LADYKILLERS

US, 1988, 97 minutes, Colour.
Marilu Henner, Susan Blakely, Lesley Anne Down.
Directed by Robert Lewis.

Ladykillers is a routine whodunnit designed for television. The twist is that the victims are male strippers and that the police person in charge is a woman. It is not difficult to work out who the murderer is.

The film has something of a sensational touch (television style stripping rather than feature film for cinemas). It also gives the opportunity for the rookie policeman to have to go in as a decoy and prove that he is a more talented stripper than most of the others.

Marilu Henner is the policewoman, Susan Blakely is the decadent owner of the club, Lesley Ann Down is the eccentric manager. Expected material - with a touch of the sensational.

1.Interesting police thriller? Murder mystery? The background of The Ladykillers Club? The salacious touch?

2.American cities, police precincts, advertising agencies, mansions, the strip club? Musical score, songs, choreography?

3.The title, the focus, the tone? The club?

4.The focus on the police, the policewoman and her skills, her partner, their affair, friendship, clashes? Professional partnership, the woman in charge, the man as the rookie? Her relationship with him, demands on him, his effectiveness? The officers discovering their relationship, their attitude? The woman on the job, interrogating the women? The male on the job, standing in as a stripper, becoming victim? The final confrontation of the killer, solution of the case?

5.The manager, her style, her relationship with the dancers, the costumes, choreography? The clash with the dancer and the finale? His death? Interrogated by the police? Keeping the club open? The woman who went to the club and knew the manager as a prostitute? Telling the story, the psychological trauma? Motivation for the killings? Confronting the policeman, the rescue, her death? The expected murderer?

6.The advertising agent, ownership, her relationship with men, at the club, pick-ups, the policeman wired and her being a suspect? The clash with the policewoman? Innocence? Her office, the girl with the advertising, the particular implement - used to slash the dancers?

7.The male dancers, their background, working together, the dressing room, attitude towards the manager? Their performances? Relationship with the women, money, pick-ups?

8.The audience, the club, the women and their egging each other on? The woman whose husband despised strippers? her background as a prostitute? As a suspect, giving information, her wanting to keep her life a secret to save her marriage?

9.The atmosphere of the city, the clubs, jealousies, sexual relationships? Murder?

THE LADY FORGETS

US, 1989, 97 minutes, Colour.
Donna Mills, Roy Dotrice, Andrew Robinson, Greg Evigan.
Directed by Bradford May.

The Lady Forgets is a routinely enjoyable telemovie thriller. It is a star vehicle for Donna Mills. There is an effective supporting cast led by English actor Roy Dotrice. Andrew Robinson, a villain in his earlier roles (Dirty Harry), is the husband; Greg Evigan is the lover.

The film, obviously, is a story of amnesia - of crime, forgeries in the art world, violence as well as personal puzzlement and readjusting to family. Enjoyable enough of its kind.

1.Interesting telemovie thriller? Amnesia theme? The crime? Violent confrontations and ending?

2.The glamorous world of art? Suburbs and homes, school? the mystery world of the amnesia victim? Musical score?
3.The title, the introduction to Rebecca, the purse-snatcher? Her hitting her head? Her identity? The mystery of her coming home after two years? The audience trying to fill in the past with her? Reaction of husband, of daughter? Her being pursued? The memories gradually coming back, retracing her steps? Meeting people again? Final resolution of the mystery?

4.Rebecca, her returning home, her relationship with her husband and the break-up of the marriage? Reconciliation with her daughter? Her puzzle about what had happened, going to the school, to the psychiatrist? Retracing her steps, discovering Tony? Their relationship? The art connoisseur? The police chase? The driver? The social, her realising the truth, the painting and the forgery? Her memory of witnessing the murder? The pursuit of the driver? The set-up for the killing of the family? The escape? The police turned traitor? Tony and his help? The final decisions - to stay or to go? Her future?

5.Andrew, the bewildered husband, her resentment of the two years? His new wife? Her daughter, her concern? Staying with her mother? The dangers to them?

6.The art connoisseur, suave manner, the van Gogh painting, the forgery? The murder? His suave menace? With Tony, with Rebecca? The visit to the home? The violence? Shooting the policeman? The policeman, the investigations, the pursuit, his greed, his death?

7.Tony, the artist, relationship with Rebecca? Helping her rediscover the past? His going away?

8.Thriller ingredients? The world of the characters? The plausibility of the plot? The crime genre and its final resolution?

LADY BE GOOD

US, 1941, 111 minutes, Black and white.
Eleanor Powell, Robert Young, Ann Sothern, Red Skelton, Dan Dailey, Virginia O'Brien, Reginald Owen, John Carroll, Lionel Barrymore, Jimmy Dorsey and his Orchestra.
Directed by Norman Z. Mc Leod.

Lady Be Good is a routine show business story built around a very successful Gershwin song. It receives quite the treatment in this movie. However, the film is about song composers, ambitions, incompatibility, divorces and remarriage. Robert Young is genial, as always, as the ambitious musician. Ann Sothern has a strong role as the waitress turned lyricist. She has a high point of her career, singing with great feeling in close-up, Jerome Kern's and Oscar Hammerstein's Oscar-winning song, `The Last Time I Saw Paris'. (This reflects the film's release in 1941 and the attitude of the US before it entered World War II.) The supporting cast includes Red Skelton in an early role, the poker-faced Virginia O'Brien, a glimpse of Dan Dailey. However, top billing is given to dancer Eleanor Powell. She has a role that seems written for Eve Arden - but does not dance until later in the film. This is disappointing - but her routines are very entertaining. The dance sequences - especially the finale - were directed by Busby Berkeley and bear his particular style.

1.Entertaining musical drama? In the '40s, in retrospect?

2.MGM production values, black and white photography, the cast, Busby Berkeley directing the dance sequences? Songs by the Gershwins, Kern and Hammerstein, Arthur Freed and Roger Edens? The classics? The choreography for `Lady Be Good' and for `Fascinatin' Rhythm'?

