of the sexes, assertion of the sexes, '80s style?

2.The London locations, the Continent, the roads and hotels, the countryside, the city, the football matches? Germany, society? The musical score and songs?

3.The title, relationships? The perspective of Sally? Of Harry? The perspective in favour of men, of women? Whose point of view? Types and/or stereotypes?

4.Sally, competent, her friends, her ability with cars? Lifestyle, her friends unable to come on holidays, the conference, feminism, her ad? The interview with Harry? Her criteria for accepting him? Thinking that he was gay, vegetarian, knew German?

5.Harry and his hangdog look, his jobs, the car factory? Lifestyle? The ad, the interviews, his wanting to get to the game, his lies, pretending to be an architect, vegetarian, gay, knowing German, knowing cars?

6.The road movie style, the trip and their relationships? On the boat, the different interests, drinking? Their talking and life stories? Gradually revealing something to each other? The clash of attitudes? Harry being free, Sally being ordered? The mishaps and her anger?

7.The boat, the drive, speeding, Harry's taste in music, navigating and ending in the lake, wrecking the car, unable to fix it, her ousting him, the night together, the hotels, drinking, his buddy and the stealing of the travellers' cheques? Catastrophe after catastrophe? Sally's reaction, going to her friends, Axel and her talking to the group about Harry, his sudden intrusion?

8.Their time together, her relenting? Discovering the truth about the football match? Her going to Axel, his advances? Her changing heart and going to the match with Harry?

9.Axel, the suave Continental male, hospitality, advances to Sally, alleged sophistication? Her reaction?

10.The honest talking between the two, the final night together, Harry leaving, his note? Harry at home with the footballers and singing in the bus? Would Harry and Sally's paths ever cross again?

LOOSE CANNONS

US, 1990, 95 minutes, Colour.
Gene Hackman, Dan Aykroyd, Dom Deluise, Nancy Travis, Ronny Cox, David Alan Grier.
Directed by Bob Clark.

Loose Cannons is an oddball police comedy with touches of Police Academy as well as more conventional investigations. It was co-written and directed by Bob Clarke, whose films range from Tribute to the Porky's series. The film has a strong cast - Gene Hackman in his usual genial style, Dan Aykroyd being both sympathetic as well as mugging his way through impersonations, Dom DeLuise? and his carry-on. Nancy Travers, Ronnie Cox and Paul Kozlo appear in supporting roles.

The setting is Washington DC. The plot concerns a film made of Hitler's execution and its being suppressed by an ambitious German politician (Robert Prosky) sending his henchmen to get the film back. A pornographic film dealer has bought the film. The Israeli secret service are after it to expose the former Nazi official. The FBI are also after it. And our two heroes have the charge of pursuing murders connected with it. There are car chases, bursts of comedy, bursts of pathos.

1.Entertaining comedy? Police thriller? Combination?

2.Washington DC, the streets of Washington, buildings? The countryside? New York? Stunts and special effects? Musical score?

3.The title - and reference to Mac and Ellis?

4.The popular ingredients of the police thriller and investigation? Odd partners? The introduction of comic situations, dialogue? Farce?

5.The prologue, the fancy dress, the night, the boats, the decapitation, the shooting and the escapes? The plausibility of the film about Hitler's suicide? The use for German politics? Israel and its concern?

6.Gene Hackman as Mac: style and presence, at work in investigations, the comedy of the man and the condom? His car and separation? Cantankerous? Argument with his fellow officer? Relationship with his boss? Ellis as his partner, Ellis's analysis of what went on, Mac's scepticism and questions? In the car, Ellis's phobias, speed, his anger at Ellis? Ellis's personality changes? The boss and the explanation? Passing the night at Ellis's house - and the nightmares? The visit to the FBI and the smart talk at the officer? Seeing the Israelis - and surprising them? The pursuit by the Germans - and the rocket in the street? Harry Gutterman and his club, the humour in the club - and Ellis's odd performance? Harry in custody, the routines? The plan to get him to New York, eluding the FBI at the railway station? On the train, the pursuit by the helicopter, getting off, diving into the river, the rapids? Going to New York - in Harry's club, the baths and the shootout? Mac and his commandeering the bus, pushing the taxi? Grand Central station, the strategy, the chases, the confrontation with the German? The getting of the film - and giving it to the Israelis?

