THE HIDDEN

US, 1987, 98 minutes, Colour.
Kyle Mac Lachlan, Michael Nouri, Clu Gulager, Ed O'Ross.
Directed by Jack Sholder.

The Hidden is a very entertaining blend of police action, police buddies, aliens. The screenplay has variations on the alien theme - including an erupting monster as in the original Alien. It is a sombre variation on Close Encounters of the Third Kind. The plot of a migrating murderous alien was also used in 1989 for Wes Craven's Shocker.

The film works quite well as the police action and buddy film, Michael Nouri as the ordinary policeman, Kyle Mac Lachlan as the mysterious impassive policeman who is revealed to be a police alien. (MacLachlan appeared in David Lynch's Dune, Blue Velvet, Twin Peaks.)

Ultimately the film uses the myths that have been popular in movies in the '70s and '80s, the alien coming down to Earth and acting as saviour (echoes of the Gospel). This has been seen in films as wide-ranging as E.T. and Edward Scissorhands.

1.Enjoyable police thriller, police action and crime? The blend with aliens and detection from outer space?

2.Small budget, special effects? Los Angeles and the streets, the locations? Authentic atmosphere? The range of songs, the mood and the musical score, editing and pace?

3.The title, the mystery, the hidden good and the hidden evil? The opening and the surveillance eye? Mayhem, the robbery, the puzzle? The transfer of the alien and expectations? Gallagher and his mystery? Drawing audience interest?

4.The conventional picture of Los Angeles police, the precinct, the department, the personnel? Their interactions? Tom Beck and his work, investigations? His assistants? Surveillance, chases, use of guns? the deaths, the risks? His working with partners? Getting Gallagher?

5.De Vries and the initial mayhem, the stockbroker acting normally and the violent robbery? His death after all the car wrecks? (The jokes about plate glass?) His laughter as he is shot by so many marksmen? The alien transferring into Miller? The music store, the Ferrari, the guns? The transition to the sex striptease club? The guns, the stripper becoming possessed? Her violence towards the customers, the death on the roof? The transfer of the alien into the dog? The dog eventually taking over his master? The transfer of the alien into the various police? Finally into Senator Holt? The flamethrower forcing the alien out of Holt's body? The destruction of the alien with the special weapon? The visuals of the alien? The multiple personality as the alien acted through the humans and the animal? The power of evil coming into the world?

6.The contrast with Kyle Mac Lachlan as Gallagher: impassive, basically human but no emotions? The trouble with beer and Alka Seltzer? Knowing about the FBI? Partnering Tom, the chase, the photo? Awkwardness about the meals? The tablets? Tom's daughter? The revelation of the truth? The real Gallagher killed in a forest fire? The chase, the shooting, prison, the guns, the clashes with Tom? The final killing, saving Tom? Gallagher becoming the saviour? The good alien coming into the world to pursue evil? His survival?

7.The personality of Tom - policeman, style, experience and action? The investigations, the bonds with Gallagher after investigating him? Saved?

8.Police buddy film, the expectations? The precinct? The serial killer and the variations?

9.A picture of American society, crime, politics? Values - by contrast with the coming of aliens?

THE HERO AND THE TERROR

US, 1988, 96 minutes, Colour.
Chuck Norris, Ron O'Neal, Billy Drago.
Directed by William Tannen.

The Hero and the Terror is a Chuck Norris vehicle. It comes after his more active films with his expertise in martial arts. He has only a few moments of this kind of activity here.

The film is basically a police story, an investigation of a brutal series of murders. They give nightmares to Norris's Danny O'Brien and he gets therapy, eventually marrying his therapist. The murders recur and he is challenged to catch the criminal. Jack Halloran (Farewell My Lovely) is the brutal killer.

The film has a Los Angeles setting, is standard police material - with a great deal of human touch to show a different, gentler side of Norris. The writing team of Dennis Shryack and Michael Blodgett have written films for Clint Eastwood as well.

