LITTLE MERMAID

US, 1989, 82 minutes, Colour.
Voices of Jodi Benson, Pat Carroll, Kenneth Mars, Rene Auberjonois, Samuel E.Wright.
Directed by Ron Clements, John Musker.

The Little Mermaid is based on the fairy tale by Hans Christian Andersen. It is an excellent animated Disney feature, reminiscent of the classics of the '50s: Alice in Wonderland, Cinderella, Sleeping Beauty.

The film is beautifully drawn, has an excellent score by Alan Menken with excellent songs by Menken and Howard Ashman. The calypso songs sung by Samuel E. Wright stand out. There is also a lovely ballad for the little mermaid, sung by Jodi Benson. In fact, the characters in the film are very well drawn and dramatised. They range from King Triton, voiced by Kenneth Mars, to the wicked witch of the film (fat rather than thin), an Octopus played by Pat Carroll. Rene Auberjonois is a lively French cook.

The film has appeal for audiences of all ages and is one of the best of the Disney animations.

1.The popularity of this kind of film? The Disney studios? The fairy tale? The style of the '50s for the '80s?

2.The style of animation and drawing? Design? Colour? Action? The simplicity for younger audiences? Complexity for older audiences?

3.The score, the romantic ballads, the comic songs?

4.Hans Christian Andersen and his fairy tales, delight, magic, dangers, romance? Images that ring psychologically true? Mythmaking in fairy tales?

5.The opening with the sea and the ship, the prince, the fish and Flounder, the sea and Triton and his kingdom? Introduction to the themes?

6.Triton ruling the sea, the kingdom of the Mer people? Triton as father, his daughters, the concert, Ariel absent, the teenager? Sebastian taking care of her? His hostility to the humans? His angers, forbidding Ariel to go to the surface? His dismay at her behaviour? The confrontation with Ursula, capitulating and signing, his being reduced? The final transformation? Changing heart?

7.Ariel as the heroine, as a mermaid? Teenager and adventures, with Flounder, the wreck, chased by the shark, her treasure trove from the wrecked ships, the seagull and her friendship with him, his values, his mistakes (especially about the fork and the pipe and the later jokes)? Missing the concert, under Sebastian's care? Going to the surface, watching the ship, the prince, the shipwreck, singing and rescuing the prince? Forbidden to go to the surface? Her anger with her father? Her going to Ursula and the slimy assistants? Ursula's plan, her signing, becoming human, losing her voice? In the sea, found on the shore, going to the palace, the tour of the kingdom, in love with the prince? Ursula disguised and marrying the prince? Hurrying through the water with Flounder, her recovering her voice? The confrontation, staying human, the happy marriage, the blessing of her father?

8.The prince and his strength, handsome, on the ship, his statue and its going overboard, Ursula destroying it? The shipwreck, rescued by Ariel, seeking her? Her coming to the shore, unable to speak? His falling in love, taking her round the kingdom? Hearing Ursula and the voice? The marriage ceremony, the interruption? The happy ending?

9.Sebastian the crab, with his choir, crotchetty, his calypso songs and their enjoyment, his chaperoning Ariel, his fears, confessing everything to Triton, observing Ariel, worrying about her, going on land, to the palace, being chased by the French chef, the other crabs being eaten, going from Grimsby's plate? Helping in the finale?

10.Flounder, the playful fish and companion, being chased by the sharks, comedy, sharing in the adventures, helping tow Ariel to the wedding?

11.The seagull, Buddy Hackett's comedy, his evaluations, his mistakes, the song and his comedy? The mistakes about the fork and the pipe?

12.The prince's dog, the humorous dog sequences, the rescue from the burning ship, liking Ariel, not liking Ursula?

13.Grimsby and the English style aristocrat, his plans, the birthday, the dinner?

14.The chef and his kitchen, the food, his comic song and chasing the crab? Ruining the kitchen? The maid?

15.Ursula as the witch? Her greed, the fat octopus, her evil, the style of the witch and her spells, the fish assisting her and their sinister look, watching the princess's progress, her plots, the plan and her seduction of Ariel, taking her place for the marriage, losing the voice, Triton and the bargain, reducing her victims to small images of themselves? Her ultimately being destroyed?

16.Themes of heroes and heroines, good and evil, magic and romance?

LITTLE RASCALS

US, 1994, 72 minutes, Colour.
Travis Tedford, Bug Hall and guest cameos.
Directed by Penelope Spheeris.

Little Rascals is part of a trend of the '90s, the remaking of popular old films, comic strips and television series. In the '40s, Hal Roach produced a number of short features with Our Gang. They proved very popular with children's audiences. In the '90s they have been updated to time, language, but the issues and their style belong to the past.

The whole gang is here again, led by Spanky and Alfalfa. The child actors doing the roles seem very knowing (although, for the final credits, there are indications that they had to be strongly directed for their performances). As well as the children, there are a number of guest roles including George Wendt, a funny turn from Mel Brooks in a bank, Whoopi Goldberg, Lea Thompson, Darryl Hannah - and even millionaire Donald Trump as the millionaire father of the obnoxious Waldo.

The screenplay is strong, offering a lot of verbal humour, especially for the adults as the children parody adult behaviour, especially the dislike between the sexes and falling in love. There are goodies and villains, races, auditions and performances for singing, a whole lot of action crammed into about 80 minutes. The direction is by Penelope Spheeris, who made documentaries about rock music and heavy metal in the '80s as well as features like Hollywood Vice Squad, Dudes. However, in the '80s she made such comedies as Wayne's World and The Beverly Hillbillies.

1.The popularity of Our Gang short features in the past? The decision to bring them into the '90s, update them? How effectively?