7.Ellis, in the monastery, the story of his torture and dysfunction? His analytic mind? His analysis of the crime? His range of phobias? Multiple personalities - and Dan Aykroyd mugging everything from Germans and Latin Americans to Woody Woodpecker and the Roadrunner? His confrontation with the Germans, the FBI, the Israelis - and the attraction of the Israeli agent? Participating in the chases, driving? On the train, jumping into the river? In New York - Grand Central station, the ambiguity of his threats, shooting the German?

8.The presentation of Von Metz, his ambitions, going on television - the screening of the film and his unmasking? His henchmen, the deals, the violence? Helicopter chases, car chases and rockets? The confrontation in New York?

9.The Israelis, secret agents - and being discovered by Mac and Ellis? Participation in the chase, Grand Central station?

10.Harry Gutterman, his pornography empire, his club, wanting to be in custody? On the train, New York - and his finally being shot after giving the advice? Ending genially in hospital with the children?

11.The familiar scenes of police work, chases? Violence? The blend of the comedy routines - working well or not?

LOOK WHO'S TALKING TOO

US, 1990, 81 minutes, Colour.
John Travolta, Kirstie Alley, Olympia Dukakis, Elias Koteas, Voices of Bruce Willis, Mel Brooks, Damon Wayans, Rosanne.
Directed by Amy Heckerling.

Look Who's Talking Too is a variation on the original. John Travolta and Kirstie Alley do very well in their comic roles - though they have to be a bit raucous in a rather contrived fight and estrangement. Bruce Willis is once again the voice of the baby but is joined by Roseanne Barr as his younger sister and Damon Wayans as Eddie, a black neighbour. Olympia Dukakis reappears as Kirstie Alley's mother and Elias Koteas is her wacky brother.

The film opens just like the original with the conception of the baby, who then starts to talk. There are some engaging comic touches, the focus on the babies and their vocalising their thoughts and feelings. However, it lacks the novelty of the original as well as the sense of tension with Molly trying to find a husband. However, it is enjoyably slight entertainment with an affirmation of life, babies and family.

1.Entertaining comedy? Impact of the original? Variations on a theme?

2.New York settings, homes and apartments, the parks? Atmosphere for this kind of comedy?

3.The title, the play on words? The comic voices of the babies? The device of the voice-over, the adult comments on behaviour, the babylike comments? The contrast between Bruce Willis and Roseanne Barr?

4.The focus on babies, the credits and the conception of the baby done in animation? The impact of pregnancy, birth? Children and their first impressions, growing up? Siblings, love and sibling rivalry? The relationship of parents to baby? Spoiling baby? Excluding the older child? The imaginative and fantasy touches with the babies, especially Mikey's dream (and the voice of Mel Brooks as the toilet man)?

5.Jimmy and Molly, their married life, love for Mikey and bringing him up, the conception of Julie, her birth (and Jimmy fainting)? The two babies at home, life at home? The background of Jimmy's work, the taxi, Mikey in the front seat of the taxi? The criticisms by Molly's mother? The visits to their home? The arrangement for the extra job, the flying? A boost for Jimmy? Tension for Molly? Clashes at home, their arguments, authority about bringing up the children, Molly wanting to be right? Their clash, Jimmy walking out? Taking the children out, in the park, to the kindergarten gymnasium? Jimmy and his Elvis Presley dance routine with the babies? The continued estrangement and arguments? The return, Molly going to the airport? Stuart in charge of the children? Mikey going to the potty and the reconciliation? The ups and downs of married life?

6.Stuart, his manic style, moving in, wearing Jimmy's clothes, eating habits? The gun? The accounting? Molly's girlfriend, her attitude towards men and their eating habits? Being robbed, moving in? Palling up with Stuart? The burglar, Stuart and the fight, the gun, the chase? The fire and the rescue?

7.Molly's mother and father, the mother's dominance, arranging jobs?

8.The business world, accountancy, firms, people getting advice (about cafes that don't work)? Tax accounts? The bosses?