3.The songwriter's story and audience familiarity: Dixie, the waitress, her ability with words, offering Eddie the lyrics, clicking, the partnership? Their getting married? His ambition, her feeling out of it? Their not working well together? Her bringing up the question of the divorce? In the court, explaining things to the judge, support from Marilyn? The attorney and his speeches? The separation from Eddie, immediately concerned about his blue suit etc? On her own, the friendship with Buddy? Eddie's jealousy? His calling her over to help him organise his apartment? Her friendship with Marilyn? Their meeting one another, the composition of the song, `Lady Be Good' - the collage of their extraordinary success in the US, everybody singing it, world-wide? The speech by Max? The clash in the car? Marilyn trying to make Eddie jealous, Buddy's gift of the ring? The proposal again, remarriage? The clash in Connecticut, the separation, her reaction to Eddie composing the symphony, his wealthy lady friends? The second divorce, the judge forbidding it? The reunion with Eddie - and her not telling him that they had not been divorced? Ann Sothern's verve, comic style, singing - especially `The Last Time I Saw Paris'?

4.Eddie, Robert Young's style, the composer, Bill not able to provide lyrics, Dixie and her feeding him at the cafe, supplying the lyrics, clicking? His skills, falling in love, the wedding? His ambitions, the party, ignoring his friends, the ladies and the engagements, the invitations? The clash with Dixie at home? His demands, not wanting the man to be blamed? On his own, helpless, jealous of Buddy, in the club and hitting him? Calling Dixie over, `Lady Be Good'? Success, the clash in the car? His jealousy, Buddy and the ring, the attempt with the gun (and not able to find one)? The reconciliation, the remarriage, the fight, ambition to do the symphony, going off by himself to South America? Too late for the court? Thinking they were divorced - and telling the truth and being reconciled to Dixie?

5.Marilyn, friendship with Dixie, supporting her, talented dancer, the intrigues for getting Dixie and Eddie together, using Buddy? Her dance routines, with the dog, `Fascinatin' Rhythm'? The Eve Arden style best friend?

6.Buddy, the crooner, the ladies' man, the clashes with Eddie, friendship with Dixie, with Marilyn, entering into the plot with the ring?

7.Red, Red Skelton and his comic style, putting his foot in it, pratfalls? Friendship with Lull, her food, the comic mocking of the song?

8.The judge, Lionel Barrymore and his style, listening to Dixie, to the evidence, the worldly wisdom, reprimanding Dixie, reprimanding Eddie? The trial lawyer and his suave manner?

9.The range of musical numbers, the story of composers - and their seeming to compose without much effort (though interesting looking at the composition of `Lady Be Good')? The songs and their performance, singing, dancing, radio, nightclubs? A musical of its era?

LA BOHEME

US, 1926, 75 minutes, Black and white.
Lillian Gish, John Gilbert, Renee Adoree, Edward Everett Horton.
Directed by King Vidor.

La Boheme is one of King Vidor's final silent films. It is a dramatisation of the classic story which was immortalised by Puccini in his opera. It is a star vehicle for Lillian Gish at her most sympathetic. (In The Patsy, 3 years later, Marian Davies will do a mimicking parody of Lillian Gish - to some effect.) The co-star is John Gilbert, who gives a dashing performance in a role of a playwright who is completely self absorbed and obsessive.

The film, in the silent style of fixed camera, nevertheless has a fluidity because of its direction by Vidor, the range of shots and the pace of the editing. The studio re-creates sets for the story which are reminiscent of those for classic and traditional presentations of the opera. The film is the perennial story of the self-absorbed man, the devoted woman who sacrifices herself for him - with his discovering the truth too late.

1.La Boheme as a classic story, the many versions, the opera?

2.Silent film style, fixed camera, angle shots, editing and pace? The work of King Vidor?

3.The black and white photography, its clarity, the studio sets, the strength of the cast? The captions?

4.Paris in the 1830s, the Latin Quarter, the would-be artists, the models, Rodolphe and his writing? Mimi as the seamstress?

5.The portrait of Rodolphe and John Gilbert's style? Type, writing his plays, resisting the landlord, the attraction towards Mimi, the picnic, her being his inspiration, being casual with his editor, writing the articles, in need of money? His glimpsing Mimi with the vicomte? Suspicious? Her bringing him the money from the articles, his impassioned writing? Mimi's absence and his search of her garret? His going out drinking beer with his friends, encountering the editor, the truth about his being sacked? Confronting Mimi, seeing her shoes, his jealousy? Losing her? His bitterness and sorrow, the passion of his play? Its success? With his friends, the regrets about Mimi? Her return to the garret, the pathos of her death?

6.Mimi as attractive, the seamstress, attracted towards Rodolphe, the picnic and their love? Her deceiving him about his being sacked and sewing all night for the money? Her illness, tiredness? The chance encounter with the vicomte and Rodolphe's suspicions? Going out with him, Musette giving her the dresses, hoping to see the manager of the theatre? Being confronted by Rodolphe? Her decision to leave, the hard work in the laundries? Her dying, the return, on the carriages, walking? Seeing Rodolphe and her having given herself completely for him?

7.The vicomte and his wealth, the satanic look, the attraction towards Mimi, seductive? At the theatre?

8.Musette, the model, her background, helping Mimi with the dress? The group of Rodolphe's friends and their celebrating with him?

9.The era, the love story and its continued appeal? Relationships between men and women? Interdependence?

LIAM

UK, 2000, 88 minutes, Colour.
Ian Hart, Claire Hackett, Anthony Borrowes, Megan Byrnes, David Hart, Anne Reid, Russell Dixon.
Directed by Stephen Frears.

Liam is a 90-minute BBC film directed in a plain and straightforward style by Stephen Frears more like his films My Beautiful Laundrette, The Van, Snapper rather than his more profile films like Dangerous Liaisons or High Fidelity.

The film was written by Jimmy Mc Govern (Cracker, The Lakes, Priest). He has written the film from his own experience in Liverpool in the '50s, his growing up as a Catholic, his experience of clashes with Protestants and with anti-Semitism. He also experienced a stammer when he was young, just like the boy in the film. Liam shows us a poor family in the Liverpool of the '30s, the father put out of work at the docks, blaming the Jewish businessman who owns the company (while his young daughter in fact works as a maid in his house). However, everything is seen through the eyes of young Liam, a seven-year-old, preparing for his first confession and communion. We see the community joy of the Irish in the Liverpool suburb, the harshness of scraping enough money to survive. The preparation for the first communion and confession, with severe classes on the suffering and pain of Jesus, the intensity of hellfire and its being everlasting, the nature of sacrilege, seem a touch caricatured, but are the vivid memories to be retained by the young boy. The church is presented as severe, as is the parish priest, and yet the church also collects money for the needy during the Depression and the priest shows some pastoral common sense in dealing with the stammering Liam's scruples.

