THE HEAVENLY BODY

US, 1943, 93 minutes, Black and white.
William Powell, Hedy Lamarr, James Craig, Fay Bainter, Henry O'Neill, Spring Byington, Morris Ankrum, Connie Gilchrist.
Directed by Alexander Hall.

The Heavenly Body is a very light American comedy from the war period. It is in the tradition of the screwball comedies - especially with William Powell as the astronomy professor. Hedy Lamarr is very attractive - but not always adept at this kind of very light comedy. However, there is pleasant support from Spring Byington and Fay Bainter. The film pokes fun at astrology and the way that astrology can control people's lives. It is all very contrived, but pleasantly so. Direction is by Alexander Hall, director of many '40s comedies with stars like Rosalind Russell, Cary Grant, Melvyn Douglas. He is perhaps best known for Here Comes Mr Jordan.

1.Pleasant romantic comedy? The screwball comedy tradition? Contrived and light?

2.MGM production values, black and white photography, sets and style? Stars?

3.Romance, the conditions of the period? Marriage, divorce?

4.Bill and Vicky, their marriage, his working at night, their seldom encountering each other for long? Astronomy and astrology?

5.Vicky, her beauty, the devoted wife? Feeling neglected? Talks with Nancy? Going to the meeting with Mrs Sybil? Getting her horoscope? Letting it control her? What happened each day, not allowing Bill to touch her? Going to find the handsome man in her life? Giving up, meeting Lloyd, her determination that he was the one? Romance?

6.Nancy, her gossip, astrology, the meetings, Mrs Sybil getting rid of her? Bill hosing her?

7.Mrs Sybil and her assistant, their work, the horoscopes, her self-assurance, controlling people's lives? Bill, the visit, the FBI? Her hoarding food?

8.Lloyd, his being on supervision? Visiting the home, the dark stranger, his travels? Attracted to Vicky, coming back? Hearing of the truth? Romance with Vicky, the holiday house? His not wanting to be tied down? Stepping back?

9.The staff of the observatory, the comet and its landing, Bill and his absentmindedness, his speech? Looking through the telescope at Vicky and Lloyd?

10.The final look through the telescope, the happy reconciliation?

11.Astronomy and its development? The absentminded scientist? Romance? Astrology and the poking fun at astrology?

HUSBANDS AND WIVES

US, 1992, 107 minutes, Colour.
Woody Allen, Blythe Danner, Judi Davis, Mia Farrow, Juliette Lewis, Liam Neeson, Sidney Pollack, Lisette Anthony, Ron Rifkin.
Directed by Woody Allen.

Husbands and Wives is a very perceptive look at middle-aged couples and marriage breakdown. It was released at the time of the clash between Woody Allen and Mia Farrow - and gives some interesting 'fictional' background to understanding each of the pair, their relationship, the breakdown, the change in partners, Allen's fixation on younger women...

However, the film stands well as a drama. Judi Davis and Sidney Pollack are excellent as the couple who decide that they should part and experiment. Woody Allen and Mia Farrow are the more conventional couple who, in fact, separate. Liam Neeson is convincing in the role of the man manipulated by Mia Farrow. Juliette Lewis is the young English student who becomes the object of infatuation by her professor, Allen.

The film uses a hand-held camera technique which at times is irritating. There are also some jump-cut edits in the interviews. The film is a blend of contemporary action (often the hand-held camera), interviews and flashbacks. There is the usual range of music and songs, beloved of Allen.

1.Woody Allen and the issues of his films, his visual style, witty language, insights into human nature, relationships?

2.The New York setting, the apartments, the streets? The authentic atmosphere? The music of Cole Porter, Jerome Kern? The Mahler concert?

3.The effect of the hand-held camera, the jump-cut edits in the interviews? The structure of the film: the realistic hand-held situations, the interviews, the flashbacks illustrating the interviews? The overall effect for the psycho-drama? The end and Gabe simply asking can he stop talking?

4.Woody Allen and his issues, interest in relationships? The character variations on himself? The autobiographical background and the relationship with Mia Farrow and his relationship with a younger woman?

5.Judy and Gabe together for ten years, the opening television program and the comments about God, playing games - and Gabe remarking that God played hide-and-seek? The bonds between the two, the flashbacks, the party and his meeting Judy, Judy and her getting her way with him, the lift home, getting something to eat, marrying him? The issue of her daughter, the possibility of their having children? Her wanting it, his not, the diaphragm, the situations and their discussions and changes of mood? Each of them with their work? Together, especially in the apartment, at meals, with Jack and Sally? The memories and secrets, isolating each from the other? The discussions about being completely honest? His novel and the comments, her not showing him her poetry? The audience sensing the end of the marriage? The reaction to Sally and Jack and the final contrast?