2.The Los Angeles location, the city skyline, the outskirts, school, club, popular venues, the go-kart race in the streets?

3.The musical score, the range of songs - especially the romantic song sung by the children?

4.The performances of the children, their screen presence, their age (their verbal dexterity - and the scenes of the director coaching them at the end of the film)? The enjoyment of the star turns?

5.The title, the tone? Our Gang? Memories of the past, popularity - and the tone of Rascals?

6.The relationships between the children and their parodying adult behaviour? The club and the hating of women? The conduct of the meeting and the oath? Eliminating the girls? Spying on the girls, spoiling Alfalfa and Dala's date? The aping of adult behaviour, the strong verbal wit and vocabulary? The children and their genuine feelings and relationships?

7.The opening with Spanky, writing the note, sending it with the dog, the introduction to each of the members of the gang, the two boys fishing with their hooks caught, those not able to read? Rushing to the meeting, the anti-woman tone of the club? The votes, the minutes, the pledge? The draw for Alfalfa to drive the go-kart? Finding Alfalfa and Dala in the boat, listening through the cans, the plan to upset their picnic?

8.The characters: Spanky and his large father, Uh'huh and his lack of vocabulary until the end? Buckwheat and the little boy? The strong-minded black boy? The variety in the group? The portrayal of the villains, their tone, bossiness, stealing the kart, the race, their comeuppance? The contrast with the girls?

9.Waldo and his rich family, the limousine, the home, the swimming pool (and Alfalfa swimming, chased by the dog, losing his pants)? The singing to Dala, the bubbles for Alfalfa's song? The race and his entrance, cheating - like Ben Hur?

10.Alfalfa as nice, his love for Dala, talking with her in the boat, going to the clubhouse, the picnic, the drink and the sandwich, setting fire to the club? The hiding with Spanky in the ballet, the ruining of the Nutcracker Suite? Racing through the streets, pursued by everybody? The reconciliation with Spanky? In the race, the wrong road, Waldo trying to cheat, Dala's handkerchief and his being a knight - and winning by a head, literally? The background of the boys at the carnival getting the money - and its being given as prize money for the race?

11.The fire in the club? The guarding of the car? The duck with the dollar? The carnival and getting the money? The stealing of the go-kart? The race?

12.The guest spots - George Wendt and the buying of the wood, Mel Brooks and the loan and the children's disguise as rabbis, Lea Thompson and the ballet and its being ruined, Darryl Hannah as the sympathetic teacher, Whoopi Goldberg as the mother, Reba McIntyre? and her being the champion driver, Donald Trump as the millionaire?

13.The happy ending - and the perennial jokes and humour - the old-fashioned values of the past transferred to the '90s?

LIGHT OF DAY

US, 1987, 97 minutes, Colour.
Michael J. Fox, Gena Rowlands, Joan Jett, Michael Mc Kean.
Directed by Paul Schrader.

Light of Day was written and directed by Paul Schrader. Schrader established his reputation as a writer with such films as Taxi Driver. He directed a number of films in the '70s and '80s including Blue Collar, American Gigolo, Cat People, Hardcore, Mishima, The Comfort of Strangers.

The film has echoes of autobiography. Schrader has often written about his life in the Midwest, the small town atmosphere and morality, the influence of the work ethic-oriented churches. Here, highlighting relationships between children and parents, he also focuses on the hypocrisy of this religion.

The film, however, is a portrait of young adults and their enjoyment of rock and roll - and wanting to make a career of music. Rock and roll artist Joan Jett portrays the sister, Patti. The film was also a star vehicle for Michael J. Fox as Joe. It is one of his more serious roles (along with Casualties of War and Bright Lights, Big City) - though he is more comfortable in light comedy e.g. the Back to the Future series, The Hard Way, Doc Hollywood. Gena Rowlands gives a typical performance as their mother. Jason Miller is the ineffectual father.

The film received mixed reviews - it seemed different from what people would expect of Schrader. However, while focusing on rock and roll and performance, it is yet another study of relationships in the American family.

1.A rock and roll film? A piece of Americana? Family relationships? The background of religion?

2.The Midwest towns, on the road, the clubs and bars? The presentation of the music, the musical score and songs? Performance and arrangements?

3.The title, the focus on Joe, on Patti, on their parents, especially their mother? The conflict and the resolution - light of day at the end?

4.The focus on Joe and Patti: their performance, skills, the group? The revelation of character - Patti and her resentment, absence from home, her love for her baby, the secrecy about the father? Her caught up in the music, her moodiness, interactions with Joe? Love - and hostility? The visits home and her hostile attitude, her feeling oppressed, wanting to get out? Her attacks on her mother? Leaving her son with Joe? Out on the road, her friends, her driven experience and desperation? Her absence from her child, the confrontation with Joe? Her mother's illness, Joe bringing her? The breaking down of barriers - her sitting at her mother's bedside, the impact of her mother's confession, reconciliation? Patti's love, telling her the truth about the father? The reconciliation and the mother's death? Her not coming to the funeral - playing video games, Joe coming to get her, the reconciliation? Her love for her child, her love for rock and roll and its meanings, giving meaning to her life, living for the day? Her antagonism towards religion and the father of her child? A future, calming down, being able to play with Joe?

5.Joe, ordinary young man, love for his sister, skill with music, playing? Relationship with the rest of the group, friendships? The visits home, the tension with Patti? Discussions with his mother and father? His mother nagging, Patti's hostile reaction and leaving the house? His pleading with her? Listening to his mother, talking to his father? His bowing out of the group? His work, losing his job? His care for the boy? His looking for Patti, bringing her to the hospital? Waiting, love for his mother, her death? Talking with his father? The funeral, the confrontation with Patti, bringing her back to the funeral? With the group again, playing - a future?