Ian Hart is excellent as the father, as is Claire Hackett as the mother. Megan Byrnes won a special award at the Venice Film Festival for her role as Teresa. Jimmy McGovern's screenplay includes many themes which serve as a reminder of Liverpool's past, of the Britain of the early '30s, of families, of unemployment and struggle, of anti-Semitic and anti-Irish prejudice, of the church and the sacraments and how so much has changed since then.

1. The work of Jimmy Mc Govern, autobiographical, memories, insights? As dramatised by the non-Christian, non-religious, Stephen Frears? A creative collaboration?

2. A perspective on British history, Liverpool, the '30s, the Depression, Jewish ascendency in Liverpool, the temptation towards fascism?

3. Insights into the Irish in England, the migrations, labouring on the wharves, the poor wages? The Catholic church, the priest and his role, in the Catholic family? Parish life, at church, the fund for those out of work, at school, the emphasis on preparation for the sacraments and the severity of the tone, the hymns and the liturgy?

4. Liam as the focus of the film, characters and situations seen through his eyes? The parallel story of the father, his disillusionment, bitterness and joining the fascists and active violence? The story of Teresa between them? The range of perspectives?

5. BBC film, design for straightforward presentation and eventually television presentation? The direct and naturalistic style of film-making, the cutting and the editing, the score?

6. The opening with the presentation of the family, Dad shaving and smiling, Mother and the children and their roles within the house? The growing portrait of Dad, his going to work, his being sacked, his resentment, drinking, reaction in the house, looking for work, sitting around? His love for his children, the clashes with Con, especially as he was earning the money? Seeking work, bribing the official with the drink, spitting in his face when refused? His growing bitterness, anger at the priest, anger at the landlord and going after him in the street? His being humiliated? Looking for the cigarette stubs?(**butts?) The growing anger, going to listen to the fascists, getting the black shirt? Going on the job, encountering Liam at the house, the petrol bomb thrown and the effect on Teresa? His coming back at the end, going upstairs, not saying anything, Teresa's apology to him, his leaving? His future?

7. The portrait of the mother: in herself, the manager in the house, putting the money to the various accounts, not wanting charity from the Jewish family concerning the meat, not knowing about her husband getting the sack, the meals, the clothes? The clash with Aggie when she hit Liam, the fight in the street, the half-crown and Teresa giving it to her? Her love for her husband, his coming home, the sexual encounter between them and the smile? Going to Mass, communion? Ashamed of her husband and his outburst? Going to the pawnbroker? Glimpsing her at the end and her simply telling her husband that Teresa was upstairs? The portrait of the suburban and strong earth-mother?

8. Liam and his age, appearance, small? At home, watching everything with Teresa, at the stairs, at the pub window, smiling, playing? At school and ringing the bell? The classes, his reactions, bewilderment? Being late from home and getting the strap? His being puzzled by the talk about mortal sin? Looking at the book, the Dutch nudes, his glimpsing his mother, the pubic hair and his scruple? Going to the pawnbroker and getting more money? The importance of his stammer, its effect on him? Going to the movies? At the Samuels', playing, seeing his father, the petrol bomb? His combing his mother's hair, the end and his combing Teresa's hair?

9. Teresa and her age, her place in the house, looking after Liam? Going for the job, saying she wasn't a Catholic, at work, experience the Samuels family as nice? The mother throwing out the meat and her taking it home? The boyfriend taunting her about stealing? Finding Mrs Samuels kissing and her bringing in the tea? The letter from the boyfriend, concealing it from Mr Samuels? Knowing that Mr Samuels was overhearing his wife's phone call, Teresa warning her? Then weeping? Mrs Samuels giving her the money, the clothes, her friendship with Jane and trying on the dresses? Her not wanting to keep the money but giving it to Aunt Aggie? The clothes going to the pawnbrokers but her mother letting her keep one? Jane and the piano and her listening? The importance of her confession, saying that she had said she was not a Catholic, liking Mrs Samuels better than her own mother? The final visit, the confession to the family? The bomb, the Samuels wrapping her in the blanket and taking her in their car to the hospital?

10. The glimpse of life in the suburbs, the pub, New Year celebration, singing 'Kathleen', the kids watching, ordered to bed, Con vomiting after his drinking, the policeman and the club where there was not supposed to be singing and dancing, saying he had his eye on Liam? The IRA song versus the Orange song (and Liam singing it and his father forbidding it)? The knock on the window to wake up the workers? People going to work, people on the dole, the shipyards, the pink slips, the waiting to be chosen for work, not being chosen, the resentment? Aggie and Tom, Tom getting jobs, Aggie and her sister fighting in the street, Teresa giving the half-crown?

11. The theme of anti-Semitism, Mr Samuels as owner, going past in his limousine? The workers' reaction? The fine house, living in style? The fascist condemnation of the Jews coming in and accepting the 100,000 Irish and so lowering the wages? The linking of anti-Irish and anti-Jewish prejudice, Con attacking his father for this prejudice? The fascist speech and the repercussions on nationalism? The Jewish man in the pawnbroker's shop, bargaining for the money, the burning down of the shop and his grief? The Jewish landlord, collecting the money, the father attacking him and ridiculing him in the street for his religion and his money?

12. The church, the role of the priest, his visit during the meal, collecting the money, talking about the widow's mite? Masses, sermons? His being in class Mrs Abernathy and her explanation of sin, the white soul, becoming filthy, its stench, the need for confession; the priest and his talking about the nails in Jesus' hands (and Liam's later seeing crucifixes and images and hearing the sound of the hammer); the discussion about fire, the hottest fire and Hell, the various scenes of burning off, mending the road and the fire, Teresa and the fire; the discussion about eternity (taken from James Joyce), the nature of forever; the priest and his explanation of sacrilege; white souls and communion; Mrs Abernathy checking on the 9 am mass and communion; the first communion, Liam getting dressed and looking nice, suddenly eating the piece of bread, his mother taking him to the sacristy, his being shamed, allowed to go to communion, but the scene of his trying to swallow the host; his scruple about his mother, seeing the books, the nudity, his mother; not going to communion, the sermon on the gathering of people at the end of the world, Teresa not going to communion; his stammer and Mrs Abernathy saying because he was guilty; the class, with Mrs Abernathy; her urging him to go to confession; his going, saying the formula, then stammering, then singing; the priest and his sensible comment allaying the scruple, Liam with a sense of freedom; Teresa confessing; their mother going in and attacking the priest for whatever was happening; his going to communion, swallowing easily and being happy; going to class and being able to say he went to Mass and communion?