6.Judy as intensely feeling, her former husband and his criticisms and judgment about her passive aggression, her reaction to this and accusing him of being his mother's boy? Tense in relationship to Gabe? The discussions about the baby or not? Her response to Sally and Jack, wanting to fix Sally up with Michael, her actually flirting with Michael, her being 'supportive to him'? The final discussions with Gabe and the breaking up of their marriage, the change of moods, their memories? The marriage over? Her behaviour in the interviews, defensiveness, explaining herself? Finally with Michael at the end - and her first husband commenting on her still being successful in getting her own way?

7.Gabe and Woody Allen, his style, wisecracks? His work as a teacher, his comment on the students and love of literature? His being impressed by Rain? Her being flattered by his attention, comments on her story? His explanations of his attraction towards her, the discussions about stories, walking together, her wanting to read his novel, his giving her the manuscript, her losing it in the taxi, finding it and staying with the family for some coffee? Her strong critique, his reaction against it? His reflections with the psychiatrist about it? Meeting her parents and their devotion to him? Going to her party, giving her the music box, the blackout and the kiss? The change of heart? His memories of Harriet and his story about her, intensity, flashback, finishing in an institution? The comparisons with Judy or not? His explanation of his sexual daydreams? His changing, the break of the marriage?

8.Sally and Jack, married fifteen years, their family? Arrival for the night out, the blunt announcement of their separation (and their later comments about how they felt at the time)? The meal, Judy and her reaction? Sally and her explanation of Jack's infidelity, catching him when he was not in Chicago? Her reaction? The psychiatrist and the analysis? Jack and his friend, giving him the address of the hooker? Her explanations of his calling, the relationship with her and her friend? His meeting Sam, the aerobics, everything great? His being fit, jogging, meals? The chance encounter of their all meeting in the street? At the party, Sam's astrological discussions and his anger, dragging her away, humiliating her? Taking her to Sally? His return to Sally? Saying it was all a mistake, encountering Michael? The contrast with Sally, the date and the possibility of going to Don Giovanni, her obsessive phone calls? Having the meal with Judy, talking about touching Judy's nerve about the break-up? Meeting Michael in the office, attraction, the date, the Mahler concert, her contradicting his opinions, going home, his approach, she saying he was going too fast? The sexual encounter (and her explanation to the psychiatrist about foxes and hedgehogs and her identifying people like this)? Jack's arrival, the embarrassment? Their getting back together, their explanation, their analysis of what happened?

9.Michael, his relationship with Amy and the break-up? Working with Judy? Impressed by Sally, taking her out, the concert, his come-on, her rebuttal? The sex, his encounter with Jack, ill, recovery? Judy as supportive? His relationship with her, marriage?

10.Rain, her age, writing, the flashbacks and her long explanation of her story and relationship with older men, the encounter with the psychiatrist and the flashback to reveal who he was? Her boyfriend? Her parents, their adulation of Gabe? Inviting him to the party? Reading the manuscript, her caustic comments, losing the manuscript, regaining it? The party and the kiss in the kitchen?

11.Sam, aerobics, her talk, trendy, New Age? Complementarity to Jack? With him, not sharing his interests, the party and her talk? His dragging her away, the humiliation? Break-up?

12.Rain's psychiatrist, the tantrum? The revelation of who he was?

13.The range of supporting characters, the background of New York City?

14.The psychiatrist? The off-screen voice-over, the interviews, the questions?

15.A portrait of New Yorkers, relationships in the '90s, the fragility of marriage, the fragility of relationships?

THE HURRICANE

US, 1999, 146 minutes, Colour.
Denzel Washington, John Hannah, Deborah Kara Unger, Liev Schreiber, Vicellous Reon Shannon, David Paymer, Dan Hadeya, Harris Yulin, Clancy Brown, Rod Steiger.
Directed by Norman Jewison.

The Hurricane is based on the autobiography of Rubin Carter as well as a book by some of the Toronto group who supported him, Lazarus and the Hurricane. Bob Dylan's ballad also features.

Denzel Washington won several awards (Golden Globe, Berlin Festival) for his powerful performance. Washington has great screen presence and brings it to his portrayal of a man who is innocent, who has been victimised most of his life, who had a chance for rehabilitation but who was trapped in prejudice and the American justice system, who found inner strength while keeping people away from him, who almost gave up, but who finally found a new and free life.

Direction is by Norman Jewison, a director with 40 years of experience and the widest range of movies, including Fiddler on the Roof, Jesus Christ, Superstar, Agnes of God, A Soldier's Story, Moonstruck and a Sidney Poitier vehicle which was influential in the 60s on race issues, Oscar Best Film of 1967, In the Heat of the Night. (Rod Steiger won his Oscar for this movies and he reunites with Jewison here as the judge who gives his verdict in favour of Carter.)