9.The build-up to the fire, Mikey rescuing Julie, Jimmy putting out the fire, the reconciliation and the babies walking off together?

10.Eddie and his worldly-wise comments, friendship with Mikey, playing together, the advice about the toilet?

11.Popular comedy, the slight touch, situation comedy styles? The details of babies' life, growing up, relationships?

LOOK WHO'S TALKING

US, 1989, 90 minutes, Colour.
John Travolta, Kirstie Alley, Olympia Dukakis, George Segal, Abe Vigoda, Voice of Bruce Willis.
Directed by Amy Heckerling.

Look Who's Talking is quite an amusing comedy. It is one of the many films about babies from the late '80s (Raising Arizona, Baby Boom, Three Men and a Baby, She's Having a Baby etc.).

Kirstie Alley is a vivacious single mother, John Travolta an engaging cab driver, George Segal the self-centred father of the child, Olympia Dukakis the mother. The voice of the baby is that of Bruce Willis.

The film is pro-life - showing the life of the child from its very beginnings with the comic device of the voice-over, with the comments about what is happening and about its perspective, from the baby. It is a verbalising of what happens in early life.

The film is fairly funny, especially seen with an audience who shares the enjoyment of the adventures of the baby. The film was written and directed by Amy Heckerling (Fast Times at Ridgmont High) after having a child of her own.

1.Amusing comedy? The ingredients of a situation comedy? Characters, life, the perspective of the baby?

2.New York settings, affluent business world, the world of the cab driver, apartments and restaurants? Musical score - and songs?

3.The title, the irony? The voice of Bruce Willis and its appropriateness for the baby? The range of shots of the baby, so natural, the techniques of the actors working with the baby?

4.Themes of life, the credits and procreation (and the end)? The embryo, alive, a person? The mystery of the child's growth? Communication with the mother? The treatment of the child by adults? The experience of birth and its aftermath? The baby's perspective of coming into the world, its own life and self, relationships, with the mother, father figure, other people, other babies? The baby's view of adults? Jokes, likes and dislikes, saying `Dad'?

5.Kirstie Alley as Molly: vivacious, her job, skills, her friends and discussing situations and relationships with them? Albert and his relationship, love, her believing him, the pregnancy? Discussing with her mother, with her father doing the accounts and not saying anything? The visit to the doctor? Going shopping? Discovering Albert with the interior decorator? The break from him? Her preparation, discontinuing the classes? The build-up to the arrival of the baby?

6.Her anxiety, the beginning of the birth, getting the cab, James and his rushing through the traffic - and her anger, trying to get him to slow down? In the hospital, the pain, wanting some drugs? The birth, her delight with the baby? The comments of the baby? The arrival of James, clashes with him? The agreement about babysitting? Wanting a father, the various dates - and the comic touches, the men's eccentricities? Her mother's visits and the discussions? The sex jokes - the splinter sequence? Seeing Albert, not wanting to visit him, doing his accounts? His change of heart, his selfish phases? The scene in the office? In love with James, resisting him? Talking things over, their relationship, her going to help James's grandfather? With the baby, the baby in the car, on the road? reconciliation with James?

7.James, John Travolta's style, cab driving, helpful, the rush, his returning the purse, playing with the baby, babysitting, the bond between the two, his comments on the dates, persuading the man to let Molly pay? The encounter with Albert and the clash? His grandfather and the scheme for the letters to go to Molly's house? The visits to the grandfather? Molly and her help? The love for the baby? The happy marriage? The second child - and the new baby's comments?

8.Albert, successful executive, self-preoccupied, selfish phases, his relationship with his wife, his always talking about his children? Love for Molly? Her pregnancy? His liaison with the decorator? Meeting Molly again, wanting her back? The visit and the clash with the baby? Molly's visit to his office - and her destructive phase? The satire on the self-centred middle aged man?

9.The grandfather, his age, his teeth, his absent-mindedness, moving house, love for James, attracted to the baby, attracted to Molly? Her helping him out, the diabetes?

10.Molly's mother, her pushiness, the relationship with her husband?

11.The various dates - and the comedy of her imagining a life with them, their being so particular about detail? The image of her life with James in poverty?

12.The light enjoyable touch - and the comments about relationships and children?