J'EMBRASSE PAS (I DON'T KISS)

France, 1991, 110 minutes, Colour.
Philippe Noiret, Emmanuelle Beart, Manuel Blanc, Helene Vincent, Ivan Desny.
Directed by Andre Techine.

J'Embrasse Pas (I Don't Kiss) is a strong and striking portrait of a young man who leaves his provincial home in the Pyrenees, going to Paris, hoping to become an actor. However, he has had little education, simply wants to get away from home and his oppressive father. He has not made any plans for his life in Paris. After some disillusionment with acting (he has no sensitivity to the plays and has a poor memory), and after working in the kitchen of a hospital, he finally goes on the street as a prostitute.

Manuel Blanc is very good as the young man. Also in the cast is Philippe Noiret as a television compere, a kindly homosexual who nevertheless frequents the street beat. Emanuel Beart (Manon des Sources, La Belle Noiseuse) also portrays a prostitute.

The film fills in very well the hero's background, his farmer brother, his brother in the National Service. It portrays life in Paris, the friendship of the hero with a repressed spinster who cares for her mother, his relationship with fellow workers, with people on the street. It also shows his naivety, the transition from a rather sheltered young man to being comfortable in his life on the streets. However, after he is beaten and raped by the pimp of the young prostitute, he goes to National Service, goes to the sea he has never seen before - and the film ends with his determination to return to Paris much stronger and determined to win in his way of life. The film was directed by Andre Techine (The Bronte Sisters) and has a musical score by veteran Philippe Sarde.

1.The portrait of a young man, the naive young man from the provinces, the journey in early life, the coming of age, the harshness of city life, disillusionment, determination?

2.The Pyrenees locations, Paris, Seville, the countryside, the details of city life? The musical score?

3.The title and its references to Pierre, to Ingrid - and their work, in their own relationship? Prostitutes and their work? The clients, themselves - their control and what they would permit?

4.The structure: Pierre at home, the tense relationship with his family, his mother's grief, visit to his brother, journey to Paris, the experiences, relationships, work, disillusionment? Seville? Patronage? His decision to go on the street? The military service, the ending on the beach? The future?

5.Manuel Blanc as Pierre: age, experience? In the shop, harsh father, grieving mother - and his childlike letters to her? The visit to his brother, giving him the moped? The train journey, the arrival, the taxi being too expensive? Approaching Evelyn and his background as a stretcher-bearer at Lourdes? In the park with her? The hotel, the job and his work at the hospital? Friendship with Said? His decision to be an actor, buying the second-hand book, going to the classes? Not understanding them, Hamlet, memorising the text, the performance and his inabilities, the loss of memory, his not being able to comprehend what was required in acting? The visit to Romain and Dmitri, the talk, his standards and morals, sexuality, homosexuality? Going bowling with Said, the bashing and Said's violence? Seeing Ingrid and her pimp? The meal with Evelyn, the drinking, the return home, her hesitance, the affair? His talking about Hamlet and her disillusionment? Giving him the money? His giving it back to her? The final acting class and people laughing at him? Sleeping on the street and his being robbed? Going to his job, telling lies and being sacked? His attempts at prostitution and failing? Giving his name as Romain? Romain taking him to Seville, the journey, the train, the talk about morality, behaviour, a future? His sudden return to Paris?

6.The world of prostitution, the clients, the money, his becoming wealthy, the bike? Avoiding Romain and hiding from him? The baths? His conditions for his clients?

7.Ingrid and her work, with her pimp, his seeing her, the jail, his going with her, helping her in the jail? Leaving, the breakfast, his sexual impotence? The relationship? The return to the beat, the clash? The pimp, his bashing Pierre, the rape? Ingrid present and grieving?

8.His decision to go to military service, the visit from his brother, concealing the truth from him? Hungry? The decision to go to the army, the discussions with the authority, the tough stances, the training? His never having seen the sea - and his going to the sea? Transition, cleansing, future?

9.His father and his brutality, his mother and her tears, the letters, Pierre's hoping to bring her to Paris? His brother and the farm and the sheep? The brother in the military?

10.The portrait of Evelyn, age, background in Indonesia? Looking after her mother, her mother's severity - the scene in the elevator, taking Pierre to dinner, giving him the room, the sexual experiences? Deceiving her mother? Her being hurt by Pierre's preoccupation with his play? Giving him the money, his returning it? The tense later meeting on the steps of the church?

11.Romain and Dmitri, their relationships, ageing, talk? Romain prowling the streets? Said and his work - and his violence? Romain at Seville, his television work, the interviews? The visit by Pierre? His taking a father figure stance? Pierre rejecting it?

12.Ingrid, her work, the relationship with her pimp, the bowling alley? Her being arrested? Her reaction to Pierre? Her desperation in the jail, demanding to go to the toilet, the refusal? Pierre's help, the meal, the sexual encounter? Pierre's bashing and rape? The pimp and his hold over Ingrid, the henchman?

13.Decisions about life, work? Naivety and experience? The credibility of Pierre's character and his experiences? The film's comment on society?







J'EMBRASSE PAS (I DON'T KISS)

France, 1991, 110 minutes, Colour.
Philippe Noiret, Emmanuelle Beart, Manuel Blanc, Helene Vincent, Ivan Desny.
Directed by Andre Techine.