1.Thriller? Impact? Serial murderer? Police and Los Angeles?

2.The Los Angeles settings, the city? O'Brien's memories and dreams? The ordinary? The carnival and sideshow area with its sinister cover? The theatre and its background? Musical score?

3.The title: the focus on O'Brien as a hero for Los Angeles people? On Simon Moon as the terror?

4.Standard police investigation? O'Brien and his commitment to his job, partner? The danger with Moon and his fight with him? The continuing murders? The investigations, suspicions? Press conferences and the mayor? The policeman working out the location of the murderer, the confrontation? The victory? The more humane touches in the relationship, pregnancy, the birth of the baby?

5.Norris as O'Brien: strong, committed, laconic? The fight and his nightmares? Work with partners? Therapy? In love with Kaye, her pregnancy? The birth of the baby? His laconic press conference? The outing with Kaye, the birthday cake, reassuring her? His realisation where Moon was, stalking the theatre? The fight? The return to Kaye, the marriage? A more humane policeman?

6.Simon Moon, size, brutality, the victims? The confrontation with O'Brien? Disappearance, return? Seeing him with some victims? Storing the victims in the theatre? His attack on the guard? The final fight, his death - with the spectacular touch?

7.The police, partners, detection work, confrontations? The policeman on guard and his exercise, his confrontation with Moon and his death?

8.The mayor, concerns, renovation of the theatre, press conferences, double-talk and smooth talk? Relying on O'Brien?

9.Kaye, therapist, helping O'Brien, in love with him, pregnancy, her insecurity, her emotional reaction at the birthday party, her insecurities? The birth of the baby, its name, the finale and the marriage?

10.The blend of the action adventure with the more humane touch? For Chuck Norris's image?

HERO (ACCIDENTAL HERO)

US, 1992, 116 minutes, Colour.
Dustin Hoffman, Geena Davis, Andy Garcia, Joan Cusack, Chevy Chase.
Directed by Stephen Frears.

Hero is an offbeat comedy. It was not a success in the United States, odd considering its strong cast. However, it is full of tongue-in-cheek situations and dialogue, the subtlety of which may have eluded the local audiences.

In the '40s, comic writer and director Preston Sturges made a series of comedies that still amuse because of their ironic and satirical approach to American sentiment, institutions and traditions: Miracle of Morgan's Creek, Hail the Conquering Hero, The Lady Eve, Sullivan's Travels, The Palm Beach Story.

Hero is latter-day Sturges comedy - with a touch of Frank Capra's optimism - directed with finesse by Englishman Stephen Frears, who makes the most of the ambiguous and often witty screenplay. (Frears directed a number of British films including My Beautiful Laundrette, Sammy and Rosie Get Laid, as well as the American films Dangerous Liaisons and The Grifters.)

Dustin Hoffman shows, yet again, what a versatile actor he is, living the part of a mean minded petty thief who might have a skerrick of heroism in him. Geena Davis is the glamorous, ambitious TV reporter. Andy Garcia is the down-and-out who is also a hero. Chevy Chase (unbilled) is the hardboiled TV boss.

The film pokes fun at the American media, media's truth and fiction, American cynical professionalism, the sentimental streak in the American public for heroism. And it plays neatly on these varying emotions and sympathies in the audience. (Edward Hermann also makes an unbilled appearance as the executive on the ledge.)

1.Entertaining? Style? Failure in the US? Success for non-American audiences?

2.The atmosphere of Chicago, the streets, bars, homes? The media station? The special effects for the plane crash and the rescue? The musical score?

3.The sardonic tone of the screenplay? Emotional Americans, the critique of emotion, patriotism? Tone?

4.The title and its irony? Relating to Bernie? To John?

5.The strong cast, their style?