The movie is long, spans over twenty years of Carter's adult life, uses the prison and courtroom conventions. While Vicellous Roan Shannon is very good as Lezra, the young man who wrote to Carter, the Toronto group are not as strongly sketched as might be. But, it is a fine, 'inspirational' movie.

1.The film based on a true story, the autobiography of Hurricane Carter? The book by the Canadians, Lazarus and the Hurricane, by Sam Chaiton and Terry Swinton. The use of the Bob Dylan song? The credits and the focus on Carter as a fighter? In prison and his desperation in 1973? The authenticity of the story as it unfolded?

2.The film as a morale booster? The plight of Reuben Carter, his experiences, championship, his being a victim of racial prejudice, the experience of prison, overcoming it and making a life for himself after so long and so much suffering?

3.The re-creation of the atmosphere of the '40s and '50s and Carter's childhood? The '60s and his fighting? The crime and the arrest? The '70s and '80s and his experience in prison? The contrast with the world of New York? With the world of Canada and his supporters?

4.The structure of the screenplay: the credits and his boxing career, the prison seen in 1973, the shift backwards and forwards? The introduction of the theme of Lesra and the Canadians and moving around in time? The final flashbacks to the crime?

5.The portrait of Carter as a boy, his friends, school, home? The encounter with the paedophile and his violent reaction? The other boys, the police taking him, his not speaking out, his being judged as guilty? His going into institutions, the institutional life, running away? Della Pesca and his attitude towards Carter, the beginning of hounding him and allegedly wanting justice to be done?

6.Carter getting out of the institution, his other experiences in jail? His military service and its effect on him? The return, meeting friends, meeting Mae and falling in love with her? The wedding, the family? Yet the atmosphere of prejudice, especially from the police?

7.His skill in boxing, the effort and the training? The fights, managers? The staging of the fights? His winning? His losing and being a victim of prejudice? The effects on him? On the media, on the public?

8.The possibility of domestic happiness, his courting of Mae, marrying, bringing up a family? The violence and the attack on the house? Mae and her support? His finally asking her to separate, to divorce? His inability to share his suffering with her and the child?

9.The aftermath of the fight, at the nightclub, enjoying himself, John Artis offering to drive him? The arrest, the interrogation, going back to the bar, the witnesses not corroborating that they were guilty? The visualising of the crime - the victims, the people in the bar, the men and their shooting, going off in the white car? The witnesses and the possibility of giving testimony accurately or not?

10.Della Pesca and his investigation, pressure on the witnesses, finance, reputation? Decades later and the revelation of the truth, the documents? The falsification of signatures and time issues?

11.Going to trial, the lawyers, the justice of the situation, the effect of the white jury in court?

12.The character of Reuben Carter and Denzel Washington's performance? A man of dignity after the troubled childhood he had, being institutionalised, the army, his boxing career cut short? The sentence, the effect on John Artis? The arrival at the prison, the issue of the clothes, the talk with the warden, his going into the hole and the beginning of his suffering? The time in the hole, the darkness, the food, toilet? The humiliation and the smell?

13.Emerging from the hole, beginning his sentence, wanting a compromise, the guard and the suggestion about the pyjamas? His support from the guard? The years passing?

14.Life in prison, his angers and outbursts, his being quiet, not conforming? Studying the law, his appeals and their failure? Divorcing his wife? The importance of his spirituality, inner centredness, humanity? The writing and publishing of his autobiography?

15.Lesra and the group in Canada, wanting to support him? His parents and their reaction to his study and going? His wanting to go to college? Learning to read? The group: Terry, Sam and Lisa? Their keeping house together, their social work? Lesra and his support, buying the book, reading it, the effect on him, the effect on the others?

16.The characters of the three - how well delineated, in themselves, their causes, service of others, friendship?

17.Lesra and his decision to write to Carter? Carter receiving the letter, reading it, its effect? Allowing the visit? Lesra and his going through the procedures to go into the prison, tentative with Carter, their talk, giving of advice?

18.The continued contact, the communication, the presents? The group going to New York to work for Carter? Visiting him, his wariness? Afraid of do-gooders? The detail of their investigation, the discovery of the lies? Their charts, documentation?

19.The breakthroughs in the investigation, the information? The visits and the interrogation, issues of signatures, reports? Going to visit officials, widows and other members of the family? The death threats and the bombing of their own car?

20.The effect on Carter, his hope? The importance of the phone call where he confessed that he didn't have the inner strength to go on?