J'Embrasse Pas (I Don't Kiss) is a strong and striking portrait of a young man who leaves his provincial home in the Pyrenees, going to Paris, hoping to become an actor. However, he has had little education, simply wants to get away from home and his oppressive father. He has not made any plans for his life in Paris. After some disillusionment with acting (he has no sensitivity to the plays and has a poor memory), and after working in the kitchen of a hospital, he finally goes on the street as a prostitute.

Manuel Blanc is very good as the young man. Also in the cast is Philippe Noiret as a television compere, a kindly homosexual who nevertheless frequents the street beat. Emanuel Beart (Manon des Sources, La Belle Noiseuse) also portrays a prostitute.

The film fills in very well the hero's background, his farmer brother, his brother in the National Service. It portrays life in Paris, the friendship of the hero with a repressed spinster who cares for her mother, his relationship with fellow workers, with people on the street. It also shows his naivety, the transition from a rather sheltered young man to being comfortable in his life on the streets. However, after he is beaten and raped by the pimp of the young prostitute, he goes to National Service, goes to the sea he has never seen before - and the film ends with his determination to return to Paris much stronger and determined to win in his way of life. The film was directed by Andre Techine (The Bronte Sisters) and has a musical score by veteran Philippe Sarde.

1.The portrait of a young man, the naive young man from the provinces, the journey in early life, the coming of age, the harshness of city life, disillusionment, determination?

2.The Pyrenees locations, Paris, Seville, the countryside, the details of city life? The musical score?

3.The title and its references to Pierre, to Ingrid - and their work, in their own relationship? Prostitutes and their work? The clients, themselves - their control and what they would permit?

4.The structure: Pierre at home, the tense relationship with his family, his mother's grief, visit to his brother, journey to Paris, the experiences, relationships, work, disillusionment? Seville? Patronage? His decision to go on the street? The military service, the ending on the beach? The future?

5.Manuel Blanc as Pierre: age, experience? In the shop, harsh father, grieving mother - and his childlike letters to her? The visit to his brother, giving him the moped? The train journey, the arrival, the taxi being too expensive? Approaching Evelyn and his background as a stretcher-bearer at Lourdes? In the park with her? The hotel, the job and his work at the hospital? Friendship with Said? His decision to be an actor, buying the second-hand book, going to the classes? Not understanding them, Hamlet, memorising the text, the performance and his inabilities, the loss of memory, his not being able to comprehend what was required in acting? The visit to Romain and Dmitri, the talk, his standards and morals, sexuality, homosexuality? Going bowling with Said, the bashing and Said's violence? Seeing Ingrid and her pimp? The meal with Evelyn, the drinking, the return home, her hesitance, the affair? His talking about Hamlet and her disillusionment? Giving him the money? His giving it back to her? The final acting class and people laughing at him? Sleeping on the street and his being robbed? Going to his job, telling lies and being sacked? His attempts at prostitution and failing? Giving his name as Romain? Romain taking him to Seville, the journey, the train, the talk about morality, behaviour, a future? His sudden return to Paris?

6.The world of prostitution, the clients, the money, his becoming wealthy, the bike? Avoiding Romain and hiding from him? The baths? His conditions for his clients?

7.Ingrid and her work, with her pimp, his seeing her, the jail, his going with her, helping her in the jail? Leaving, the breakfast, his sexual impotence? The relationship? The return to the beat, the clash? The pimp, his bashing Pierre, the rape? Ingrid present and grieving?

8.His decision to go to military service, the visit from his brother, concealing the truth from him? Hungry? The decision to go to the army, the discussions with the authority, the tough stances, the training? His never having seen the sea - and his going to the sea? Transition, cleansing, future?

9.His father and his brutality, his mother and her tears, the letters, Pierre's hoping to bring her to Paris? His brother and the farm and the sheep? The brother in the military?

10.The portrait of Evelyn, age, background in Indonesia? Looking after her mother, her mother's severity - the scene in the elevator, taking Pierre to dinner, giving him the room, the sexual experiences? Deceiving her mother? Her being hurt by Pierre's preoccupation with his play? Giving him the money, his returning it? The tense later meeting on the steps of the church?

11.Romain and Dmitri, their relationships, ageing, talk? Romain prowling the streets? Said and his work - and his violence? Romain at Seville, his television work, the interviews? The visit by Pierre? His taking a father figure stance? Pierre rejecting it?

12.Ingrid, her work, the relationship with her pimp, the bowling alley? Her being arrested? Her reaction to Pierre? Her desperation in the jail, demanding to go to the toilet, the refusal? Pierre's help, the meal, the sexual encounter? Pierre's bashing and rape? The pimp and his hold over Ingrid, the henchman?

13.Decisions about life, work? Naivety and experience? The credibility of Pierre's character and his experiences? The film's comment on society?







J'EMBRASSE PAS (I DON'T KISS)

France, 1991, 110 minutes, Colour.
Philippe Noiret, Emmanuelle Beart, Manuel Blanc, Helene Vincent, Ivan Desny.
Directed by Andre Techine.

J'Embrasse Pas (I Don't Kiss) is a strong and striking portrait of a young man who leaves his provincial home in the Pyrenees, going to Paris, hoping to become an actor. However, he has had little education, simply wants to get away from home and his oppressive father. He has not made any plans for his life in Paris. After some disillusionment with acting (he has no sensitivity to the plays and has a poor memory), and after working in the kitchen of a hospital, he finally goes on the street as a prostitute.