6.Dustin Hoffman as Bernie: the initial court proceedings and his behaviour, his appearance, robbing his lawyer? The case, the sentence - and his paying back the lawyer and asking for a loan? His background, lifestyle, stolen goods, his room and its contents, the landlord and his reaction? The background of his marriage, his relationship to Evelyn? Relationship to his son? Evelyn and the new man at home? The bar, the barman and his chat, the blacks - and the irony of their arresting him? The clash with Evelyn, taking her son to the zoo? Finding the wallet in the toilet, his lecture to his son? Claiming the reward, taking the credit cards? The application for bail - and his six days in jail?

7.Gail and her work for TV, the photographing of the suicide on the ledge, discussions, talking, his fall? Yet getting the shot? Her relationship with the crew, with the producer, with the boss of the station, with Chucky and his camerawork? Seeing her on the job, office discussions, tough? Her going to New York, receiving the award, the bet about her coming back, the quality of her speech - and the jokes? Her return to Chicago?

8.Chevy Chase and his sardonic style, the running of the office, the news service, the decisions? Exploiting the crash and the heroism? Wallace and his job? Decisions?

9.Bernie, the car, trying to get it going, stopping, the shoe? The crash and its effect? The ruining of his car? Bernie and his decisions, curiosity, the banging on the door, his opening it, his continuing to rescue people, even though muttering, the child looking for its father, his grumbling behaviour, leaving? Wandering away, the car? Not thinking of his heroism?

10.The crash and its impact in the city, the effect on the staff, the passengers? Gail and the crash, her being rescued? The boy wanting his father to be rescued? Going to hospital, Gail and the discussions, her wanting to do the program - because she had done the research by being in the crash?

11.The television treatment of the crash, of the rescue? The hero being called the Angel? The news items, talk and discussion, close-ups? The advertising, the reward? Everybody talking? Joey and Evelyn and the discussions about heroes?

12.Bernie arriving late after the crash, Evelyn's complaints, the son on the lookout for his father? The question of the shoe? Driving, the discussion with Johnny, giving him the shoe? The bar and the television - the heroism? The discussions in the bar? His trying to get rid of the credit card - and his being sprung, in jail? In the cell, his protest? Seeing John taking all the credit? The court, his attorney? His going to the hospital, watching John with the children? The credit card, meeting Gail, in the room? His reactions? Not telling her the truth? John on the ledge, his going out on the ledge to discuss the meaning of life with him, the talk, the heroism, his fall and John saving him? The money deal - preferring cash rather than credit? Wanting the money for his son? The relationship with his son, Evelyn? The reluctant hero?

13.Gail and her search, the line-up of interviewees? John and the interview? His being scrubbed up, the meal, the hotel? Her attraction towards him? Seeing him in the hospital, the re-enactment and getting him to perform? The telemovie? Her doubts, discussions with the boss, Bernie on the ledge with John? Talking to John, going to Bernie's room, her suspicions, talk with him, discovering the truth, offering her thanks?

14.John, driving the car, hearing Bernie's story, getting the shoe? Going to the line-up, the true story, the Cinderella aspects with the shoe? The bath, the hotel and the attraction to Gail? The background of the Vietnam war and his experience, his collapse, the Vietnam buddies? The telemovie and his not knowing how to act the rescue? The hospital - and his miraculous touch with the children? The crisis of personality and conscience? On the ledge, motivations, talking with Bernie, rescuing Bernie? Able to retain his status as hero?

15.The satire on the media, Chucky and his techniques, camerawork? Always trying to get the sensational shots?

16.Evelyn and her marrying Bernie, the break-up, her love for Joey? Her clashes with Bernie, the son and his relationship with his father? Realising that he was a hero?

17.The film's critique of the media and sensationalism, TV treatment, programs, logos, interviews, heroes, re-enactments, ratings?

18.The dialogue and its presentation of American sentiment and patriotic stirrings? Everybody admiring the Angel? Needing heroes? And then Chevy Chase's sardonic comments about American sentiment?

19.Heroes - likely or unlikely, the comment of the bartender, the insights on human nature, heroes as nice, not nice? The finale at the zoo - and Bernie becoming a hero again?