6.The mother, typical mother of the Midwest, her values, religion? Dominant in the household? Her relationship with her husband? Her nagging, pressure on Patti? Reliance on Joe? The meals, tensions, happiness? Her love for her grandchild? Her illness, hospital, the tests, the visits, her weariness? Her fatal illness, the doctor, the minister? Her reconciliation with Patti - her confession, her atonement, reconciliation? Her asking Patti to make sure that her husband married again because he needed companionship? Her death?

7.Her husband, quiet, work, at home, not knowing what to say to his wife? Supporting her? Dominated by her? Weak with his children? Watching television, ready to talk, not knowing what to say? Hospital, his wife's death, his grief?

8.The minister, his support of the family - and the irony of his being the father of Patti's child? His not wanting her to go to see her mother?

9.The members of the group, personalities, relationships, performance? Tensions? On the road? A future?

10.The atmosphere of the American cities, homes, hospitals, religion? The contrast with being on the road, the clubs and bars, their patrons? The managers, musicians?

11.A piece of Americana - mirroring relationships, ambitions and tensions of the '80s?

LIEBESTRAUM

US, 1991, 109 minutes, Colour.
Kevin Anderson, Bill Pullman, Pamela Gidley, Kim Novak, Catherine Hicks, Taina Elg.
Directed by Mike Figgis.

Liebestraum was written and directed by Englishman, Mike Figgis, who also composed the musical score. Figgis made great impact with his first two thrillers, Stormy Monday (set in Newcastle, England) and Internal Affairs, set in the San Francisco police force. Here Figgis remains in America, but a dark and shadowy America, a town where a special building, historic and iron-framed, is being demolished. It uncovers secrets as well as covers them.

Kevin Anderson (Orphans, Sleeping With The Enemy, Hoffa) is the architectural writer who comes to the town to study the building and to see his dying mother. Kim Novak gives a characteristic performance as the dying woman. He encounters an old school friend, played reliably by Bill Pullman, and becomes entangled with his wife, Pamela Gidley. There are secrets in the town which are uncovered - although the dreamlike style of the film makes us wonder whether so much of this occurs in the mind of the dying woman. There is love, betrayal, uncovering of secrets and mystery. The Liszt piece is played throughout the film - and the whole film is a film noir, exploring meanings and shadows of life.

1.The quality of the film noir? The good reception of the film by critics? Difficult for the box office? A world of the United States - sinister and shadowy?

2.The title, Liszt's piece, the dream of life, the mood?

3.The atmosphere of the film, the town, the historic building, the interiors, the demolition? The hospital? The brothel? The present and the past?

4.The work of Mike Figgis, writing and directing, his imagination? The use of colours and darkness? The building and its collapse? The photography of the building? The hospital rooms and corridors? The brothel? The smells associated with sexuality, the motivation and trigger for violence? Dreams and reality? Mystery and solution?

5.Themes of children, orphans, adoption, identity of parents? Adulteries, murder? Discovery of the truth?

6.Nick as an ordinary citizen yet victim? His unknown father (and the later photos revealing his father)? His being raised by foster parents, his relationship with his mother, coming to her dying? The encounter with Paul and the memories of college? Saving from the collapsing building? The encounter with Jane? The photo sessions? His work, examining the building? His sharing with Paul - infidelities and betrayal? The bar, the police chief and his eccentricity, taking him to the brothel? The experience at the brothel - and the style in which the prostitutes were filmed, their pursuit of Nick? The contrast with the hospital (the same actresses playing the nurses)? His mother? The sexual liaisons with Jane, betraying Paul? His mother's death and his absence? Finding his identity? The liaison with Jane, lying sleeping and discovered by the grieving Paul?

7.Paul as the decent worker, college background, friendship with Nick? Demolishing the building and its secrets? Friendship, the drink and the talk? Jane's birthday celebration? His leaving town, warning Nick? His return, the betrayal? His final turning away and weeping?

8.Jane and her relationship with Paul, the birthday party, her skill at photos? Her search for identity? The irony of the possibility of her parents and the building? The encounters with Nick, the fascination, the sexual encounters? Going to the hospital? Mrs Ralston? The final betrayal with Nick?

9.Mrs Anderssen, Kim Novak's screen presence? In the hospital room, her age, dying? Relationship with her son? Memories - and, perhaps, dreams? Her imagination - the nurses and the brothel? The discussion about sexuality and smell? The trigger of violence? Nick and the sexual smell - and her death? The revelation of the truth, the past, vicious and violent, relationships, secrets?

10.The past, the memories, clear and unclear, the dreams, childhood? Past adulteries, violence and shootings? Mrs Ralston and her injuries and in the hospital?

11.The brothel sequence (completely cut in the US for release)? The vampire style of the prostitutes? Sexual pleasure and perversion?

12.Themes of nightmare, pain, betrayal, love and identity?

LIAR, LIAR

US, 1997, 87 minutes, Colour.
Jim Carrey, Maura Tierney, Jennifer Tilly, Cary Elwes, Swoozie Kurtz, Amanda Donohoe.
Directed by Tom Shadyac.

Liar, Liar has a very funny trailer (including scenes not in the film) and all the jokes are in the film plus more. Jim Carrey is something of an acquired taste (since this film has grossed over $US 170,000,000 many have obviously acquired it). This comedy is less over the top than the Ace Ventura or Mask films.