Manuel Blanc is very good as the young man. Also in the cast is Philippe Noiret as a television compere, a kindly homosexual who nevertheless frequents the street beat. Emanuel Beart (Manon des Sources, La Belle Noiseuse) also portrays a prostitute.

The film fills in very well the hero's background, his farmer brother, his brother in the National Service. It portrays life in Paris, the friendship of the hero with a repressed spinster who cares for her mother, his relationship with fellow workers, with people on the street. It also shows his naivety, the transition from a rather sheltered young man to being comfortable in his life on the streets. However, after he is beaten and raped by the pimp of the young prostitute, he goes to National Service, goes to the sea he has never seen before - and the film ends with his determination to return to Paris much stronger and determined to win in his way of life. The film was directed by Andre Techine (The Bronte Sisters) and has a musical score by veteran Philippe Sarde.

1.The portrait of a young man, the naive young man from the provinces, the journey in early life, the coming of age, the harshness of city life, disillusionment, determination?

2.The Pyrenees locations, Paris, Seville, the countryside, the details of city life? The musical score?

3.The title and its references to Pierre, to Ingrid - and their work, in their own relationship? Prostitutes and their work? The clients, themselves - their control and what they would permit?

4.The structure: Pierre at home, the tense relationship with his family, his mother's grief, visit to his brother, journey to Paris, the experiences, relationships, work, disillusionment? Seville? Patronage? His decision to go on the street? The military service, the ending on the beach? The future?

5.Manuel Blanc as Pierre: age, experience? In the shop, harsh father, grieving mother - and his childlike letters to her? The visit to his brother, giving him the moped? The train journey, the arrival, the taxi being too expensive? Approaching Evelyn and his background as a stretcher-bearer at Lourdes? In the park with her? The hotel, the job and his work at the hospital? Friendship with Said? His decision to be an actor, buying the second-hand book, going to the classes? Not understanding them, Hamlet, memorising the text, the performance and his inabilities, the loss of memory, his not being able to comprehend what was required in acting? The visit to Romain and Dmitri, the talk, his standards and morals, sexuality, homosexuality? Going bowling with Said, the bashing and Said's violence? Seeing Ingrid and her pimp? The meal with Evelyn, the drinking, the return home, her hesitance, the affair? His talking about Hamlet and her disillusionment? Giving him the money? His giving it back to her? The final acting class and people laughing at him? Sleeping on the street and his being robbed? Going to his job, telling lies and being sacked? His attempts at prostitution and failing? Giving his name as Romain? Romain taking him to Seville, the journey, the train, the talk about morality, behaviour, a future? His sudden return to Paris?

6.The world of prostitution, the clients, the money, his becoming wealthy, the bike? Avoiding Romain and hiding from him? The baths? His conditions for his clients?

7.Ingrid and her work, with her pimp, his seeing her, the jail, his going with her, helping her in the jail? Leaving, the breakfast, his sexual impotence? The relationship? The return to the beat, the clash? The pimp, his bashing Pierre, the rape? Ingrid present and grieving?

8.His decision to go to military service, the visit from his brother, concealing the truth from him? Hungry? The decision to go to the army, the discussions with the authority, the tough stances, the training? His never having seen the sea - and his going to the sea? Transition, cleansing, future?

9.His father and his brutality, his mother and her tears, the letters, Pierre's hoping to bring her to Paris? His brother and the farm and the sheep? The brother in the military?

10.The portrait of Evelyn, age, background in Indonesia? Looking after her mother, her mother's severity - the scene in the elevator, taking Pierre to dinner, giving him the room, the sexual experiences? Deceiving her mother? Her being hurt by Pierre's preoccupation with his play? Giving him the money, his returning it? The tense later meeting on the steps of the church?

11.Romain and Dmitri, their relationships, ageing, talk? Romain prowling the streets? Said and his work - and his violence? Romain at Seville, his television work, the interviews? The visit by Pierre? His taking a father figure stance? Pierre rejecting it?

12.Ingrid, her work, the relationship with her pimp, the bowling alley? Her being arrested? Her reaction to Pierre? Her desperation in the jail, demanding to go to the toilet, the refusal? Pierre's help, the meal, the sexual encounter? Pierre's bashing and rape? The pimp and his hold over Ingrid, the henchman?

13.Decisions about life, work? Naivety and experience? The credibility of Pierre's character and his experiences? The film's comment on society?

LET'S MOVE THE STARS

Norway, 1998, 98 minutes, Colour.
Thea Sofie Rusten, Jan Torre Kristofferson.
Directed by Toran Lian.

Let's Move the Stars is a very pleasing Norwegian film, focusing on a young girl, her grief at her brother's death from cancer, her upset when her mother is so grief-stricken about the death of her son that she seems to neglect her daughter and the family. However, when she goes to stay with her grandparents, she encounters a young boy and they immediately strike up a friendship. The film spends a lot of time on showing the two playing together, discussing together - and the little boy has more than a touch of the philosopher about him. There is also a pleasing reconciliation at the end which, though may be contrived in real life, makes sense and emotional impact in the film.

1.A portrait of family, family grief, friendships, reconciliation?

2.The Norwegian settings, Oslo, Bergin, the towns, the season, the beauty? A Norwegian perspective? Musical score?

3.The title, the painting in Jacob's room, Jacob's explanations of the perspective of the clouds and the starts moving? The application of this symbol to Marie's grief?