HERE ON EARTH (AQUI NA TERRA)

Portugal, 1993, 105 minutes, Colour.
Luis Miguel Cintra, Jessica Weiss.
Directed by Joao Botelho.

Here on Earth is a serious Portuguese fable about sin, guilt, mid-life breadown, the possibility of redemption - through life and love. The film was directed by Joao Botelho, a celebrated Portuguese director whose films include a Portuguese updating of Dickens' Hard Times.

The story of the mid-life breakdown of Michael is interwoven with the country story of Antonioni and Cecelia, her pregnancy, the death of the elderly man who assaulted her, the birth of her child. Interspersed are surrealistic sequences of a visit to the theatre for a performance of James Joyce's Ulysses as well as to a bar for miming of Marilyn Monroe from Gentlemen Prefer Blondes.

A very serious mixture, melodramatically scored - from a director who believes in message above entertainment.

1.A Portuguese film, atmosphere of Portugal, city and countryside? The musical score? The serious perspective?

2.The title, human destiny, fate, choices? The earthiness of the land of Portugal and the images of the earth?

3.The blend of realism with mysticism? Mid-life breakdown, the sound effects for the hearing of sounds and noises, the images of light? The performance from Ulysses and its style? The singing in the bar? The young couple and the overtones of Mary and Joseph, Cecelia going to the church and praying to the Madonna, the holding up of the child as the sign of life?

4.Michael, his mother's funeral, its effect on him? His relationship with his wife, tension? The meal with the business executives and his being sick? Staying alone in the house, his behaviour, the vivid impact of the sounds and their variety? His personal agony? Going to the doctor for the brain scan - no problems? The suggestion about the psychiatrist and his reaction? Moping at home, seeing John Wayne on the television, Marilyn Monroe in Gentlemen Prefer Blondes? His going to the club and his applause of the singers? Along the street, fighting with the pimp, taking the prostitute home, talking with her, trying to convert her? Driving her home and his reckless driving and her getting out? The clashes with his wife - her story of going out to the play and the passes made at her? The experience of breakdown?

5.Michael's wife, her style, at home, angers and exasperation with him, yet her love? The discussions with her mother-in-law, the outing and the meals? The visit to the play, the passes made to her and her telling of the story - and exaggerating?

6.Michael's mother, her wealth, style, memory of her marriage? Talks with her daughter-in-law?

7.The sequence from Ulysses - inserted into the film? Performance, decor, costumes? The comparison with the bars and the songs?

8.The story of Antonio and Cecelia, the rough man and his sexual abuse of Cecelia, Antonio getting the rock and killing him? Their love for each other? Her confessing the pregnancy, his going to work, earning money and owning the child? Cecelia's visit to the widow and her disdain? The secrecy? The investigator - and nobody having seen anything? Their plans, Antonio and the accident, in hospital with his eye? The widow paying off Cecelia? Her going to the city - and the irony of the truck overtaking the bus? The widow likening her to Mary with the animals and with the child, her going to the church, praying before the statue of Mary? The birth, her return?

9.The two stories interwoven, Antonio meeting Michael, the lift, the search for Cecelia, the child and his being held up as the light of the world?

10.The optimism of the ending - possibilities of life and love?

CRIME OF THE DECADE

Australia, 1984, 75 minutes, Colour.
Rod Zuanic, Paul Smith, John Jarratt, John Gregg.
Directed by Ken Cameron.

Crime of the Decade was one of several telemovies commissioned by the Australian Broadcasting Corporation for screening on 1984. It is a hard-hitting look at youth unemployment, the limitations of education in Sydney's outer suburbs in the '80s. While it is very realistic at times, it has a melodramatic ending which indicates that it should be seen as a fable and parable of the times and issues.

The film was written by Michael Cove, writer of Fighting Back (the story of John Embling based on his book Tom). The film was directed by Ken Cameron, a former teacher who made such incisive short films about the limitations of education schemes and departments as Temperament Unsuited and Fast Talking. He also directed Monkey Grip.