13. An examination of British history, church history, religions? In a humane drama?

LUCKY BREAK

Britain, 2001, 108 minutes, Colour.
James Nesbitt, Olivia Williams, Timothy Spall, Bill Nighy, Lennie James, Ron Cook, Christopher Plummer, Julian Barrett.
Directed by Peter Cataneo.

A very entertaining film. It was heavily advertised as 'from the director of The Full Monty'. The Full Monty was one of the most successful British films at box-offices all around the world. It was eventually nominated for a Best Film Oscar, quite a coup for a modest comedy coming out of Sheffield.

The director, Peter Cattaneo, tried to play down comparisons with The Full Monty. It raises too many expectations, which is unfair. On its own merits, Lucky Break is enjoyable.

The other line used in advertising was 'an escapist comedy'. Now that is quite accurate. It is a prison film with inmates planning to get out. It is also escapist in the sense that it does not pretend to be reality - almost everyone is quite nice (no matter what got them into prison) except a spick-and-span, mean martinet of a warder and a bullying prisoner. Needless to say, they both get their comeuppance.

What we have is Jimmy Hands (played by James Nesbitt with an engaging Irish brogue and a touch of blarney under his rather thin tough veneer) and Rudy (Lenny James) who have not had much luck in their crime career. As the film opens they have even less and give new meaning to a botched bank robbery. But that gets them inside where most of the lags would have been at home in old British jail comedies with Peter Sellers like The Wrong Arm of the Law.

In a way, there are similarities with The Full Monty although, I hasten to add, there is no sex bar a few kisses, no violence and only one swear word uttered and that by the exasperated leading lady. (Which makes things easier for a reviewer and more comfortable for audiences who have been put off by the frankness of films over recent years.) In The Full Monty, the unemployed men rehearsed for and then put on their full monty show. Here it is much more genteel. The governor of the prison (Christopher Plummer obviously enjoying the whimsy of his role) has a penchant for musical theatre. He has even written one, Nelson, the Musical. (The lyrics for the songs have been written by Stephen Fry.) What better than put on the show - and use it as a cover for an escape!

There is plenty of potential for laughs in the situation. But there is also a great deal of comedy in some of the characters, especially the always excellent Timothy Spall, the butt of the warden's animosity, but rising to the occasion as the musician for the show, and Bill Nighy as 'a creative accountant' with a penchant for the ironic remark and a desire to play George III. There are also some serious moments with Olivia Williams as a prison social worker who falls in love with Jimmy and does not approve of escape plans. There are some sad moments with Timothy Spall.

But, all in all, it works very nicely. An alert - there are some humorous character bits during the final credits, right to the end with Timothy Spall singing Sonny.

1. The director's follow-up to The Full Monty? The unfair comparisons, fair comparisons? The structure of the group, their situation, the putting on a show, the rehearsals, the successful show?

2. British comedy, situations, characters, irony, deadpan, parody? A nice blend in this film?

3. The prison setting: the exteriors, the interiors - expected, different? A "nice" prison?

4. The title, every prisoner's desire to escape? The lucky break of hearing about the play, the rehearsals, the plan for the escape, the alternative plan? A lucky break for Jimmy to meet Annabelle?

5. The strength of the cast, character actors, their skills at creating characters quickly and with style? The musical, the lyrics and the music, the humorous parody of musical theatre?

6. Jimmy and his telling the story? His relationship with Rudy? The fact of their being unsuccessful? The last job, holding up the bank, the barrier coming down, Rudy trapped, Jimmy running away, the police pursuing? The means of getting the both into the prison? The routines of entry into the prison - the search, the food, the cells?

7. Jimmy as a character, the Irish background, on the streets, wanting to be tough? A romantic at heart? His going into the cell with Cliff, the discussions with Cliff, sharing his perspective? Meeting Annabelle and his tough attitude towards her? Going to the classes, the role-playing and his asking questions? The interview with the governor - and capitalising on hearing the singing from South Pacific, talking about the original record?

8. The lucky break with the governor, his style, musical theatre, his explanation about being in the group? Pride in his own composition? The possibility of putting it on? His happily going to the rehearsals, the auditions? His speaking nobly about Nelson? The rehearsals, the music, his being moved? Cliff's death and his having to stand in to play the piano? His joy at the final achievement - despite the escape?

9. Jimmy trying to persuade Rudy to be part of the play? The clashes with Rudy in the prison because of the accusations of running away? Their reconciliation? Going round all the convicts and getting so many refusals? The scheme for the phone card and getting them all to come? The choice of roles, Roger wanting to be George III? Annabelle being forced to be Lady Hamilton? Jimmy as the only one standing for Nelson, Rudy mirroring life with being Hardy? The rehearsals, the singing, the dancing, the humorous lyrics? The build-up to the performance, people getting involved, its success?

10. Paul as drama coach, his working with the men, his being diffident, accepting their suggestions? Becoming more greatly involved - a stereotype but enjoyably presented? On-side with Jimmy and Annabelle at the end?

11. Cliff, the false accusations, running the yellow light? His praise of his cell - and seeing a cow outside? Musical? Talking with Jimmy, proud of his son, the visit and the revelation that his wife was seeing someone else? His continually being put upon by Perry, the tearing up of his letters? His accepting it and wanting to do his time? Stepping in with the music, enjoying playing? The final humiliation and his going over the edge, hanging himself? (And his pleasant "resurrection" with playing "Sunny" at the end of the film - and the deadpan comment about the song going on?)

12. Roger, apologising, aristocratic, the creative accountant, his friendship with Darren, father figure? The issue of the escape, his finally agreeing? Darren and his being an arsonist, getting the model of the key, wanting to get out? Roger and the visit from Amy and the plan, her urging him on, and her finally bringing the plane at the end?