In fact, Carrey has quite a number of serious scenes. But the premises of the film has the potential for jokes and farce: a workaholic lawyer's five year old wishes that his father would tell the truth for one day. Carrey mugs, often hilariously, as he tries to lie but can't. Some court scenes are particularly funny as he struggles with untruths. But the film has a great deal of sentiment with the little boy missing his father and the father coming to realise that he has been a bad father and needs to change his way of life. Since the film is designed for the widest audience possible, the family scenes are heart on sleeve rather than subtle. But it makes its point and, since audiences so identify with Carrey's characters, they have to face his family problems.

1.A box-office success throughout the world? The appeal of the story, the characters, the humour? Jim Carrey?

2.Jim Carrey's comic style, as a mimic, mugging, verbal humour, situations? The trickster archetype? Yet the sentiment at the end - bringing the film to completion or undermining the trickster and his malice?

3.The farcical style of the film, verbal and visual comedy, wit?

4.The title, expectations, illustration of the theme, the status of truth today? The satire on the world of law, business?

5.The introduction, Max and his class, talking about his father and the law - but his being a liar? The visits, Max's sadness, belief and trust in his father, love for him? His relationship with his mother and her care for him? Her mother's boyfriend and his attempts to be a second father? The going to Fletcher's office, and being neglected? His birthday and his hopes, his father not turning up, present? The party and his father's absence - his making a wish and its being heard?

6.The introduction to Fletcher, his performance in court, badgering witnesses, his successes? His self-absorption? His place in the firm, the reaction of the people in the company? Amanda Donohoe as the vamp type, her reactions to Fletcher's success? Coming on to him, the sexual encounter? His being transformed by his son's wish, his reaction to Amanda Donohoe and his telling the truth about their sexual encounter? His revenge by taking him to the boss and making him tell the truth - his bluntness and their all taking it as humour and as the equivalent of a roast? His relationship with his secretary and her backing him up, the revelation that he had been unjust to her? His caught in the work situation, wanting to be a partner, taking on the cases? Workaholic? The contrast with his wife, Jerry and his wanting to play ball in the same way that Fletcher did? His inability to be the loving parent that he wanted to be?

7.The portrait of Fletcher's wife, long-suffering, caring for her son, the visits? The bond between herself and Fletcher? Jerry as the yuppie type - and being mocked? His going to Boston and wanting the family to come with him? His trying to play with Max, trying to talk with him, trying to love him? The decision about going to Boston?

8.The situation at the office, Fletcher and the important case, the interview with the airhead wife and her calculating to get custody of her children and the money from her husband? The interview, his being in control? The contrast with his performance in court, the arguments, seeing her as a victim, attacking the husband, the sexual implications, the set-up by Amanda Donohoe? Going into court, partially succeeding, failing?

9.Max's wish, the time of the wish and its taking effect? Fletcher in bed with his associate, his comment that he had had better? The beginning of his having to tell the truth - the girl in the lift and her slapping him? The beggar and his saying that he had money? The comments on the fat man, the girl with the spiked hair? The truth to the police about speeding? His faithful secretary and his comment about her wages? Her decision to leave? The associate hearing what had happened about his having to tell the truth - and setting up the board meeting?

10.Fletcher and the lengths to which he went to prevent himself telling the truth, keeping his mouth shut, asking Max to reverse the wish? The test with the blue pen? The police and the tickets?

11.The court case and his handling of it, the judge's reaction, his truthful outbursts? Taking the time off to go to the toilet and trying to knock himself out? The witnesses, the questions, dreaming up reasons for having delays? The solution? The client and her greed, his change of heart, seeing the father and his really being the victim? His being held in contempt of court?

12.The experience of prison - and his coming out?

13.The discussions with his wife, talking with her, waiting? Max, school? The phone call? Jerry going with his wife to the airport? The wife and her discussions with Jerry, the drink, realising she was not in love?

14.Fletcher and his desperation to get to the airport, the stairs, the window - on the plane itself?

15.Max's birthday the following year, the family together, his wishes?

16.The theme of the American family, single parents, marriage break-up, the workaholic father, the effect on the children, their wishes? Opportunities for parents to meet their children and express their love for them? The importance of love and values?

17.The tradition of the Jim Carrey comedy? Audiences responding to him as the trickster? His wanting to be a serious actor - but audiences not accepting this? The ending with sentiment to balance the comedy - and it being repaid at the American box office?

LETHAL WEAPON 3

US, 1992, 118 minutes, Colour.
Mel Gibson, Danny Glover, Joe Pesci, Rene Russo, Stuart Wilson.
Directed by Richard Donner.

Lethal Weapon 3 (1992) capitalises on the extraordinary impact of the original Lethal Weapon (1987) and the success of Lethal Weapon 2 (1989). The teaming of Mel Gibson and Danny Glover, white and black, younger and older, buddies and partners, seems to have been very effective. The characters delineated by each are part of the attraction: Gibson as the younger and intense, sometimes despairing, sometimes hyperactive policeman with deadpan corny wit contrasting with the ageing black man, a man of integrity, trying to keep pace, father and brother to his partner. This is continued through the three films. The element of humour is essential.

However, the film-makers have also capitalised on effective editing for spectacular stunt work and effects. In this film, two large buildings collapse and a whole estate is burnt out as well as collapsing. There are two spectacular car chases as well as a train pursuit.

The whole effect is slam-bang action. Some find this reprehensible - however, it is presented with the caricature touch, realistic yet not realistic, larger than life comic-book style.

It is interesting to note the focus of villains throughout the films: from drug lords to international terrorists to weapons dealers and crooked ex-cops fuelling violence in the suburbs of Los Angeles (which erupted only a month before the release of the film in 1992).