The film has a strong cast, using a number of the youngsters who appeared in Fast Talking which was made much at the same time. Rod Zuanic who was so effective in Fast Talking, has a supporting role here. Paul Smith (from Fighting Back) also has a substantial role. John Jarratt and John Gregg lead the adult cast. The film is sincere, is very concerned about its subject - but many may find the sudden ending too strong and a jolt after what has been presented.

1. An effective telemovie? The sincerity of purpose, strong feeling about the subject and young people? A critique of Australian politics of the early '80s?

2. For what audience was the film made - adult audience, younger audience, the ABC audience? A successful film affecting its intended audience?

3. The picture of Sydney, the details of its outer suburbs, homes, recreation centres, shopping malls? An authentic feel for the people in these suburbs? Wealth, poverty, ordinary people, politicians?

4. The structure of the film: prologue, politics, the interplay of the kids and their world with the politicians' dinner and the society talk? The effect of this interplay? Subtle/unsubtle? Real/symbolic? The symbolic breaking into the realistic drama? How well did this work?

5. The title - unemployment as the crime of the decade? In comparison with the final shooting? The audience awareness of unemployment and its repercussions? The criticism of government, of the public, of agencies in not doing enough to combat unemployment? The political responsibility? The final killing in relationship to this responsibility? Motive, circumstances, blame? Questions of law, justice, morality, responsibility?

6. The focus on Laurie Fletcher? The smooth style, his belonging to his party, his declaration of principles, the rights of the individual, work? His campaign and audience familiarity from television coverage of this style? The patterning of this screenplay on television coverage? Truisms? Avoiding the issues? The filming of television ads? His home, relationship with his wife, socialising, dinners? His phone calls, sincerity and insincerity? The style of his talk? His own beliefs in the issues? His own children and their school? Work? 'Thick as a brick'? The visitors, the meal, their wealth, affluent style and knowledge of wines etc., table talk, cigars, theory, verbal parrying?

7. His wife and her admiration, work, preparing the meal, clearing the table? Richard and the campaign? Piano, teacher - too tired to care? Discussions about the Napoleonic wars? The build-up of Laurie Fletcher as character, as symbol? The impact of his being shot? A symbol of protest? How dramatically effective?

8. The contrast with the Centre and Terry and his work? The fight about the car, the Centre itself., department regulations and help. lack of help, the work as unrewarding, difficulties of communicating, responsibility? The detailed aspects of the film in presenting life at the Centre: crises, rough, meals, talk, games, smoking, relationships. sexual encounters, drugs, hope and hopelessness? Cars, bikes?

9. The police - Duncan? The aims of the kids at the Centre? Frustration, futility, disillusionment? The quality of observation and detail?

10. The portrayal of the kids - credible? As a group. individually? Typical? How could they be judged as 'typical'? Behaviour and attitudes? Relationships as helping or hindering?

11. Steve as leader? Stopping the fight with the old man. with Terry, his mother and the shirt, money? His brother and the sexual encounter, the masturbation? The smash? His place in the group, relationship with Pete. a leader? Nicky and the job interview? Questioning Fletcher? Writing, the relationship with Ellie, sharing, awkward? Chauvinist? Climbing to the top of the tank? Tension, not jumping? Rol and the house, Ellie and the plans? Rol's death - and the reaction with Terry, blame, anger.. breaking out, smashing the advertisement? Relying on Ellie? Mr. Duncan? The gun, the confrontation? The build-up to his shooting Laurie Fletcher?

12. Ellie at school, at home and the gift, the mother and the blouse, the back and Jack? Believing or not? The clash at home, leaving? Her staying at the Centre? School and study? Her decision to join Steve? The top of the tank episode? Not jumping? The impact of the end on her?

13. Rol and the bike, friendships, the brief but effective portrait of his mother and her drinking. the police and the pass, his supporting Steve, the drugs, death? The pathos of his life?