13. Perry and his harshness, martinet, treatment of Cliff, knowing that there was a plot, falling for their trap, his exasperation at the end?

14. John Toombes and his domination, people being wary, his demanding to go, their setting up an alternate plan - and his being caught?

15. Annabelle and her dedication to her work, trying to rehabilitate the criminals, clashing with Perry? Her classes, the humour of the role-plays, especially with Lennie? Lennie and his tomatoes and going berserk - and finally offering the pomodoro to Jimmy and Annabelle? Her clashes with Jimmy, getting to know him, rehearsing, romance, the dinner together? Her realisation that he wanted to escape, her stance? Happy that he came back? Meeting him after he had finished his time?

16. The range of other prisoners, at their work, rehearsals, interactions, performance, the escape?

17. The details of the escape, Toombes being caught, Perry being deceived? The ladders, the disguise, Roger and Darren escaping with Rudy and the comments on how good the play was?

18. The final credits and the glimpses of the various characters and the final touch to the comedy?

LA VITA E BELLA (LIFE IS BEAUTIFUL)

Italy, 1997, 116 minutes, Colour.
Roberto Benigni, Niccholetta Braschi, Horst Buccholz.
Directed by Roberto Benigni.

Pleasing audiences has been the quest of Italian comedy actor Roberto Benigni (Down by Law, Son of the Pink Panther, Johnny Stecchino). With a pliable face that can be doleful as well as gleeful, he is in the tradition of the sad clowns with both their slapstick antics and the presentation for pity of 'the little man'.

This is all present, and very amusingly so, in the first half of Life is Beautiful. But as many readers will know, the second part of the film takes place in Auschwitz and many have held their breath how Benigni could make comedy in the situation of a concentration camp. And what about taste? Well, although the action seems far-fetched in reality, the love that a father shows his little son in the hardships of the camp makes for a moving story and many moving moments. Benigni makes his points against fascism by mocking it (upsetting teachers with a parody of a class on racism) and then showing deep humanity in the face of inhumanity - especially in the scenes with the German doctor who loves riddles. Life is Beautiful won the Grand Jury Prize at Cannes, 1998. Affirmation of life.

1.The idea of the film: Italian comedy, pre-war Italy, romance transferring into the horror of the concentration camps and the Holocaust. Comedy to tragedy?

2.The impact of the film? The critique of comedy in the concentration camp? Yet the pathos of the individuals in the family, trying to cope and survive? The effectiveness of criticism of fascism by mockery (Benigni's comedy? The lecture? The engagement party and the horse...?).

3.The acclaim of the film? Oscar nominations? Cannes? Seen by the Pope?

4.The work of Roberto Benigni? His skill as a comedian, mime? The portrait of the bittersweet comedian, the little man? Farce, pratfalls? His ability to gain laughter and pathos? The work of Benigni as actor, writer, director?

5.The opening of the film and the glimpse of Giosue? The pathos to come? The transition to the car, the brakes getting out of control, Guido and Ferruccio and the crowd waiting, the king, the fascist salute? The entertaining mockery? The poetry, the crash? The farmyard, the encounter with Dora and his always calling her Principessa? The rescue, the gift of the eggs, the eggs in his hat - and the later comedy?

6.Going to Arezzo? Searching for his uncle? The house, the plans to open the bookshop, working in the hotel? The anti-Semitic vandals in the house? His uncle's reaction? Going to the hotel, the training - and Guido and the comedy of remembering the menu? Meeting Dora in the street and the crash? Her attraction towards him, his fascination with her? Going to the office, being kept waiting, Rodolfo and the arrogant bureaucracy of Mussolini's era? The refusal to hear him? The irony of the eggs? The encounter with the fascist man and his two sons, Adolf and Benito? The comedy about the exchange of the hats?

7.Dr Lessing as the tourist, his friendship with Guido, his fascination with riddles, his friendship and reliance on Guido? The irony for the later meeting?

8.The comedy of the meal for the inspector, Dr Lessing not wanting his, Guido giving the menu and producing it instantly? The fascist inspector and his going to the school? Guido going to see Dora, the encounter with the principal and her staff? The meeting, making a date with Dora? The parody of the class on racism and ethnic purity?

9.With Dora, the attraction, going to the operetta, his sitting downstairs and staring at her and pretending to be deaf? The rain after the opera, the mad drive home, her tearing her dress? His knowing how to get the key in calling out 'Maria'? His setting up the coincidences - with the hat? Her amazement?

10.Ferruccio and his friendship, the importance of the philosophy of Schopenhauer and willing to go to sleep? The preparation for the party, Dora and her mother and her not wanting to go, forced by her mother? Dora with Rodolfo as her fiance? His kow-towing to the officials and her not wanting to go? The party, the lavish preparation, the anti-Semitic spraying of the horse? Guido and his pratfalls? The dancing, under the table? Her wanting to be carried? Guido coming in with the horse and taking her away?

11.The transition to five years later? The happy household, Giosue and their life in Arezzo? The bookshop? Taking Giosue by bike? The indications of anti-Semitism with the shop, Giosue and his asking about prejudice and Guido's ability to make jokes about who was acceptable in a shop or not? His grandmother arriving, her talk with Giosue, his charging her? The preparation for the party?

12.The arrival of the Germans, coming into the shop, the slogans? The arrest, Guido and Giosue going to the train? The uncle? Dora and her discovery of the truth, her hurrying to the railway station? Her demanding to go on the train? The train journey to Auschwitz?

13.The gradual introduction of the jokes and play to Giosue? The Jews and dogs not being admitted to the shop? The playful tone - yet Guido wanting Giosue not to be disturbed?

14.The nature of the game about going on the trip, the competition, the tank as a prize? Guido's ability to sustain it? His spontaneous responses to situations, his wit, sometimes desperation? The detail he attended to for all the action and problems in Auschwitz? The effect on him? On Giosue? The participation of the other prisoners?

15.The train ride to Auschwitz? The arrival and seeing Dora, the separation? The hut, the bed and the bunks? Guido and his interpreting the German - and the mockery of all the orders given by the German? The establishing of the game?