Once again the director is Richard Donner.

1.Entertaining action? Humour? Expectations of a sequel? The qualities that have made the series popular?

2.The credits, burning and fire, explosive? The title and the reference to Riggs and Murtaugh? Violence, goodies and baddies? Villains? Weaponry? The explosive buildings? The special effects? The musical score?

3.The pace of the editing and the film? Stunt work, effects?

4.How realistic the film? How unrealistic? Comic-book characterisations and style? The blend of realism with this comic-book style?

5.The theme of American buddies and partners, the strong bonds between the two men - and their being parodied? The gap of the years? The black and white working together? Sharing the experience of the bomb and explosion (and the rescue of the cat)? Hassling the jaywalker, the pursuit of the armoured guard vehicle? The contrast with being at home, Riggs just wandering into the Murtaugh household and being accepted, answering the phone? The experience of the shootings and the deaths? Consoling Roger on the boat? The more humane side? The investigations, pursuits, climax? The deadpan and corny repartee?

6.The importance of the action sequences of the LAPD, the crucial issue of the weaponry, the bullets piercing armour, ex-cops and their corruption? Heroics in this context?

7.Riggs and Murtaugh, black and white, types,. age, agility (and the karate lessons)? Sharing in the detonating of the bomb, working the street, the drive and the chase - Riggs and his climbing all over the truck, Murtaugh and the amorous large black lady (and her reappearances with chocolates and flowers and his hiding behind the desk)? Murtaugh and his making the hamburgers, Riggs and the shooting? The humour of the parking ticket and Riggs bursting in on the film-making, and his pressurising the director to take the actress back? Their friendship with Leo, antagonism towards him, the sale of the motor house? The encounters with Lorna, the clash, mocking her and Internal Affairs by the stories of corruption in the elevator? The comments about chaos and mayhem? The discovery of Travis? The complications at Internal Affairs? Clashes with Lorna, working with her? Leo and his recognition of Travis, the episode on the hockey and the ice? Taking Leo to hospital - and Riggs mischievously ordering proctology? Riggs and the encounter with Lorna, comparing wounds, sexual encounter? Murtaugh and his shooting of the black boy, the friend of his son? His drinking, the grief on the boat, Riggs and his consolation? The contrast with Murtaugh at home? Watching Lorna and her ability with kicking, finding the arms, the chase in the truck, the bike, the freeway and Riggs falling over with the bike? The underground warehouse, the pursuit in the train? The climax at the building site - explosions? Murtaugh and his possible retiring? The decision not to - the scene in the bath, the family, Leo's turning up with the house sold? Characters, caricatures and types?

8.Lorna, tough, Internal Affairs, her reaction to Riggs and Murtaugh, the death of the prisoner, the clashes, information? The wounds and the sexual encounter? The karate skills, getting Riggs and herself out of trouble? The repeat for Murtaugh's benefit at the warehouse? Detection, the climax and her being shot? Riggs and his care, declaration of love?

9.Leo, from the previous film, selling the house, explaining the violence, incessant patter? Anger towards Riggs and Murtaugh, recognising Travis, helping them? The hockey stadium chase and his being wounded? Kept in hospital? The tyres being shot? The finale and his having sold the house?

10.The police chief, on the side of Murtaugh and Riggs? Clashing with the superior? Being taken by Travis, held as hostage? The young policeman, the shooting, the armour-piercing bullets? His accompanying (???them??) underground - his death?

11.The initial robbery, the thugs, the guns, the black dealer, the supplying of guns to the young gang members (and Murtaugh's son knowing them)? The body in the cement? The thugs, the fight, their being ex-cops? The finale and the shootings, deaths

12.Travis, his history, the killing of the man in the cement, his going into the interrogation room and shooting the arrested man? His liking hockey, the pursuit and his escape? Thugs, the arms? The chase on the freeway? The confrontation on the building site, the bulldozer - and his being killed by the metal-piercing bullets?

13.Popular entertainment of the '80s and '90s? Reflection of the themes of violence? Justice? Violence out of control and the role of the police?

LETHAL WEAPON 2

US, 1989, 123 minutes, Colour.
Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland, Patsy Kensit.
Directed by Richard Donner.

Lethal Weapon 2 is in the same vein as the original. It is as good as the original. It is one of those adrenalin-pumping thrillers, a police story about drug dealings in Los Angeles. The film is full of car chases and explosions, expertly done.

Mel Gibson and Danny Glover continue their original roles as two police who get on well with each other, spar with each other, have a good-buddy relationship. This particular aspect is emphasised in the sequel. A comic element is introduced with Joe Pesci, as a witness for money-laundering that the two policemen have to protect. He goes out on their adventures and offers a comic commentary on them.

However, the villains are South Africans. The film's screenplay is highly critical of South Africa and its racist policies. The villains are presented almost as a blend of neo-Nazis and Mafia bosses. Joss Ackland is very good as the sinister South African diplomat.

The film ventures into the Dirty Harry- Charles Bronson area with the two policemen trying to avenge the deaths of police and others at the end. However, the material is formula police work, a touch of special effects and violence and fast-pacing for the audience.

1.Impact of the film? As a sequel? Comparisons with the original? The title and tone?

2.Los Angeles: the use of the city, the police work, beaches, homes, offices? The luxury mansions? The stunt work, cars, special effects and explosions? Musical score?

3.Audience knowledge of Riggs and Murtaugh? Finding them in the middle of a chase, the questions of driving, speed, pursuit? Murtaugh's wife's car? The bond between the two, repartee? Crashes? Information from headquarters? The bets of fellow police? Riggs running, the driving, the explosions, the discovery of the South African money?