21.The dilemma of the appeals? The two lawyers and their support over the years, their skills, pro bono work? The decision of Carter himself to go to the Supreme Court? The risks of losing completely - and going outside the jurisdiction of New Jersey? The reaction of the New Jersey police, in court, Della Pesca and the others in court?

22.The judge, his stressing the demands of the law, his consideration of the case, Carter's decision and appeal to him? His decision, its effect?

23.The justice being done? Carter being released? Finding a life after the trials? The continued hostility of Della Pesca and the police?

24.Issues of the wrong man and the law and imprisonment? The effect of one's past on one's life? Carter transcending his background as boxer, in his spirituality? His complete low point and yet his revival? His life after release - symbol of hope?

THE HARD TRUTH

US, 1994, 95 minutes, Colour.
Eric Roberts, Michael Rooker, Lisette Anthony.
Directed by Kristine Peterson.

The Hard Truth is a B budget film noir of the '90s. It has the tough cop who was rejected by the authorities, caught up in schemes by a femme fatale and employing an arrogant criminal. There is also the background of corruption and extortion and deals in a big city, council decisions about building projects. It is also a robbery thriller.

These three elements combine with an above average cast, Michael Rooker as the disillusioned policeman, Eric Roberts as the arrogant scientist, Lisette Anthony as the seemingly sweet secretary.

1. Entertaining B budget melodrama? City corruption, police investigations, heist drama? A romantic triangle? The combination of all three elements?

2. The city locations, the shootout at the station, the chases? The interiors with the offices, the council, the scientific establishments? Musical score?

3. The corruption theme: Hamilton Nicholls and his running of the council, being paid off by criminal interests, quashing extortion charges? Collecting money? His relationship with Lisa? His pressurising his council? The irony of his being robbed after his decision? His presuming that he had been double crossed?

4. The police background of the city: Jonah Mantz and his skills, the siege at the railway station, the massacre, his chasing the criminal, killing him? Denounced by his superiors? The interrogation? His disillusionment? Motivation for joining with Lisa? The background of the precinct and the other members of the staff?

5. The robbery: Mantz relying on his contacts with former criminals, the connection with Chandler Etheridge, trailing him, visiting him, blackmailing him? The agreement to plan the robbery? The photos of the safe? Mantz's mixed motivation with vengeance and love for Lisa?

6. Etheridge and his air of superiority, criminal contacts, his personal cover? The approaches to Lisa with the gun? The clashes with Mantz? His going to the bar, being exposed and chased, rescued by Mantz?

7. The actual robbery, the timing? The getting of the numbers of the safe? Success? Mantz and his being wounded but going with Etheridge? The dividing of the money? Lisa's phone call, her plans? Assuming that Etheridge had killed Mantz? Mantz following her and overhearing? Her shooting Etheridge? The irony of the criminal bodyguards and the past membership of the police, friendship with Mantz, owing him and shooting Lisa dead?

8. Pot boiling, hardboiled detective and crime material?

THE HOWLING 4 :THE ORIGINAL NIGHTMARE

UK, 1988, 92 minutes, Colour.
Romy Windsor, Michael T. Weiss.
Directed by John Hough.

The Howling 4 comes ten years after the original. The Howling was an interesting spoof of werewolf films (with a serious undertone) with lots of movie allusions. The second film had no relation to the first - a werewolf horror story with lashings of sex and violence. The third film (directed, as was the second, by Australian Philippe Mora) was made in Australia and involved aboriginal themes and werewolves.

The Howling 4 is directed by John Hough, director in the '70s of such horror films as Twins of Evil, The Legend of Hell House. He has had a varied career in cinema and television - also making the lavish, almost archetypal, Gainsborough television movies, A Hazard of Hearts from a Barbara Cartland novel.

This film is much more conventional - and, while it has a few sex and violence scenes, does not compare with explicitness with the other films.

1.Entertaining horror story? Werewolves in the United States? Plausibility of the plot and characters?

2.Los Angeles and Californian locations? The isolated country town? Homes, the woods? The town itself? Musical score? The cast - straight out of Central Casting for midday soap operas?

3.The title, the series of films? Werewolves? The howling of the wolves?

4.The atmosphere of dreams, the heroine and her imagination writing stories, imagining the nun, imagining the house collapsing? The reality of the werewolves? The tradition of the town, the bell tower, the massacre? The werewolves in America, transformation, cruelty? Their destruction?