4.The introduction: the young boy dying, the cancer, the mother's grief, Marie's dream and her mother being without strength, the symbol of the horse? The repetition of the dream during the film?

5.Marie going to her grandparents, their taking her in, her mother's grief and seeming neglect of her, her father unable to do anything? The kindness of her grandparents?

6.Marie in herself, her age, sadness, not communicating this? The chance meeting with Jacob, the immediate friendship, the bonds, playing together, talking? His story about his mother and his being a neglected child? Her not telling the truth about her brother (and Jacob later telling her that he knew)? Their jumping into the water, at Jacob's home, cooking, eating, playing hide and seek, crashing into each other, going to the hospital, the ice creams and the kindly ice cream shop man? The naturalness of the friendship and the detail of how they liked each other?

7.Jacob and his age, his father as an absent war photographer, his mother and her work, going to seminars? Being by himself? The encounter with Marie, the friendship, his outgoing nature? His being a bit of a philosopher, the reflections on God, the meaning of life (and Marie's denial)? Marie wanting to stay longer with him, the phone call, the permissions? The return home and Jacob's visit, coming to stay over, their going out in the night, watching the stars, his explanation of the clouds and stars? Giving Marie a new perspective on life?

8.Marie and the counsellor, her hardness and harshness with him, going outside and weeping?

9.The farewell to Jacob, the significance of her friendship and her future?

10.Her decision to go to see her mother, getting the train, the relations minding her mother and their caution? Her seeing her mother, her mother's grief, silent, reclusive, not listening? Marie going into the barn, the cousin urging the mother to come to life again? The mother in the barn, her talking, her prayer, her faith, growing in love and the reconciliation with Marie?

11.Her father's arrival, the resolution and the return home? A small focus on a particular incident and characters but the universal appeal and meaning?

LET'S GET HARRY

US, 1987, 107 minutes, Colour.
Robert Duvall, Gary Busey, Michael Schoeffling, Matt Clark, Ben Johnson, Rick Rossovich, Mark Harmon.
Directed by Alan Smithee.

Let's Get Harry seems like a film version of a war game in a soldier of fortune magazine. Opening in Colombia, it shows terrorists abducting Americans. The scene shifts to Aurora, Illinois, where the family of one of the Americans is angry and the young men decide to get the help of a mercenary and go down and rescue him. It seems like a foolhardy idea - and much of the film shows that this is the case - as well as being illegal. However, gung-ho prevails and they actually rescue him and get him home.

Robert Duvall (shaved head, with a beard) snarls and leads the young men as the expert mercenary. Gary Busey is a wealthy hunter who goes on the trip. There is a violent atmosphere about the film - and that strong militaristic, gung-ho American pride.

1.A piece of Americana? Relationship with Latin America, terrorism, drugs? Mercenaries and American rescue invasions?

2.The Colombia settings, the contrast with Aurora, Illinois? The ordinary and the extraordinary? Action, stunts? Musical score?

3.The macho perspective, the war games? The law? How possible was the plot, how plausible?

4.The violence, the action? Pros and cons?

5.Harry and his job, the American experts, helping the Colombians? The ambassador? The attack, the capture, in prison, the torture? Harry almost executed? Negotiations?

6.The four young men, their work, talk amongst themselves, the pressure of the father on Harry's brother, the Christmas celebration, the decision to go - the interview with the would-be mercenaries (and their violent nuttiness)?

7.Shrike and his arrival, appearance, explanation, the deal? Making things clear? The Florida training? His expertise? Going to Colombia, in the city, his martial arts techniques to rescue the two young men? His contacts, the arms dealer, discussion? Betrayal and arrest? Interrogation and torture? The attack, the embassy official, onto the plane, their discussion, most getting out? The return to Alfonso, the deal, finding the girl, her guidance to the prison camp? The fight - and Shrike's being shot?

8.The four men, their style? Their debt to Harry? The plan, Shrike, the training? Going to Colombia, wandering the city, the street gangs, their inexperience? Arrest and torture? The plane, the married man staying on the plane? The others getting off, courage and fear? Finding the girl, not torturing her? The fight and Shrike's death? Going it alone, the attack on the camp, their skills, massacring the enemy? Possible? The rescue and return?

9.Jack Abernathy, his money, hunting, macho, enthusiasm, going, in the adventures, torturing the girl - and apologising?

10.The kidnappers, their reasons, their style, Colombian background, drugs? The gun dealers and their double deals? Government officials?

11.The American embassy official? The double talk? Trying to get the men out?

12.Enjoyable action adventure - of the gung-ho, macho American style?

LETTER OF INTRODUCTION

US, 1938, 100 minutes, Black and white.
Adolphe Menjou, Andrea Leeds, Edgar Bergen (and Charlie Mc Carthy), George Murphy, Eve Arden, Rita Johnson, Ernest Cossart, Ann Sheridan.
Directed by John M. Stahl.

Letter of Introduction is a pleasant 1938 drama - with the touch of the weepy. It is typical of the film's directed by John M. Stahl, which range from When Tomorrow Comes to The Keys of the Kingdom.

The film has a New York setting, the atmosphere of the theatre. Andrea Leeds is an attractive heroine. Adolphe Menjou does a variation on his usual performance. The film is an early one for a sympathetic George Murphy, and the usual wisecracking Eve Arden. It is also a star vehicle for ventriloquist Edgar Bergen and his puppet Charlie Mc Carthy - who have many sequences (some seeming inordinately long).