16.Giosue, his age, experience, an attractive little boy? The audience sharing Guido's concern? The effect of being in the camp, wanting to stay, getting the points, wanting to go home, persuaded to stay because of the tank? Hiding? Needing food?

17.Bartolomeo and sharing the bunk, carrying the anvils? Life in the hut? Surviving?

18.The loudspeaker and his talking to Dora, calling her Principessa, assuring her that they were safe? His playing the Offenbach music and the memory of the theatre?

19.The personality of Dora, her teaching in Arezzo, the chance encounters with Guido? Her mother? Rodolfo and her not wanting to conform, leaving the party on the horse? The happy household? Her decision to go to the concentration camp? Desperation at the station, going on the train? The arrival, the separation? Her suffering?

20.Dora and the gas chambers, the discussion about soap and buttons? The showers? Dora sorting the clothes? The impact of the brief sequence where Guido sees the heaps of bodies? This sequence as a critique of the horror of the Holocaust?

21.Guido finding Dr Lessing, his inviting him to wait on the tables, the children and Giosue entering into the game, hiding, getting the food, saying 'Grazie' and Guido teaching them all to say it and deflecting suspicion? Dr Lessing and his seeming willingness to help? The dismaying irony that all he wanted was the solution to his riddles?

22.The changing situation in the concentration camp, the Germans fleeing, Guido and his attempt to find Dora, the trucks, calling out, the disguise, hiding Giosue and telling him to be silent, his climbing the wall, his being caught, the last image of him with his funny walk and entertaining Giosue, the pathos of his being shot?

23.Giosue and his coming out into the deserted camp, the Americans arriving, his seeing the tank, the GI carrying him on the tank, his winning the game and the competition?

24.Giosue and his seeing Dora, their being united? The impact of the experience of the Italian Jews, in Italy, concentration camps, hardships, survival and love? The final words of tribute by Giosue to his father?

LOLITA

US, 1997, 140 minutes, Colour.
Jeremy Irons, Melanie Griffith, Frank Langella, Dominique Swain.
Directed by Adrian Lyne.

Since the publication of the novel, Lolita, by Vladimir Nabokov, it has been an occasion of controversy with its theme of the infatuation of an adult man with a young teenager and his sexual relationship with her. Many articles have been written in defence of and attacking the book.

Stanley Kubrick made a film version in 1962 with James Mason, Shelley Winters, Peter Sellers and Sue Lyon. While Kubrick developed his own themes, the film was considered not to be a direct translation of the novel to the screen.

In 1997, director Adrian Lyne, known for making such films as 9 1/2 Weeks, Fatal Attraction and Indecent Proposal, had a version ready for release. However, distribution companies were very cautious because of the theme (and because of Lyne's previous films). While it was screened at some festivals, it failed to get a cinema release in the United States and was screened on cable television. After some discussion and
controversy, it received an 18 certificate in the United Kingdom and was released. The certificate noted the portrayal of 'a destructive sexual relationship and a scene of violence'.

One of the concerns about the film was the growing revelations during the 1990s of sexual abuse in families and of paedophilia.

Adrian Lyne's version is a serious, even at times solemn, adaptation of Nabokov's novel. Visually and verbally, it is very restrained (and, under ordinary circumstances might have rated a 15 or M rating).

As is often the case, the controversy concerning Lolita is not based on the complainants having seen the film. Rather, the bald statement of the subject of the film is enough to raise anger. However, there is no limit on the subjects that can be treated in films; the limits come in the 'how', the way in which the subject is presented. (It is easy to point to many
Biblical stories that can be described in an alarmist, even a lewd, manner but which are treated with seriousness and some delicacy.)

This version of Lolita is not advocating under-age sex, sexual abuse or paedophilia. Rather, it is portraying a man who is obsessed with a young girl who reciprocates his advances, indeed she often fosters them. Jeremy Irons' interpretation of Humbert is skilled in the way that he conveys his obsession and love for Lolita (and his sense of guilt), while Adrian Lyne's direction has Dominique Swain act as an immature
schoolgirl with the irritating mannerisms and behaviour of her age. This counterpoint means that the audience is able to observe and understand the obsession while seeing its aberration. After all, this is the same process that the Old Testament uses in its portrayal of David as adulterer and murderer. Many acceptable films use the same process in making us share in an experience we disapprove of in order to understand evil and understand the motives of obsessive, violent or 'perverted' characters. A quick run through Hitchcock's canon illustrates this: Rope, Vertigo, Psycho, Frenzy...

While Lolita deals with serious themes and contemporary problems (in a late 1940s setting), it is not sensationalist in its treatment, is quite reticent in its visuals (except for the final violence confrontation with Quilty where a character of even more destructive perversity is revealed) and tries to help its audience understand this destructive relationship, especially by showing its immediate and, especially, its
long-term consequences.

1.The reputation of the novel? Its themes and controversy? The film by Stanley Kubrick?

2.Censorship problems in the 1990s? Emergence of sexual abuse as an issue? Paedophilia?

3.The quality of the adaptation of the novel for the screen? Humbert's voice-over, his giving the narrative of events, his expressing his conscience, his asking the audience to be a jury about him, his voice-over as some form of therapy?

4.The prologue in Cannes 1921: Humbert's explanation of his infatuation with Annabelle, aged 14, idealised, infatuated, adolescent love? Her death, his comment on his arrested development? The visualising of this prologue in period decor and costume, glowing memory?

5.The transition to post-war United States? The atmosphere of the country itself, the small towns, the aftermath of the war? Homes, streets? Decor and costumes? The cars, advertising, the attention to detail? The plot of the sexual relationship inserted into this American period?

6.The American experience of an Englishman? The tradition of American innocence in experienced Europe? The reverse of this? The Englishman and his naivety, shrewdness, passion, corruption?

7.Humbert and his character: the opening with the car swaying, veering to all sides of the road, the hay truck and its losing its load? His place to stay, its being destroyed by fire? His wanting to write his book, going to teach? The encounter with Mrs Haze? The initial and instant impact of Lolita? As a vision, enraptured, infatuated? Audience being invited to understand Humbert, some empathy with his experience while antipathy towards his behaviour?