5.Marie and Richard, their relationship, Marie's imaginings and breakdown? Seeing Sister Ruth? Friendship with Tom - and Richard's jealousy? Tom driving her for the holiday, the encounter with the sheriff? Her enjoying the holiday, her dreams, Sister Ruth, imagining her present, the collapse of the house? Her love for her husband? Trying to relax? Her curiosity about the previous occupants? The friendliness of the people in town, Eleanor and her shop, the store couple? The doctor? Janice's visit, curiosity about Sister Ruth? The finding of the number-plates, the visit of the caravanning couple and their disappearance? The doctor, the sheriff, conflicting information? The discovery that the occupants were Sister Ruth's parents? Sister Ruth's fear? Richard's reaction, the phone calls to Tom? Richard and his being slashed, his not telling the truth, his transforming before her eyes? Tom and the injuries? Janice and her help, the tower, Janice's self-sacrifice, her lighting the fuse and the flames? The experience for Marie?

6.Richard, decorator, the cad, love for his wife, the affair with Eleanor? Transformed into a werewolf? His death? The contrast with Tom, friendly, the publisher? Helping Marie? Clash with Richard? His death?

7.Janice, the story of Sister Ruth, leaving the convent? Seeking out Marie, the nature of her relationship and the lesbian taunt by Richard? Their researches together? Memories of Sister Ruth? Finding out more of the truth? Sharing Marie's experiences? The final decision, the lighting of the fuse? Her self-sacrifice after ringing the bells to get the werewolves?

8.Tom, friendship, publishing, love for Marie, getting the information, Richard's clash? His return, death?

9.The people in the town, the doctor, his reassurances - but a werewolf? The sheriff, his interventions, the assistant with the towing? The threats to Janice and Marie? The couple at the store and their warnings? Eleanor, her shop, her seduction of Richard? Her violence? The destruction of all the werewolves - and the visuals of them running as wolves to the bell tower?

10.The priest, his help, the religious background? The information about Sister Ruth, and her parents?

11.Popular werewolf ingredients? The European background? Transfer to the United States - the beast in humans? Sensual, violent and destructive? Their own destruction? A popular variation on the theme?

THE MARSUPIALS: THE HOWLING 3

Australia, 1987, 93 minutes, Colour.
Barry Otto, Imogen Annesley, Max Fairchild, Michael Pate, Frank Thring, Barry Humphries,
Directed by Philippe Mora.

The Marsupials: The Howling 3 is an oddball movie. Written and directed by Philippe Mora, it is a spoof as well as touching on serious themes of horror movies. The initial Howling, directed by Joe Dante, was a success as a horror film as well as a spoof, especially of the media. The Howling 2, directed by Mora, was a more straightforward horror movie.

This time the scene is shifted to Australia. In Australia (and the Soviet Union) a strange race, blend of wolves and humans, has been discovered. Barry Otto and Ralph Cotterill are scientists researching this. Imogen Annersley (Playing Beatty Bow) is an attractive werewolf who leaves her settlement and arrives in Sydney, only to be caught up in the making of a horror movie (offering plenty of scope for spoof, satire, and Frank Thring as a pompous director). There is also a subplot with a Russian ballet dancer who is also a werewolf.

A lot of notable names in the Australian film industry appear in the film, including Michael Pate as the American president. Film critic Bill Collins is a doctor. And Dame Edna Everage even appears at the finale for presenting an Oscar.

There are also aboriginal themes - with some aborigines being members of this mutant race. And there are also variations on aboriginal mythologies, spirits and Dreaming.

All in all, an oddball mixture.

1.Popularity of horror films? This movie as a straightforward horror film? The send-up of the horror genre? The parodies within the film? The blend of the serious and the spoof?

2.Australian settings, the use of Sydney, the bush sequences? The special effects for the transformations into werewolves? The parody of the special effects for horror movies? Musical score? Songs?

3.The title, the focus? The blend of werewolves and humans as marsupial types?

4.Professor Beckmeyer and his movie from 1905, his grandfather at Cape York Peninsula, the aborigines and their corroboree, the werewolf in the movie? His lectures, his investigations? Discovery of the movie set in Sydney? The news from the Soviet Union? Tracking down the ballet dancer? His involvement, research, with Professor Sharp? Observing Geboa, Philo, Olga? His letting them escape, going to the village? The chase in the bush? His settling down with Olga, raising a family? The final amnesty and Professor Sharp finding him? To America and meeting Geboa's son? Barry Otto and his presenting the character seriously?

5.Geboa, her escape from the colony? Travelling on the bus, in the city and scaring people as a wolf? Donny and his finding her, going into the film, the retakes? With the director? The sexual liaison with Donny, her pregnancy? Escaping, giving birth, the marsupial style? Back in the colony, the clashes with Philo, the three women chasing her and capturing her (disguised as nuns)? Her escape from the colony, her friendship with Kindy? Finding Donny again, the escape? Settling down? Going to America, the disguise, becoming a famous actress, her son, Donny as a director? The Oscar presentation with Dame Edna and her transforming into a werewolf (and a parody of the end of the initial Howling movie)?