14. The group of ocker boys, especially Pete? Cheeky, pranks e.g. at the club, the electricity, at the Centre? Bikes? Attitudes, way of talk, bragging, sex, girls? The prospects of these youngsters? Growing into Steves, Rols?

15. Nicky and the interview, the dress? Her not being needed? A brief sketch showing the futility of such interviews?

16. How fair was the film in presenting the older generation, especially the parents? Ellie's parents, Steve's, Rol's mother?

17. The screenplay's comment on the relevance of contemporary education, schooling? Information, education of attitudes? Not reaching the youngsters in any personal way?

18. How realistic was the presentation of unemployment, prospects. the consequences of unemployment? The importance of Centres and their support? The work of people like Terry - dedication, strain?

19. Relationships within this context - adequate and inadequate, anger, love, inability to love?

20. A brief but telling parable about contemporary issues for audiences of the '80s?

CROCODILE DUNDEE

Australia, 1986, 92 minutes, Colour.
Paul Hogan, Linda Kozlowski, John Meillon, David Gulpalil, Mark Blum.
Directed by Peter Faiman.

Crocodile Dundee is a very enjoyable Australian comedy. It was a great box office success in Australia.

The film relies on Paul Hogan. He co-wrote the script with Ken Shadie; his partner John Cornell produced the film; television producer-director Peter Faiman directed. Paul Hogan stars as a variation on his television image. Michael 'Crocodile' Dundee is a Territorian, a man used to the open spaces and being alone, in contact with nature. However, he is genial, innocent and naive. There is, of course, the ironic touch to his humour and taking the mickey out of people.

The film's first part is safari in the Northern Territory - genuine safari material plus humorous variations on the theme including mesmerising a buffalo, an encounter with David Gulpilil in corroboree paint as well as trousers and watch, an encounter with a crocodile etc. The second part is a variation of the innocent abroad, critics pointing out that it was similar to Tarzan's New York Adventure. There is much humour in the innocent Dundee let loose in the big city. American audiences would enjoy the Australian in New York. The Australian audiences would enjoy the Australian's view of New York. Paul Hogan carries off the central role with ease and charm.

Stage actress Linda Kozlowski has strength and pleasant personality as the heroine. John Meillon has a good supporting role. David Gulpilil makes a guest appearance.

The film has been lavishly produced, uses Northern Territory locations well and highlights aspects of New York City. There is a jaunty score by Peter Best (Picture Show Man, Rebel). Photography is by Russell Boyd.

Crocodile Dundee certainly caught the mood of Australia in the mid-'80s.

1. Enjoyable entertainment? Box office success? Australia in the '80s: image, comedy, attitudes towards Americans and the United States? Success overseas?

2. Panavision photography, the Northern Territory locations, the old town, the terrain with its beauty and ruggedness, the focus on nature? Action sequences? The contrast with New York City, the crowds, lifestyle, society? The jaunty score with echoes of aboriginal music as well as contemporary melodies?

3. Paul Hogan and his writing the screenplay, the laconic Australian humour? The background of Paul Hogan's career on television, advertising, ambassador for Australia (and Australian of the Year 1985)? His image? The Australian public's like of his image? Dislike? An amiable fantasy caricature of an ocker Australian? The lovable larrikin? The background, Australia, his behaviour, stances, naivety and innocence, the way that he sees himself and the world? Visual humour, verbal humour? The contrast between the Australian section and the American section?

4. The plot: the outback and the safari? The contrast with the innocent abroad, the Australian Tarzan in New York? A blend for all audiences: Australians enjoying the local setting as well as the Australian abroad? Americans enjoying the Australian in the American context?

5. The focus on Australia: the contrast with the New York skyline and Sydney with the Opera House and harbour bridge? The contrast with the Northern Territory town, dusty roads, houses, the pub, the shambles, the car? The bar? The beauty and ruggedness of the Northern Territory? Dangers: snakes, buffaloes, crocodiles? The encounter with the aborigines? Australia and its vastness, loneliness? Nature? The impact of this focus on the Northern Territory - for Territorians, for the majority of Australians from the coast?