The film has romantic elements as well as sentiment - and the important Secret which is guarded by the heroine.

1.Pleasing '30s drama, style, `weepy'?

2.Universal Studios, black and white production, New York settings, score?

3.The title, the importance of the letter, its being rescued from the fire, Kay and her reliance on it? The introduction to Mannering? The consequences? Barry finally reading the letter?

4.Kay, the New Year's Eve fire, rescuing the letter, the meeting with Barry, the New Year celebration, meeting Honey and Cora, meeting Edgar Bergen? Their kindness to her? Going to John Mannering, his reading the letter, the bond of father and daughter? The importance of meeting her father and hearing his point of view on life, his marriages? Lydia upset, Barry angry? Her going to dinner, the upset, asking Barry to find the $21? Mannering's return to the apartment, drinking? Barry and his anger, physically abusing Mannering? Kay and her staying with her father, the audition, the rehearsals? The hope for success in the theatre? The eve of the performance, his drinking, not knowing his lines, the curtain coming down? The accident, Kay hearing about it on the radio, going to the hospital, the death-bed scene, secret remaining? Her decision not to tell people about the letter - but showing it to Barry? Her future with him? On the stage in a year's time?

5.John Mannering and Adolphe Menjou's style, pompous, star, not wanting to see Kay, reading the letter, becoming tender, his truth about himself and relationships and commitment? Hopes with Lydia, the meal and her scene? Drinking, the return? The clash with Barry? Helping Kay, the audition? His decision to go in the play, his nerves, his assistant, drinking, failing, the curtain coming down? Listening to the people in the street, going under the taxi? His death-bed?

6.Barry, genial hero, helping with the letter, the fire, getting the $21, jealousy, attacking Mannering, proposing to Honey and going off with her, coming to see the play, the encounter with Mannering, the end and reading the letter?

7.Edgar Bergen and Charlie McCarthy?, their popularity at the time, Bergen's skill, the personality of McCarthy? The personality of Mortimer Snerd and comparisons with McCarthy? Bergen as part of the plot, helping? Attraction to Cora? The humorous sessions and long sequences illustrating his skills? The final radio programme and the grief at Mannering's death?

8.Cora and Eve Arden's comic style, helping Kay, with Bergen? Honey and her help, taking Barry on the rebound?

10.The world of the theatre, New York? An emotional drama?

LET ME CALL YOU SWEETHEART

US, 1997, 90 minutes, Colour.
Meredith Baxter, Tony Lo Bianco, Victor Garber, Nick Mancuso, Art Hindle.
Directed by Bill Corcoran.

Mary Higgins Clark Let Me Call You Sweetheart is one of many telemovies made from the celebrated author's murder mysteries. They are conventional enough - but attractive for a wide audience, have a mystery and a twist, and have generally little to disturb the television audience by ways of sex, language or violence.

Meredith Baxter is the heroine of this story, a smart lawyer, tough, divorced and bringing up a child. She teams up with another lawyer to rescue the reputation of a man imprisoned for the death of his wife. There are many twists - and many possibilities for the killer. And it all ends happily ever after.

1.Entertaining telemovie? For the general audience? Suitability and ease of watching?

2.The murder mystery, the situation, the clues, the investigation, the twists, the revelations?

3.The New York atmosphere, affluent society, the courts, legal offices, the police? The background of the Mafia, of senate politics?

4.The focus on Carrie: the background of her legal training, divorce from Bob (and still encountering him, his role as a lawyer, the reason for his leaving)? Her love for her daughter and caring for her, the time together? The possibility of her being made a judge? Her daughter and the plastic surgery, the encounter with Dr Smith, seeing Suzanne Smith's face on several of his clients? The coincidence of the encounter with Jeff and his belief in Skip's innocence? Her reflecting on her early years in the courts, her investigations and reports, her not pursuing the innocence and told not to rock the boat?

5.The Mafia and Bob working for them? In court, the boss and his attitudes, relationship with Suzanne? His accountant and his turning witness against his boss? The persuasive police - and the murder of the informer? The Mafia possibility of the death of Suzanne? The attacks on Carrie's daughter - and her evading them? The hetman and Jeff and Carrie interviewing him? His story and being witness to the killing? The irony of the Mafia boss having a sense of false guilt?

6.Dr Smith, his pursuit of Suzanne's face, his clients? Pursuing them for example to the health clinic? The background of Suzanne as a plain young girl, her step-parents and stepsisters, her diary? Her father giving her a life? His possessiveness of his daughter? His evidence in the case, about the jewellery, about Skip and his violence towards his wife? Carrie and her visits, the enquiry about a facelift? Dr Smith and his pursuit of the truth? The final confrontation with Carrie, his admitting of the truth, his memories of finding Suzanne dead, making Skip the villain? His note, Skip's tape, the intention for suicide - and his being murdered at his door?

7.Skip, his relationship with his wife, his declaration about the tape and its being unavailable? His years in prison? The support of Jeff and Carrie? The issue of the jewellery? His being a victim - and finally getting the tape back?

8.The senator and his wife, their love for Carrie and her daughter, helping out? The senator warning her against pursuing the case? The revelation of the truth about the deals, the wound on his face and the hospital records, the truth and his wanting the pin back from Suzanne? The accidental killing? His wife shooting him?