6.The colony, Philo and his brutality, his explanation of their origin, the Tasmanian Devil, the phantom, the spirit going into the people? The members of the colony? The women disguised as nuns? The capture, the examination in the hospital? The massacre in the hospital? The escape? The doctors and their observations?

7.Olga and her companion, defecting, in Sydney, the ballet rehearsal, transforming into a werewolf, her being captured, the escape, Beckmeyer falling in love with her, her staying in the bush, family?

8.The movie people and the send-up of the director with Frank Thring? Donny taking Geboa to see a horror movie and the parody? The taking of the movie? The end and the satire on Hollywood?

9.Kindy, the aborigines, his being transformed by the phantom, his chasing the hunting party? The contrast with the aboriginal as the tracker, with the posse? His modern style, his language and behaviour?

10.The theme of the Tasmanian Devil and its extinction, the theories about Queen Victoria and President Harrison? Cover-ups? The military wanting to destroy the mutants? The scientists wanting to preserve them? The president of the US? The intervention of the Pope and the Vatican? The final amnesty for the werewolves?

11.The parody and the serious style? A piece of amusing nonsense or silliness?

AMLEGARD (HOUSE OF ANGELS)

Sweden, 1992, 126 minutes, Colour.
Helena Bergstrom, Rikard Wolff, Per Oscarsson.
Directed by Colin Nutley.

Amlegard (House of Angels) was written and directed by British writer-director, Colin Nutley. After working in Britain and with a television series, Annika, he moved to Sweden to make documentaries and feature films. He recreates a Swedish village, the tensions, jealousies, and their being challenged by an unconventional pair who work in cabaret in Germany. The screenplay offers the opportunity to create the characters and atmosphere of a town as well as the breaking of its prejudices. The film has a light touch, aims for comedy - and stretches the bounds of plausibility. However, in its light heartedness and its seriousness in critiquing hypocrisy, it proves popular entertainment.

1.Swedish film, British director? The light touch? The village, its way of life, narrowness, the critique?

2.The visuals of the village, the countryside and its beauty, the homes and gardens, the buildings in the town, the shops, the church? The musical score?

3.The title, Erik's house, Fanny and her inheriting it, how she used it, the guests and the entertainment? Her finally selling the property but not her house?

4.Erik, his place in the town, his will, its being signed, the accidental death - at slow rate? Axel and his wanting to buy the property? The discovery of Fanny, her arrival with Zac on the bike, during the funeral? The consequent complications?

5.Fanny and Zac, on the bike, their arrival, scandalising the people? Their leather clothes? Their relationship? Fanny and the question about who was her father? Her mother's secret? Taking over the house, settling in? Their behaviour in the house, in the town? Frank manners, language? Their background in German cabaret? The reaction of the neighbours, Axel and his wanting to buy the property? The support of the priest? The jealousy of the women? The two elderly brothers and the past? The isolated man and his pornography? Their inviting their colleagues to the house, the celebration? The priest and his idea of the cabaret? Offsetting the critique? The discovery of the letter, Axel as her father? The resolution, selling the property, keeping the house?

6.Axel and his wife, upright citizen, their relationship, at home, the family? The antagonism? Gossip? The letter and the truth?

7.The priest, his sympathy, his preaching, his message, the funeral, his supporting Fanny and Zac, the critique of the people, arranging the concert - and its performance in the church?

8.Ivar and Gottfried, their life together, growing old, Gottfried and his memories, Ivar and his isolation? The possibility of Ivar being Fanny's father?

9.The man with the pornography, isolated - and his setting the fire?

10.The women of the town, their jealousy, gossip, cattiness?

11.The re-creation of the atmosphere of the village, its way of life, beliefs, its being challenged, changing?

HOUNDS OF NOTRE DAME

Canada, 1980, 90 minutes, Colour.
Thomas Peacocke, Frances Hyland, Barry Morse, David Ferry.
Directed by Zale Dalin.

Hounds of Notre Dame is a Canadian film, a tribute to Monsignor Athol Murray and the church school that he founded in the '30s, Notre Dame. The film has effective Saskatchewan winter settings. It offers a glimpse of education at the period, life in the Catholic church in a remote area. It also highlights the clash between character priest and his bishop.

The film offers the values of the period, education for boys living in remote areas. Monsignor Murray is very strong in his anti-communist and anti-fascist stances - not afraid to speak out with vigour. His methods with the boys are a blend of Father Flanagan's at Boys' Town with an intelligent approach of the professor as well as the bully. The sisters help keep him in line. The film has humour and charm - whether one agrees with Monsignor Murray's approach or not.

1.Canadian film? Story, style?

2.The Saskatchewan settings, the isolation of the town, the snow, the school? The hockey game? Musical score?