4.The Los Angeles police department and the chief, the disasters; the police and their bets; the jokes about Houdini and Riggs getting out of his gear; the raids on the South African house, the police being murdered? A declaration of war by the criminals?

5.The South Africans, their money, accent? The boss and his shooting the courier and the plastic on the floor? His sadistic aide? The decisions, the rackets, the police raid on the house and their claiming diplomatic immunity, Riggs following the chief, in the streets, on the surveillance screen? The protest at the consulate, Riggs invading, shooting the fish? The tough bodyguards? The warnings, the taping and threatening of Murtaugh and his wife, the violence, the drugs and the money, the ship? The murders?

6.Riggs and Murtaugh and their friendship, working together, the car, the TV commercial with Murtaugh's daughter, the sequences in the family, the condoms, the hobby room, their helping each other, especially the explosive with the toilet, Riggs prepared to die with Murtaugh, saving him? Their rapport in their work?

7.The background of the family, pleasant, Murtaugh's wife listening to Riggs and his memories, his wife's death? Problems, the commercial, the boyfriend? Their being taken away to safety after the intrusion into the house?

8.Riggs and his past, police type, his independence, driving and running, pursuit of criminals? The lyrical scenes with Sam at the beach? Friendship with Roger? ... with Leo, the waiter and the threat, leaping out the window? The jokes with Leo? The raid at the South African house? The bomb and the toilet sequence? The confrontation of the South African, shooting his fish? Attracted towards the secretary, following her to the supermarket, the sexual encounter in the caravan, the helicopter and the chase? The thug and his explaining the deaths of the two women? The drowning - and his using his Houdini techniques? Wanting vengeance, pulling the stilt from under the house, the shooting of the villains, going to the boat, the confrontations? The wounding of the thug, his being crushed? Riggs's role on the police department?

9.The contrast with Roger, the family man, his age, in the chases, the raids, the intrusion into his house and the attack on his wife and himself, the bomb in the toilet? His participating in the demonstration against the South African consulate, the comments about his being black? Going to his house, the discovery about the boat, with Leo? Helping Riggs in the final shootout?

10.Leo and the laundering of the money, his personality, in the hotel, jumping, his incessant talk, eating, information about the raid, his excitement about the police work, being in on it, being captured and tortured? The finale and his using the siren?

11.The South African boss, ruthless, his aide and cruelty, the murders, the warnings? The finale, diplomatic immunity?

12.Rika and the love interest, anti-South African, the encounter with Riggs, her death?

13.The attitude towards South African policies, the demonstrations, the fascism, racism?

14.The themes of police violence, justice, vengeance and vigilante violence? Fast-paced genre material?

LES MISERABLES

US, 1978, 150 minutes, Colour.
Richard Jordan, Anthony Perkins, Cyril Cusack, Claude Dauphin, John Gielgud, Flora Robson, Celia Johnston, Ian Holm, Angela Pleasance.
Directed by Glenn Jordan.

Les Miserables is another version of Victor Hugo's classic. It has been filmed many times for the cinema and for television, most notably in France in the '30s with Harry Bauer and in the '50s with Jean Gabin, in the U.S. in the '30s with Fredric March and Charles Laughton, in the '50s with Michael Rennie and Robert Newton. There was also an Italian mini series of the '60s with Gastone Moschin. In the '80s, the story became very well-known and seen world-wide with the musical version. In the late 90s Bille August directed a version with Liam Neeson, Geoffrey Rush, Uma Thurman and Clare Danes.

This version was made for television. It is a lavish re creation of the period, directed by Glenn Jordan (director of many telemovies including The Women's Room and films like Mass Appeal). Richard Jordan seems an unlikely choice for Jean Valjean - and he lacks something of the warmth and screen presence of other actors. However, Anthony Perkins is gauntly sinister as Javert. There is an excellent British supporting cast including Cyril Cusack as the bishop, Celia Johnston as his housekeeper, Angela Pleasance as Fantine, Ian Holm as Thenardier.

This film seems to keep close to the outline of the novel's plot - and is an interesting re-creation of the plot for a wide audience.

1.The perennial appeal of Victor Hugo's classic? The plot? The characters? The dramatic interactions?

2.The tradition of the screen adaptations? This film of the '70s in that tradition? The audience familiar with the characters and situations?

3.The telemovie style, the length, colour photography, re creation of the galleys, Toulon, the French cities and towns, Paris, the barricades? Colour photography, the score? The staging of the action? The intimate sequences?

4.The atmosphere of the galleys, the boats, prison, Jean Valjean's escape attempts, Javert and his cruelty, the letter of the law? The accident and Valjean lifting the cart? The atmosphere of the sea and cliffs?

5.Valjean and his leaving the prison, the parole conditions? His not fulfilling them? The encounter with the bishop, with his housekeeper and sister? The meal and hospitality? The discussion? The robbing of the cutlery? His being returned by the police? The bishop offering the candlesticks and buying his soul?

6.The atmosphere of the French provincial town, Valjean as M'sieur Madeleine? His status in the town, as mayor? The factory, work? His authority? The people in the town, the wealthy, the poor? Fantine and her daughter? Her poverty, on the streets, her illness, her death? The arrival of Javert, his credentials? The lifting of the cart and his suspicions? Fantine's death? The false Valjean and the trial? M'sieur Madeleine admitting the truth?

7.The Thenardier and their characters, their children, their treatment of Cosette? Attitudes towards Valjean? His bargaining with them, taking Cosette? Javert and his pursuit?

8.The arrival in Paris, the father and daughter, the bond between the two? Getting into the convent, the dangers? Eluding the police? Settling in the convent, the gardener, Cosette and her education?