6. The contrast with the American experience: the jokes about the plane, the escalators, the lifts? The crowds in the streets and his saying 'Good day'? On the pole and the police horseman riding home with him? Washing his socks in the bath, hanging them on the line in the rich apartment, his bed on the floor? His knife - against the muggers? Television and I Love Lucy? His being amazed at New York? Thinking it friendly? The restaurant and his punching Richard? Antagonism towards Richard? Meeting the prostitutes and seeing them as women rather than as prostitutes, the pleasant conversation, punching out their pimp for swearing? The later bashing and Gus rescuing him? The muggers and the knife? Throwing the can and hitting the thief in the street on the head? Mesmerising the dogs? Friendliness with the taxi-driver and the drinks in the bar? The transvestite and checking him out? The party and the modern types, the transvestite and the repeat of the joke? The cocaine-taker and his helping him clear his nose? His attitudes towards sexuality - the hat in the bath? Society, the party types and chatter, the talk about the psychiatrist? The dinner and his disappointment with Sue's engagement? Going walkabout, the farewell to Ernie? The happy ending on the subway station - and the message being passed along with the crowds, Coo-ee, his being lifted over the crowd?

7. The contrast with New York: busy, modern, the crowds, hotels, streets, restaurants, newspaper offices, the ugly side of the American streets?

8. The contrast between the two: the open, earthy, practical, naive and gentlemanly Australian in urban, sophisticated, unfriendly, violent, weird and contemporary New York? How did the Australian image emerge
from this contrast?

9. Mick Dundee in Australia: the legend in his time, the humorous tall stories? His background - and the stories about being brought up with the aborigines, an orphan passed from home to home? The story of his marriage and the 18-month walkabout? Was any of this true? The hunter, the stuffed crocodile and the wrestling, the actuality of his injuries? The truth of this when he saved Sue from the Crocodile? The big knife? The kangaroo hunters and the clash with them, punching them out? His style, manner of talking, dancing with Sue? Kissing the man with the beer on his head and winning the bet? The safari: the jokes (shaving with the knife, telling the time from the sun after looking at the watch, wringing the snake's neck, roasting the goanna and producing the tinned food etc.), his attitudes towards Sue, calling her a Sheila and not expecting her to be able to be able to walk like a man (and stalking her for her protection)? His attitudes towards Sue - peeping at Sue, innocent - and hitting his head? The ordinary man and his naivety? The mesmerising of the buffalo? The clash with the kangaroo hunters - and his disguise as a kangaroo shooting back at them? The encounter with Nev, the discussion about the aborigines, participating in the corroboree, stopping Sue taking the photo? His work as a guide? His serious side? Liking Sue, the cracks, friendliness, help? His comment on the Apostles being fishermen, his going straight to Heaven and God and him being mates? Sue's challenging his ideas and opinions? Not having any and who would he tell them to in the Outback? His story about aboriginal rights: two fleas arguing about who owned their dog? His attitudes towards cities? His old-fashioned gallantry towards women? Punching people who swore in front of them? Ideal: tough, innocent (yet learning) Australian?

10. Sue: in Sydney, working for her paper, charm and strength, resourceful, the encounter with Walter, listening to his stories, the hotel, the meeting with Mick, the safari and her amazement, the dangers, her being a Sheila and challenging him, being saved from the crocodile, being grateful, the invitation to New York - a pass? To New York, coming home, meeting Richard again, taking Mick to his apartment, the dinner party, the fashionable party and her enjoying his responses to people, pretending to be the maid with the towels, her father's dinner, society, the engagement, chasing him, shoes off in the street, in love with him? The fact of her going on safari and enjoying it as basis for the possibility of her marrying him?