3.Based on a true story: Monsignor Athol Murray, his career, the school, achievement, spirit?

4.Portrait of Pere: his initial speech, vigour, anti communist stances, anti-war and Hitler? Cigarettes and the drink in the hand? Taking off his collar? The celebration of Mass? Clash with the bishop? Sister Therese and her support, in the school, advice? His running of the school, tough style, the rules? Breakfast, the modern history class and his theories about the modern era? War and fascism, communism? The regulations, treatment of the boys? The new boy and handling him? Rescuing him from the toilet, offering him the place in the hockey team? The arrival of the bishop, the boys and the drinks, the argument, the blackmail? Questions of politics and the church's stance? His speech at the evening meal and getting the bishop on-side? The hockey match, his speeches at the breaks, morale-boosting? Praising them, even though they lost? Treating them to hamburgers, friendship with the rival coach? The return journey, the snow, the shovels, forcing them to go back? Symbol of his style? His achievement, dedication? As man, teacher, priest? What in the old days was called `a character'?

5.The bishop, his reaction to Father Murray's speech, the visit, trying to persuade Father Murray, the anger, the drink, the meal and the Grace in Latin, getting the best chicken, his response to Father Murray's stirring speech?

6.The sisters and their advice, helping the school, the new boy calling the sister a penguin and not speaking in French, her sure reaction? Giving the habit for the hockey practice? Sister Therese sitting in the middle at dinner, kicking Father Murray during his speech?

7.The boys, their loyalty, the initial speech, the joining up, the rules, the class, hockey practice, the hockey match? The new boy, the insult to Sister? The achievement?

8.The new boy, dumped by his parents, his hostile father? Tough stances, knocked over by the other kids? The cigarettes? With Pere? His bunk, the rules? The meal? Being rude in the French class and being held over the toilet? Offer of a place in the team? Bounced by the habited boy at practice? Wanting the chicken - and getting it? Playing well, the injury, saying `no' to going to another team? Symbol of the boys settling in?

9.The teachers: Tom and Leila, their talk, Leila's` pacifism, Tom and his need of money, driving home in the snow? Their love for each other? Father Murray's treatment of them?

10.The detail of life at the school, the '40s, the values? The perspective of the '80s? The tribute to Monsignor Murray?

HOT SHOTS PART DEUX

US, 1993, 89 minutes, Colour.
Charlie Sheen, Valeria Golina, Lloyd Bridges, Rowan Atkinson, Richard Crenna.
Directed by Jim Abrahams.

Hot Shots Part Deux is an amusing sequel to the original, Hot Shots. The film was written by Jim Abrahams (who, with the Zucker brothers, produced and directed the entertaining parodies, Flying High and Top Secret as well as Ruthless People - Abrahams directed, by himself, Welcome Home Roxy Carmichael and Big Business) and Pat Proft, writer of some of the Police Academy series.

While the original film parodied Top Gun, this film takes as its target the Rambo films. Charlie Sheen, inflated extraordinarily, is a would-be Rambo who is accident-prone. The beginning of the film has a long parody, cleverly done and attentive to all kinds of detail, on Saddam Hussein. This time Admiral Benson, Lloyd Bridges, is the president in a parody of George Bush. Valeria Golina returns as Ramada.

The film has obvious targets and relies on visual and verbal humour. There is an incidental scene where Charlie Sheen is going upriver and meets his father Martin Sheen (as in Apocalypse Now) and they comment on their performances in Wall Street!

The film parodies the kind of violent action film of Hollywood in the '80s - though enjoying its target. There is a guest appearance by Rowan Atkinson as Valeria Gillian’s husband.

1.The title and the focus? The tone, comparisons with the original? Jim Abrahams and his spoofing films, from Top Gun to Rambo?

2.Brief running time, visual and verbal humour, pace and editing? The stars?

3.The Middle East settings, the Far East - movie style?

4.Audience response to the Rambo films and their conventions of action and the tough hero, American dominance?

5.Tongue-in-cheek style, heroes and heroics, romance, villains and portrayal?

6.The Saddam Hussein spoof, the details of life in Iraq? The special mission - and its failure?

7.Tug Benson as president, the helicopter cutting his cap, vomiting like President Bush at the banquet...? His lack of control, orders? Denton Walters and his hopes in him - and Richard Crenna reprising his role from the Rambo films?

8.Charlie Sheen as Topper Harley, the Rambo type, the initial bout - yet accident prone? Walters watching him, recruiting him? The memories of being abandoned by Ramada, going to the monastery, the Buddhist - and the monk and the spoof of sex appeal? Michelle and her attraction?

9.Topper and Michelle - romance, the taxi (and the videoing)?

10.The Middle East, the mission, Ramada appearing again, sailing up the river, the story of her husband as prisoner?