8.His comment on nymphets, his reaction to Lolita, the difference between infatuation and love, his projecting his ideal teenager onto her? The nymphet's deliberate seduction, ability to corrupt? The intensity of the relationship? Jeremy Irons' performance - with his eyes, expression, smile (as well as the voice-over)?

9.Lolita at 13 and 14: the innocent young teenager, naive yet shrewd, her lack of self-consciousness, her deliberation? The modelling of her mother, her mother's criticism of her? Her flaunting her budding sexuality? The impact of the seduction, the relationship?

10.Yet Lolita portrayed as a very young teenager, wanting to eat sweets, the kinds of music she listened to, posturing, her irritating behaviour? The audience seeing her through Humbert's eyes idealised as well as their own eyes and seeing her as a normal and typical young girl, even full of irritating mannerisms?

11.The audience seeing her in this way - and the contrast with Clair Quilty? The contrast between Quilty's perceptions and Humbert's?

12.The portrait of Charlotte, the short time in the film? In herself, her house, attracted to Humbert, inviting him to stay? Their sequences together, friendship? Her attitude towards Lolita, bringing her up by herself? Wanting to marry Humbert? The ceremony? The discovery of the truth, her writing of the letters, her anger, her accidental death? His reaction, his grief - but yet protecting Lolita from the news, running away from it?

13.The pair going on the trip? The film as a road movie, the various environs of the American countryside? Their experiences? The hotels, the reactions of people? The relationship between the two, the effect on each? Lolita's behaviour in the hotels, in the car? Seductive, tantrums?

14.Humbert's going to Beardsley? The attitude of the staff? Open-minded in post-war attitudes? His reaction to the principal and the chaplain? The putting on of the play, Humbert's unwillingness? Lolita's tantrum? The rehearsals - and Quilty in the background? Lolita and her lies about piano classes, the phone call to Werner to corroborate? Humbert slapping her? Pursuing her in the rain, the ice cream soda? Her power over him, wanting to leave school, go on a journey that she dictated?

15.The second journey, the American road again, the variety of landscapes? The places she wanted to visit? Humbert and his sensing that they were being followed? The car, his not suspecting who it was, fear of the police? Lolita and her illness, going to the hospital, the tantrum with Humbert? His going home, going to the hospital, finding she had been let out with her uncle Gustav? His eruption and violent behaviour? Apology?

16.The truth about her relationship with Humbert? Her wilfulness? Not really loving him? Her disappearance?

17.The effect on Humbert, the collapse of his life, the return to school? The passing of the three years?

18.Her letter, marriage, the appeal for money? His decision to visit her? The 16-year-old woman, dowdy, her dress, wearing glasses? The reality of Lolita? Her telling him the truth, the lack of love, his being wounded? Her decision not to go with him? His giving her the money? Her relationship with her husband, her pregnancy? The ordinariness of Lolita, the after-effects of her experience with Humbert - harm or not? His final image of her as she stood on the veranda, idealising her again?

19.The resumption of the drive, the police chasing him, confronting him? The flashback to the encounter with Quilty?

20.The portrait of Quilty, in the background, following Lolita, taking her away? Information about his attitudes, paedophilia? Callous, exploitative? The contrast with Humbert? Humbert and his visit to Quilty's home, decadence, the visuals and the decor, his dressing gown and nudity, his seduction, disbelief when he was shot? The pianola and its music? The melodrama of his death?

21.Humbert, looking over the valley, looking at the ideal town, hearing the voices of the children - and his regret that Lolita's was not one of the children's voices?

22.The aftermath of information, Lolita's death, Humbert's death in prison?

23.The impact of her narrative, the range of emotions of the audience? The understanding of this psychological case? The dramatisation of complex moral issues?

LORENZO'S OIL

US, 1993, 140 minutes, Colour.
Susan Sarandon, Nick Nolte, Peter Ustinov.
Directed by George Miller.

Lorenzo's Oil is a fine film. Lorenzo Odone was a young boy suffering from adrenal leukodystrophy, a debilitating disease in brain, blood and limbs. His parents struggled with the medical profession from the mid-'80s for support and treatment and learnt to become expert at understanding the disease, even to discovering leads for the remedy, called Lorenzo's Oil.

The film is not a so-called disease of the week movie. It is a human drama, parents, family and child, as well as a medical case study. The screenplay by Australians Nick Enright and George Miller was Oscar-nominated and is written as a file report on Lorenzo's progress from 1983 to 1992.

Director George Miller (Mad Max movies, Witches of Eastwick) is a doctor and has brought his expertise to bear on communicating the complexities of the illness, on the criteria for testing of treatments and the reaction of the medical profession and the drug companies.

The film is demanding for mind and for emotions, but is a tribute to the human spirit. Susan Sarandon's Oscar-nominated performance is very strong. Nick Nolte, with a realistic Italian accent, gives a solid performance. Peter Ustinov has a serious role as a doctor.

1.The film as a tribute to human nature? Focus on illness, disability, the medical profession, treatment?

2.The African locations, Britain, the United States - Washington? The American focus? Authentic? The range of the musical score, classical music, liturgical music?

3.The title and its focus on Lorenzo and his treatment?

4.The structure of the film: names, dates - the equivalent of a medical file? Involving the audience - yet a distancing technique for the audience to observe the progress of the illness and the treatment?

5.Audience knowledge of the illness? Inherited by boys from their mothers? Symptoms, coping, medical treatment, the reaction of doctors, the members of the association and their mutual support? Their support of the doctors?

6.The African prologue, Lorenzo at play, at school, many languages? Playing with the kite? At home in Africa? His friendship with Omouri? His parents and their work in Africa?

7.The transition to the United States, Washington, Lorenzo at school, his angry outbursts, the puzzle of the teachers, the parents? His behaviour at home, breaking out? As a child, his age, playing, toys and stories? The psychological effect, physical effect?

8.The presentation of diagnosis, the visits to the doctors? His parents and their anxiety, support? Lorenzo in hospital, nurses, treatment, tests? The introduction to Professor Nikolais? His sympathy, explanations, theories, treatments, diet? The prognosis?

9.The characterisation of Augusto and Michaela Odone? His Italian background, her Irish-American? background? His work in the bank, skills, collaboration? The bank's support of him with Lorenzo's illness? The background of his first marriage, the children and their visit from Italy for Lorenzo's party? His hopes? Michaela, her sisters? Deidre and her help? Learning that she had passed on the disease to Lorenzo and its psychological effect on her? Emotional? Wanting to have more children? The relationship between the two? The importance of the Catholic background - the Easter Vigil ceremony? The religious hymns?