9.Marius, his background, his aristocratic grandfather, the story of his father? His studies in Paris? The meeting with Cosette and Valjean? His falling in love?

10.The Thenardier in Paris, the complications? their roguery?

11.The barricades: the leaders, in the cafes, the revolution, the atmosphere, liberty and justice? The personalities of the leaders? Marius and his presence? Eponine and Gavroche? The battles on the barricades? The slaughter of the men? The role of the soldiers, of the police?

12.Valjean and his going to the barricades, Javert as a spy? His being discovered? The possibility for Valjean to get his vengeance? His letting Javert go? His wanting to save Marius? Thenardier? Carrying Marius through the sewers? The pursuit of Javert, letting him go?

13.Marius's family, Cosette, the build-up to the wedding? Valjean's disappearance? The reconciliation? The grandfather and his stances?

14.Javert, his bewilderment, the meaning of his whole life and the law? His statements throughout the film about his stances, beliefs, the law? The treatment by Valjean? His not being able to comprehend or accept? His killing himself in the Seine?

15.The truth, the vindication of Jean Valjean and his life? The humanity of the portrait of Valjean? French society after the revolution, the revolutions of the 19th century? The role of the church - the bishop, the nuns in the convent? Valjean seen in the light of the gospels as a redeemer and saviour figure?

THE LAWNMOWER MAN

US, 1992, 105 minutes, Colour.
Jeff Fahey, Pierce Brosnan, Austin O'Brien, Jenny Wright.
Directed by Brett Leonard.

The Lawnmower Man is a science fiction thriller about Virtual Reality - Virtual Reality being developed in the '80s and '90s, becoming more readily available towards the end of the century. As with many such stories, the focus is on government and military conspiracies taking advantage of the technology and using it for contaminated purposes.

The film is based on a Stephen King short story (though King is alleged to have disowned the film). It is a variation on the Frankenstein theme, Pierce Brosnan, as a scientist who experiments with the effect of Virtual Reality on monkeys, is forbidden to pursue his investigations, decides to use a simple-minded gardener - and finds that he has created a technological monster who is far more intelligent than he and who is contaminated by government and military. Jeff Fahey is effective as Jobe (symbolic name), the gardener - who is also presented as a Christ-figure with his cleaning the church, living in a church room, scenes with crucifixes, clashes with the priest who takes care of him - and the ultimate killing of the priest as well as the crucifixion images in the Virtual Reality conflict with the doctor.

The film was co-written and directed by Brett Leonard, is very effective in its computer visualisation of Virtual Reality and its impact. On video there is a director's cut which is longer by 30 minutes.

1.Virtual Reality, science fiction and science fantasy - and the reality of the '90s? The basis of the film on a Stephen King story?

2.The '90s and the future, technology? The suburban atmosphere contrasting with the laboratories? Plausible? The musical score?

3.The world of Virtual Reality, computer technology? Images and movements? Games? Reality and relationships, violence, sexual relationships? The threats, the struggles - Access Denied? Visions of the future?

4.The title, Jobe and his work, Jobe and the Virtual Reality images - the technological lawnmower of destruction?

5.The status of Virtual Reality in the 1990s? Audience response to the technology? Sharing the experiences of Jobe and the boy?

6.The story based on the Frankenstein legend, Dr Angelo as the scientist, Jobe as a '90s Frankenstein monster?

7.Dr Angelo, personality, his work with the monkeys, developing the technology, his being banned from further experimentation? His caution, the authorities? His personal background, relationships? His seeing Jobe, the friendship, neighbours? The friendship with the woman and her son?

8.Jobe, his work as a gardener, with the lawnmower? His mental simplicity? Working with Terry, their friendship? Mowing the lawns, the attraction of the neighbouring woman? Living in the church, cleaning the church, the symbolism of the crucifix, talking to Christ and the religious dimensions? The brutality of the priest, his beating him with the belt? The symbolic biblical name?

9.Dr Angelo's proposal, Jobe's response, the caution, the experiments? The young boy and his help, sharing the Virtual Reality games? His friendship with Jobe, with Dr Angelo? The transformation, the collage of learning, the pace of learning? The games and the experience? The attraction of the mother of the boy, her seduction of Jobe, the sexual relationship? Jobe changed, talking intelligently with Dr Angelo? Explaining the development of his mind? His capacity to levitate objects, his attempts to invade Dr Angelo's mind?

10.The military and the government? Seen on video screen? The meetings, the discussions? The military power? The bureaucratic types? Contaminating the program and Jobe's capacity for learning, becoming a military instrument?

11.Jobe as the Angel of Vengeance, the uniform, in Virtual Reality, in reality? The confrontation with the priest and his going up in flames? The background with the neighbour and the service station manager, his previous attitudes towards Jobe, the vengeance of the lawnmower? The military authority and his being disintegrated? The lawnmower of vengeance?

12.Jobe and his self-awareness, his belief in the experiments, his knowledge of what would happen - and therefore his decision to undertake the experiments himself?

13.Angelo appearing more and more human, helpless, wanting to confront Jobe, discovering the truth about the contaminated experiments? Enlisting the help of the boy and his mother? The chase, the headquarters? The ultimate explosions?

14.The final Virtual Reality game, Dr Angelo and Jobe, the struggle between good and evil? The technological images? The frequent use of Christian iconography - especially the crucifix? Dr Angelo crucified and Jobe as diabolical? Symbols of good and evil?

15.The apocalyptic ending of the experiment? The contrast with Dr Angelo and the mother and her son, the possibilities of an ordinary life? More controlled experimentation? More ethical? Jobe's earlier speaking of phones ringing - and the final collage of international cities and the phones ringing?