11.The attack and the parody of marine gung-ho films? The boat, the attack on the camp? Benson arriving underwater and his duel with the dictator?

12.Ramada's husband, Topper stepping out of the romance, the husband going over the cliff?

13.The revelation of Michelle as spy? Her contacts?

14.The parody of movies like The Lady and the Tramp, Casablanca? The violence count? How telling as a Hollywood self-critique of the '80s and the Rambo genre of films?

HOT SHOTS

US, 1991, 85 minutes, Colour.
Charlie Sheen, Valeria Golina, Cary Elwes, Lloyd Bridges, Jon Cryer, Kristy Swanson, Efrem Zimbalist Jr.
Directed by Jim Abrahams.

Hot Shots is an entertaining spoof of the Top Gun films and the militaristic vision of Hollywood in the '80s. It was co-written and directed by Jim Abrahams (with the Zucker brothers), one of the team who made the Flying High comedy, Top Secret, and who went off to make such films as Ruthless People, Big Business and Welcome Home Roxy Carmichael on his own. The film was co-written by Pat Croft, writer of Police Academy. There are lots of in jokes with movies referred to, ranging from Dances With Wolves to Gone With the Wind.

Lloyd Bridges is Admiral Benson who eventually becomes President Benson, parodying George Bush, in the sequel. The film looks at the armed services and parodies training (Officer and a Gentleman), mad admirals (Lloyd Bridges at his most eccentric) and warfare. There are all kinds of verbal jokes - deadpan humour, visual gags and a great deal of literal slapstick and pratfalls. This enables the audience to keep chuckling, even when the material is not particularly strong.

Charlie Sheen seems an unlikely star of parody. However, he manages with his serious style to create a deadpan image as well as an accident-prone variation on Tom Cruise. (He was later to parody Rambo as accident-prone in Hot Shots, Part
Deux). Cary Elwes (Princess Bride, Days of Thunder, The Crush) is the arrogant rival, Valeria Golina in the Kelly McGillis? role as Ramada, the romantic heroine (also in the sequel). The supporting cast includes John Cryer in an amusing turn as Washout, a pilot with double vision. Efrem Zimbalist Jnr as Wilson, a villain, mime Bill Irwin as Buzz Harley. Battle sequences are taken from John Milius's The Flight of the Intruder.

The film also parodies a number of films - giving Harley and Ramada the opportunity to be Rhett Butler and Scarlett O'Hara as well as Superman and Lois Lane.

The film takes its cue from the credits in parodying Top Gun and continues this throughout the film. (Charlie Sheen appeared in the late '80s in Navy Seals - a serious variation on the theme of this film).

1.Entertaining comedy and parody? An entertaining spoof?

2.The appeal of the parallels with serious movies, the parallels with Top Gun? References to movies like Dances With Wolves? Visual humour, verbal humour, deadpan and misunderstandings? Pratfalls and literal knockabout comedy? The musical score - and the insertion of `Only You'? Of `The Man I Love' (sending up Michelle Pfeiffer in The Fabulous Baker Boys)?

3.The title, the spoof of Top Gun?

4.The focus on Topper, the prelude with the death of his father and the humour and seriousness of the flight and crash? His retiring to the Indian village as in Dances With Wolves? Relationship with the chief, talking Indian dialects - with a touch of humour? His being called up again? The return, finding everybody related or connected with his father's death? The training, the rivalry with Kent Gregory? Friendship with Dead Meat? And with the pilot with bad vision? The training, the encounter with the psychologist - and her performance on the horse, later her performance singing and his playing the piano? The rivalry with Gregory? Training, his being late for training and Dead Meat's death? The build-up to action - and the parody with the Gulf War and Saddam Hussein. His hearing the truth, his coming in as a hero? Disappointment with Ramada? The happy ending?

5.Ramada, the psychologist, performance on the horse, relationship with Gregory? The interviews with Topper, the cabaret performance? Falling in love - and the final reconciliation?

6.The admiral, all the repairs and his injuries in World War Two and Korea? The spoof of the doddering admiral? His mishearing and misunderstanding things? Being continually knocked about?

7.Gregory, the suave cad, relationship with Ramada, rivalry with Topper? The fight? His relenting and acclaiming Topper as hero? The man with the double vision, the accidents, his glasses and his doing the surveillance and radar work? Dead Meat, his relationship with his wife - all his secrets and insurance, his death?

8.Block, the serious side of the movie, the plot to sabotage the military equipment and the planes? Efrem Zimbalist Jnr as the villain, his sinister presence, the limousines, his assistant? His final comeuppance?

9.The style of the film with its moving from one joke to the other, the parodies of the movies, the knockabout humour - and Hollywood taking on itself in spoof?