9.Carrie as a relentless and intense character, in the courts? The contrast with her relationship with her daughter? The bitterness towards Bob? His threatening her about the Mafia case? The meeting with Jeff, Jeff as a lawyer, personable, breaking off his engagement? Falling in love? Her being appointed a judge - and their all being present?

LET IT RIDE

US, 1989, 91 minutes, Colour.
Richard Dreyfuss, Teri Garr, David Johansen, Jennifer Tilly, Alan Garfield, Michelle Phillips, Mary Woronov, Robbie Coltrane.
Directed by Joe Pytka.

Let It Ride is a brief, slight comedy about the racetrack and gambling. It is a star vehicle for the energetic Richard Dreyfuss. The opening credits use some of Frank Loesser's music from Guys and Dolls - which indicates that this is something of an update of Damon Runyon's characters and themes.

It all takes place in one day - and is a gambler's delight. Everything goes well.

1.Amusing comedy of the racetrack, gambling, winning?

2.Miami locations, racecourse, the city? Musical score? Frank Loesser's Guys and Dolls music? The songs? Giorgio Moroda's songs?

3.The opening with Trotter and Pam, their resolutions? Tension between the two, arguments? The phone calls during the day? Pam coming to the track, causing scenes, embarrassment? Her wanting to become an alcoholic? Back to the track for the finale?

4.Trotter and his gambling, hearing Loony's tape, going to the track, the various pals at the racecourse? His enquiries about Charity? Charity winning? Going to the race fixers and telling him about the tape, their giving him a tip, the next win? The tie for the jockey club? Going to the jockey club, the encounter with Vicki and her sexy style, Bernie and his loud style, the wealthy woman - and the wrong tip? His being arrested, a misunderstanding, locked up and not being able to get on Lord Byron? The seller of the tickets and his irritation, growing admiration? Vicki and the talk about sex? The discovery of people's opinions - and Trotter betting against them, winning? Looking at Hot to Trot, betting everything, his calm approach? The final win? His lucky day?

5.Loony, the taxi, taping conversations? His brashness, his own bets and debts, clowning around?

6.The types at the bar, those making the bets, the hippy, the big man buying space for onlookers? The waitress at the hamburger bar?

7.The types at the jockey club - Bernie and his money, Vicki and her being provocative, the wealthy woman? Everybody looking on? Pam and her scenes?

8.American humour? The American dream of winning?

LES MISERABLES

France, 1957, 210 minutes, Colour.
Jean Gabin, Daniel Delorme, Bernard Blier, Bourvil, Serge Reggianni.
Directed by Jean Paul Le Chanois.

Les Miserables is one of the many film and television versions of Victor Hugo's classic novel. The film was made in France in the '30s as well as in the US in the '30s and '50s. This version, coming soon after the introduction of wide screen techniques, is a 3-hour spectacle which remains very faithful to the novel. (The successful musical seems to be very close to this particular adaptation of Hugo's novel.)

The film has excellent settings, uses the wide screen for intimate sequences as well as spectacle (including the Battle of Waterloo). The cast is a fine French cast: Jean Gabin, older, a more interior Jean Valjean; Bourvil, the comedian of so many films of the '50s and '60s, as Thenardier; Bernard Blier as a large but efficient Javert.

The minor characters are well drawn, the familiar episodes are there - as well as some vitality of action on the barricades. The film emphasises spectacle, yet nevertheless captures the essence of Hugo's characters and the issues.

1.The popularity of Victor Hugo's classic? Its status?

2.The tradition of screen adaptations? The musical? Audiences familiar with plot, characters, values?

3.A French interpretation, its scope, colour, musical score, period? The staging: tableaux and action? Intimate scenes and broad sweeps? The use of wide screen processes?

4.The introduction to Jean Valjean in the galleys, in the prison, the reason for his imprisonment, the march through Toulon, the accident and his lifting the wagon? Javert and his supervision with his father?

5.The passing of the 19 years, the effect on Valjean? Jean Gabin's interpretation - an interior and bitter Valjean? Going on the road, at the alps, not reporting to the parole officers? His future? The cardinal's arrival, his pomp and circumstance, seeking the bishop, the disdain at his humble house, not wanting to sleep there, going to the mayor? The bishop, turning over the bishop's house to the hospital, living in a poor house, riding on a donkey - and then saying he was too presumptuous to be like Christ? His housekeeper and his sister? Welcoming Valjean, the meal, setting the special cutlery? The room? Valjean and the stealing, the police bringing him back, the bishop offering the candlesticks? Buying Valjean's soul?

6.The transition to the town, Valjean and his skills, the factory, his being named as mayor, the civic awards? The factory people, Fantine and the abuse? The workers? His reputation? The arrival of Javert? Suspicions? Fantine's illness, her death? The nun and giving the information for Paris and the convent? Not giving him away? The false Valjean and the mayor confessing to save him?

7.The portrait of the Steadier’s, their characters, scoundrels, the poverty of their children, their spoiling them, being hard with Cosette - her having to get the water, going out in the night? The encounter with Valjean, the meal, the money, doing the deal, the bargaining? Their pretences about Cosette? Javert and his arrival, the pursuit in the house, Valjean concealed, the escape?

8.Arrival in Paris, going to the convent, his working in the garden, Cosette and her education?