10.Lorenzo in his illness, the picturing of his decline, hospital, at home? Prostrate in bed, increasingly disabled? His mother and her continual care, tenderness, telling him stories? His life span expectation, the growing isolation? The treatments and his convulsions? The dramatic impact of his fits? The results of the oil, the change, his learning to nod for yes and indicate no? His wanting new stories? The aftermath of the treatment, the possibility of some growth and development?

11.Michaela and her strength, her sense of family, her reaction to the doctors, the friendship with Nikolais yet the struggles with him? The association and the Muscatines? Going to the meeting, asking awkward questions? Her frustration, her desire for research? The intensity of her study, discovery of articles, indicating to Nikolais? Her impatience with the time taken for testing? Lorenzo and his diet? Her moods, her treatment of the nurses? Her reactions to Deidre and ordering her out? Worn out, going to meetings, research? The oil and its effect? The relationship with Augusto, her love for him? His trying to speak the truth to her? Augusto and his love, tension, pressure? His study? Trying to speak honestly to Michaela? His love for Lorenzo and tenderness? Their showing the human spirit?

12.Nikolais, medical background, help and sympathy, his diet and its taking time, the need for raising money, speeches for the association? Taking sides with the doctors? His continued uncertainty?

13.The friendly doctors and their support? The medical profession and its suspicion?

14.The drug companies and the expense of making drugs, their collaboration and help? The investigations by Suddaby (playing himself) in England, his impending retirement, his work on the oil, the good results?

15.The association, the Muscatines and their personalities, their children? Organising, helping? The meetings? The questions? Nikolais and the Odones organising the international seminar, the range of experts, their discussions, mutual help and collaboration? The association and its faith in doctors? The Muscatines and their driving to visit the Odones, the tension between them? The oil, the members of the association wanting the oil and their demands?

16.Wendy Gimble, her friendship, her boys and their illness? Offering fruit and vegetables in payment? The decline of her son? Her gratitude to the Odones?

17.The nurses, their continued care for Lorenzo? Their pessimism? Their challenging of Michaela - and her sacking them? Deidre and her care for Lorenzo? The clash with Michaela? Her travels, her return, the reconciliation?

18.Omouri and his coming to Washington, joining in the care for Lorenzo, the friendship with Lorenzo and helping him to recovery?

19.The cumulative effect of the illness, the treatment, the recovery? The Odone's tenacity and research? The tenacity of the human spirit?

LOCK UP

US, 1989, 106 minutes, Colour.
Sylvester Stallone, Donald Sutherland, Darlanne Fleugel, Tom Sizemore.
Directed by John Flynn.

Lock Up is a prison movie, in the strong American tradition of that genre. It also presents a more sympathetic Sylvester Stallone than his Rambo films - something of a return to Rocky. He is the victim of the prison system, of the vengeful attitude towards Warden Drumgoole (played sadistically by Donald Sutherland).

The film was made in an actual prison in New Jersey and shows the grim aspects of the building and plant, the way of life, the punishments.

The film was directed by John King (The Sergeant, The Jerusalem File, The Outfit, Best Seller). It is tough, physically violent - yet has a great deal of sentiment, especially in sympathy for the Stallone character as he is victimised, resists violent response, confronts the warden in an electric chair.

It is the kind of film that gets a men's audience shouting strongly in support of the hero.

1.Interesting and enjoyable prison film? Violence? Escape movie?

2.Sylvester Stallone, his image, the variety of films, especially Rocky and Rambo series? Humane and tough? The film's focus on him?

3.The New Jersey prison, the yard, the cells, the cellars? The seasons? Musical score?

4.The tradition of the prison film, the way of life, cruelty, victims, justice?

5.Frank and his memories, the photos, his father, girlfriend, the weekend with her, helping the kids at sport, his return to jail, the gifts for friends? Rehabilitation, the short time for his release?

6.Frank and his strength, human, relationships, less violent Stallone hero? The story of his escape for his father's funeral?

7.His transfer in the night, rough, the ugly new prison, the brutality of the guards, Drumgoole and the explanation - the tour of Hell? Drumgoole vengeful because of Frank's previous escape? The wreaking of his vengeance?

8.Drumgoole and his appearance, tough, his influence on the guards, cruelty - for example, getting Frank to hold his breath in the delousing chamber? Trying to provoke him? Putting him in solitary and waking him with the light, his name and number, reducing rations? The building of the car and the bashing of it? The murder of First Base? The football match and his watching? The threat to his girlfriend - rape? The provocation to break out, the link with Dallas? Exercising his power?

9.The white guards and their sadism, the beatings, the killing of First Base? Pretending to be a prisoner and threatening to rape the girlfriend? The black guard and his reaction, the cruelty, getting Frank's mail to him? Meissner and his toughness, change, watching Drumgoole, the final administration of justice - and his smile?

10.Frank in the new prison, no place to sit, the meals, the encounter with First Base, the friendship? The football, keeping going? The conflict with Chink in the yard, in the dining-room? The big black prisoner and his going into the football match? The victory? Giving him a job, the working on the car - the songs and the collage of building the car? First Base wanting to drive, Frank's warnings, teaching him, racing out destructively into the yard?

11.Dallas, his smart talk, friendship, advice? His character? Frank talking with the man out of his mind, offering him friendship? First Base and teaching him?

12.His girlfriend's visit, the sexual encounter - and the guards and their intrusion, time up? The rape threat and Frank's anger? The beating and his being in hospital?

13.His quick recoveries? The possibility of escape, his cleverness in the plan? Dallas and his help, the trick, being caught, the fight, the wounded Dallas finally helping him?

14.The guards and their search, Drumgoole and his anxiety? The background of the electric chair and Drumgoole's restoring it, explaining it to Frank? Frank holding Drumgoole hostage, the confession in the electric chair? The trick played by Frank? Meissner arresting Drumgoole? His madness?

15.The happy ending - the rehabilitation of the prisoners, the victims, the system, justice? The portrait of black and white friendships and conflicts? Frank as a Sylvester Stallone hero?