16.How effective the film as science fiction, science fantasy, moral fable?

LA STORY

US, 1991, 95 minutes, Colour.
Steve Martin, Victoria Tennant, Sarah Jessica Parker, Richard E. Grant, Marilu Henner, Kevin Pollak, Patrick Stewart, Iman.
Directed by Mick Jackson.

L.A. Story was written by its star Steve Martin, a sympathetic and romantic role for himself, his perspective on the city of Los Angeles, its eccentricities and wackiness, the hope that there is romance deep in the heart of L.A. It is also written as a love story for his then wife, Victoria Tennant.

By the end of the '80s, Steve Martin had established himself as one of America's leading comedians. In the early '90s he made quite a number of films: My Blue Heaven, Father of the Bride, House Sitter and the more serious Grand Canyon. Victoria Tennant has a very good role and is the equivalent of Annie Hall in Los Angeles. The supporting cast is entertaining, led by an eccentric Marilu Henner. There are some guest appearances by Martin's friends Chevy Chase (in an elitist restaurant) and Rick Moranis (in a sympathetic parody of the graveyard scene in Hamlet).

The film has been compared to the work of Woody Allen. It is as if Woody Allen were doing his analysis, satire and affectionate look at Los Angeles instead of New York City.

1.Steve Martin's vision and humour? Spoof, black humour, sentiment? Romance at the heart of Los Angeles? A west coast version of Woody Allen's perspective of the east coast?

2.The zaniness of the credits, the colours and shapes, design, artificiality, people, conformity, traffic, the giant hot dog, bodies and the weather, pets? The film's locations and the atmosphere of the city: freeways, studios, apartments, galleries, the zoo? Elite restaurants? Signposts on freeways? Harris's zany tour for Sarah of the city? The complexity of Los Angeles - including the weather?

3.The atmosphere of the score, the moods, the range of songs - and their lyrics - and La Mer?

4.The sardonic view of Los Angeles and its people, the critique, the romantic perspectives?

5.Steve Martin and his screen presence, humorous style, zaniness? The philosophy of being wacky? Harris and his type, work? At home, the opening of the day, his avoiding the traffic on the L.A. freeway - and the humour and intricacy of the short cut? His performance of the wacky weather - and the disapproval of the TV anchor crew? His relationship with Trudi? His impatience in getting to the brunch? On the freeway - and the beginning of the season for shootouts on the freeway, literally with guns? The friends at the brunch, their chatter, yuppy, `in' conversation? The meal, the ritual of decaffeinated coffees etc?

6.Harris as a character at home, bored and writing it on the window? The relationship with Trudi, the tensions? Her control of him? The discovery of the three years affair? His friendship with Ariel, her lesbian friend? His ability to talk things over with her? Going to the art gallery - and the video of his skating? His going to the shop for the trousers and the encounter with SanDee? The exchanging of phone numbers? The visit to the Hard Rock Cafe - her openness and freedom, her boyfriend sitting at the bar? Discovering Trudi and Frank and trying to hide from them? His sense of freedom?

7.The initial impact of Sarah, her arrival, British accent, Annie Hall clothes and hat? His infatuation? At the meal, her frank conversation? Her arrival to do the interviews and article about Los Angeles? His helping her with the car? The phone call, her seeing him on television? The meeting, the interview, seeing the eccentric side of Los Angeles? Meeting in the gallery - with Roland? The looking at the picture - and Harris's art comments? Driving home, his introducing her to the sign on the freeway? The impact of the sign, its formerly being a bagpipe, its way of communication, riddle? The question of the restaurant - and the financial check on Harris? The humiliation? The irony that Roland was able to get them to the restaurant easily? The fashionable but skimpy meal? The zoo, the visit to the cemetery - and the Hamlet-like encounter with the gravedigger? His falling in love with Sarah, kissing at the signpost, the riddle? Going to the meal - and their leaving the meal for the sexual encounter? His going to the Colon Institute for Health with SanDee? The planning of the weekend with SanDee? In the hotel room, the sexual encounter - and listening to the other couple? The irony of the meeting, the effect on each? Sarah and her wanting to leave? The importance of the weather, the plane not being able to get away? Their reuniting? Commitment? Going to visit the sign - and its solutions?

8.The character of Sarah, the Annie Hall eccentricity, in communication with her mother in Britain, the break-up of the marriage with Roland, the initial meal, her frank talk, driving the car - recklessly on the wrong side of the road? Her watching Harris on television, the interview? The weather, the gallery? The tour of Los Angeles, the zoo, the cemetery? The dinner and the sexual encounter? Ringing her mother and playing the tuba? The weekend with Roland, the discovery of Harris - and her leaving? Her return, the reconciliation?

9.Trudi, L.A. manner, dressing for the brunch, delay, arriving first? Fashions, especially for Harris? Her affair? The break-up with Harris?

10.Roland, his presence in Los Angeles, finding everything wonderful? Friendship with Harris? Sarah as his ex-wife? The plea for the return? The meal at the fashionable restaurant? The weekend with Sarah - and the cartoon images indicating homosexuality?

11.Rick Moranis as the gravedigger, the parody of Hamlet? Chevy Chase at the restaurant?

12.The television station, the wacky weather, the anchor people and their criticisms of Harris? His improvising with the weather - and the boss and his yacht sinking, his being sacked?

13.The restaurant, its clients, the elaborate presentation of credit status and investigation?

14.The sign, its personality, the bagpipes? Information, helping Harris?

15.The happy ending, Steve Martin's tribute to his wife, Victoria Tennant?