9.The transition to Marius's story: his grandfather looking after him, his father and his fighting at the Battle of Waterloo, political stances, royalists and revolutionaries? The memories of Napoleon, the visualising of the Battle of Waterloo, the strategies, the slaughter? Marius's father and his injury, Thenardier robbing the corpses, helping the father? The letter to commend Thenardier? Marius and his leaving home, his father's death, the will, his study, the irony of living next to the Steadier’s? Their noise and arguments, pretences? Eponine and her love for him? Reading in the park, seeing Cosette and her father? Losing them?

10.Eponine and her place in the family, stealing, Valjean helping her, paying the cost of the bread, Cosette giving her the dress, bringing food, the irony of their coming to the Thenardier? Marius going to Javert to warn him? The Thenardier and their plot, the gang, the confrontation? Valjean's escape?

11.Marius and Eponine, her helping him, the letters, their friendship, her dying for him, her becoming a heroine?

12.The death of General Lamarq, the funeral? The students in the cafes? Revolution? The police, the spies? The building of the barricades? Enjolras and his leadership? The fighting, Javert as a spy, helping them? The battles? Gavroche and his taking the message, collecting the bullets, information about Javert, his being killed? Marius being wounded? The finale and the loss of the barricades, the execution of Enjolras and his friend? Valjean, offering to kill Javert and saving him? Carrying Marius, the encounter with Javert, their both carrying him home?

13.Javert, the return to the police, the mystery of his being freed by Valjean, his not getting an answer, pondering, walking past the Seine, people in fear of him, throwing himself in?

14.Tenardier, his good fortune, the plot, going to Marius, the lies - and his fare being paid to the United States?

15.The wedding, Marius and his conditions for Valjean's absence? The pursuit of the truth, the irony of Thenardier telling the truth? Valjean and his collapse in health, being reunited with Cosette?

16.The truth, the clearing of his name, the achievement? The humanity of the story? The plight of the poor? Law and justice? Oppression? Revolution? Religion, the picture of the church? Jean Valjean as a redeemer and a saviour?

LEGS

US, 1983, 91 minutes, Colour.
Gwen Verdon, John Heard, Sheree North, Maureen Teefey.
Directed by Jerrold Freedman.

Legs is an enjoyable telemovie about Radio City Music Hall and the famous Rockettes who have danced there for decades. The sound of the music by Lee Holdridge as well as the staging of the musical numbers is surely reminiscent of A Chorus Line (although this film preceded the film version by two years).

The film was co-written by its director Jerrold Freedman. It delineates its characters quite well - the would-be dancers, the veteran choreographer, the photographer from California, the demanding mother...

John Heard is the photographer, Sheree North, a dancer in her own time, especially in the '50s, is the mother, but Gwen Verdon has a good role as the former dancer-turned-choreographer.

The film treads familiar ground - the hopefuls, the rehearsals, the limited positions and the number of girls wanting to reach the top, the good-hearted choreographer, relationships and decisions.

1.Enjoyable telemovie - New York background, Radio City Music Hall and its reputation throughout the world? A story about show business?

2.New York settings, Radio City Music Hall itself, the rehearsal rooms? The streets of New York City? The staging of performances, choreography? Music and lyrics? Echoes of A Chorus Line?

3.The title, the focus on the dancers, their physical ability and beauty, choreography, costumes and decor, style - and the response of the audience?

4.The situation in Radio City Music Hall - full-time employment and part-time? Aspiring dancers? The three girls who train - Lisa and her marriage, background with the Rockettes, wanting to return? The daughter of the Rockette and the demands her mother made on her, her arrogance with the rest of the girls? Melissa, the young girl from the ordinary background, the hopeful? Their training and their dancing? Their interactions with the rest of the girls? The scenes at rehearsal, exercise, in the dressing-room? Fights, friendships and clashes? Performance?

5.Maureen and her background, so many decades with the Rockettes, a good dancer, her experience, choreographer? Her ability to work with the girls? The personal dilemmas, her handling of them? The decisions about the replacement? Getting the veteran dancer to retire, choosing the new leader and asking her for confidentiality - which was not given? Her final decisions? Her discussion with the veteran dancer pressurising her daughter?

6.The mother and daughter, memories of the Rockettes? Pressures? Success and wealth? - As a career, working with a troupe, learning to be part of the team rather than as an individual dancer? The consequent demands? The effect of dancing for many years - and the women retiring hoping for a future?

7.Dan, the photographer from Los Angeles, the audience observing the life in Radio City Music Hall through his eyes, photography, understanding? The encounter with Lisa, the attraction, outings, the beginnings of the affair? His wanting her to go back to California, her wanting to stay? Parting amicably?

8.Melissa and the young stage attendant - friendship, his wanting to date a Rockette, their outings together, home, the movies? Her not getting the job - but his still wanting to go out with her? Her feeling of affirmation, determination to go on?

9.The daughter and her confrontation with her mother, her self-sacrifice in giving up the position, wanting to be part of a team, benefiting by the experience? Lisa, the broken marriage, her child, wanting to make a comeback, her skills, success?

10.The background of American show business and the American Dream? The scenes of the audiences appreciating the shows? Familiar characters and situations - but done with some liveliness - for the wide television audience?

THE LEGEND OF BILLIE JEAN

US, 1985, 92 minutes, Colour.
Helen Slater, Peter Coyote, Keith Gordon, Christian Slater, Dean Stockwell.
Directed by Matthew Robbins.

The Legend of Billie Jean is a modern-day fantasy for the youth audience. It focuses on some youngsters in Texas, their being exploited, their reaction - and the situation getting out of hand so that they become the equivalent of outlaws. However, as Billie Jean points out, they are not crooks. The film also shows how youth need models, how fans create an atmosphere and legends, how this is helped by the media and commercial exploitation.

The film is a mixture of the humorous and the serious. Younger audiences may well enjoy it. Older audiences may well be irritated.

Helen Slater is very attractive as Billie Jean (Supergirl, Ruthless People, Secret of My Success). Her brother Christian Slater (Name of the Rose) is her brother. There is a strong supporting cast including Peter Coyote as the police inspector and Dean Stockwell as the district attorney. Keith Gordon (Christine) is the son of the DA.

The film was directed by Matthew Robins (Corvette Summer, Dragonslayer, Batteries Not Included).

1.Impact of the film? For what audience? Youth, adults? Americans? Universal audiences?

2.The Texas settings, Billie Jean's world, the roads, the beaches? Musical score, the songs - and the lyrics and their meaning?

3.The atmosphere of legend: the introduction of Joan of Arc and her situation, the action of Billie Jean and her brother, the growing reputation, radio and media, use of video? Commercialisation? The youngsters and their following Billie Jean as heroine, fashions, hair styles? Helping?

4.The motto of `Fair is fair'? Adults pre-judging youth, adults exploiting youth? Outlaws but not crooks?

5.Billie Jean and Binks, their mother, family relationships, going out, the scooter? The clash with Huby and the teenagers? Egging each other on? The taking of the scooter, the fight, Binks being bashed? Going to the police for help? The setting up of the situation?

6.Billie Jean going to Huby and his father for the money, the father's proposition, her reaction, Binks with the gun, the shot? On the road? The legend beginning?

7.Police reports, the exaggerations, the interview with the father? Getting the car, Ophelia and her driving, Putter coming along for the ride? The styles of the girls? In the car, the chases, the man firing at them? Getting food, the wealthy girl putting it on her father's card? Travelling around, wanting a car? Staying places and sleeping? Into the shops - and leaving the IOUs?

8.Ringwald, the police, handling of the situation, his judgment on himself? The deals? Phone calls? The father and his coming to the shopping mall, provoking Billie Jean with the money? Ringwald supplying the money? The chase again?

9.Going to Lloyd's house, its eccentricity, interesting horror traditions? His willingness to help, making the video, claiming to be the hostage and the jokey video? The irony that his father was the district attorney, campaigning for attorney-general?

10.The newspaper headlines, the media reports? Billie Jean wanting to help Ophelia and Putter and arranging for them to be caught? The chase on the golf course? The range of friends recognising Billie Jean and helping her, the celebrity of the club? Ringwald's appeal, her phone call, the set-up at the beach? Binks dressed as Billie Jean and holding Lloyd hostage? The guns? The shot? The fans and the riot?

11.The character of Billie Jean in herself, attractive, honest? The Joan of Arc story, cutting her hair, making the video, her statement and the interview? Her behaviour and integrity?

12.Binks and his age, irresponsible with the guns? His wanting his scooter back? Sharing in the experience? Ophelia and Putter, their presence, sharing things? Putter and her being precocious, period, talk, haircut?

13.Ringwald and his being fair, the appeal, the set-up at the end? the district attorney and his wanting his son back, calling in the sharpshooters?

14.Lloyd, his character, distant from his father, friendship with the group, helping, the video, the hostage? Running away from home?

15.Huby as a lout, weak, taunting? With his father? His father and wanting the deal with Billie Jean, exploiting her? Shot, his interviews, condemnation of youth? Appeal for justice - to Ringwald, to the DA? His exploiting Billie Jean with the merchandise? The final confrontation, the truth on TV, the fire and his goods being burnt up, nobody helping him?

16.The transition to Vermont, brother and sister together - their future?

17.The point of the film: its effect, law, values?

LEADER OF THE BAND

US, 1987, 90 minutes, Colour.
Steve Landesburg, Gaillard Sartain, Mercedes Ruehl.
Directed by Nessa Hyams.

Leader of the Band takes a well-tried plot: the man out of work, his job with the school band, their incompetence, failure, training, success and his self-esteem. It is the Rocky theme all over again. The film is quite amusing, American style humour. Steve Landesberg is the musician who becomes the leader of the band and takes the Georgia school band to success. Mercedes Ruehl (Married to the Mob, Slays of New York) is good as a sympathetic teacher. Nothing new, local colour, just watching the band go from terrible to success.

1.Popular piece of American comedy? The Rocky theme in school and the school band?

2.Georgia settings, city, nightclubs, the school? The sequences of band and marching routines? Musical score?

3.The title, the hero and his achievement?

4.The musician, his playing, his failure, being sacked? Variety of jobs? The interview for the school band? His pretending to be better than he was? His being hired? Friendship with the teacher and her throwing herself at him? The fat tycoon and their friendship? The principal? The band and its being dreadful, auditions, the black leader and the collaboration? Performance and failure? Confrontation, his being sacked? Building the band again? Their achievement?

5.The fat man, hire and fire, his nephew in the band? His friendship - and the comic touches?

6.The teacher her friendship, her throwing herself at him? Comic style?

7.The members of the band, rag-tag, no sense of music? Their leader? Practice, failure? The danger of being excluded? Sprucing up, practice and success?

8.Popular entertainment? Popular themes?