11. John Meillon as Walter: proper, the ramshackle car and vehicle, his stories, awkward and good-mannered? Mick's comment that he was the psychiatrist - tell him and he tells the town and then there's no problem? The phone calls? Perpetuating the legend?

12. The town, the drinkers, the big man who wouldn't spill any beer from his head when punched, but spilt it when kissed? ship? Ida? Friendliness?

13. The raucous material? The kangaroo hunters and the Territorians looking down on them, city hunters, their bad manners, Mick's punching them? The raucous kangaroo shoot and its brutality? Sue's reaction? Urging Mick to do something? The Skippy disguise and his shooting back at them as a kangaroo?

14. The aboriginal theme: the question of land rights? Nev Bell and David Gulpilil's reputation? His jokes? Stealing up on the group, corroboree paint? His watch? His joke about the camera? His friendliness, chat with Mick? Mates? The corroboree - and Mick signalling to Sue not to take the photos? The corroboree and the dance? Asking Gus if he was tribal? The boomerang-throwing? An affectionate respect for the aborigines?

15. Richard and his pompous manner, treatment by Mick, laughing at him, the engagement? Sue's father and the running of the paper, the winner, the engagement, taking her to Mick?

16. The friendly taxi-driver and the drinks, Gus as chauffeur and listening to Mick, chatting with him, the question about his being tribal? Ernie at the door and the friendliness of Mick? The mounted policeman? The prostitutes and their friendliness, being amazed at him? The challenge of the pimp? The people at the party, the transvestite in the bar? The crowds?

17. Predictable comedy: genial lone, laconic, ironic, taking the mickey out of people?

18. A reflection of the Australian image? Of the image of the '80s?

CRIMES OF THE HEART

US, 1986, 105 minutes, Colour.
Diane Keaton, Jessica Lange, Sissy Spacek, Sam Shepard, Tess Harper, Hurd Hatfield.
Directed by Bruce Beresford.

Crimes of the Heart is based on a play by Beth Henley (Nobody’s Fool). It was a star vehicle for Australian director Bruce Beresford (who had guided Robert Duvall to an Oscar-winning performance in Tender Mercies). The film stars three of Hollywood’s best actresses as three sisters. Sissy Spacek won an Oscar nomination for her role as Babe, the sister who shot her husband. Jessica Lang is the would-be Hollywood singer. Diane Keaton is the older sister, in danger of becoming an old maid as she stays home to look after the family. Sam Shepherd and Tess Harper are in good support.

The film is a story about the American south, about American southern values, the threat to the values by life in the 20th century. It is also a strong story of family, the relationships between sisters, love and hate and their having to cope with a crisis.

The film is one of Bruce Beresford’s best films and was critically acclaimed.

1. A popular film? award nominations?

2. Adaptation of a Pulitzer Prize-winning play? The play and its adaptation (from a kitchen setting to the house and locations) for opening out the play? The strength of the dialogue remaining in the screenplay?

3. The title and the reference to the McGraths? Their responsibilities, guilt, sins of emotion and the heart?

4. The Mississippi town, isolated, wanting to be respectable? The homes, the streets, hospital? The scenery outside the town? The musical score?

5. The portrait of the people of the South: southern style, manners, the ordinary people, yet the codes of behaviour, style, values, tradition, families, the importance of respectability?

6. The audience entering with Meg? Curious about her, about the town, the immediate impact? Staying with the sisters and seeing their interactions? Leaving them together?

7. The sisters and the portrait of the past, their memories (especially Babe's memories)? Seeing them together, their place in the family, their relationship with their grandfather, their mother and father, their mother's death, the death of the cat, the newspapers? The building up of the characters of the sisters? The building up of the memories? The gradual revelation of what had happened?

8. Lennie and the immediate hassle, getting Babe's things, the situation of her shooting her husband, prison, Lennie's birthday and people for getting it (her having her own cake and the ineffective candles?), the delight of the sisters giving her the cake at the end and their greedy and happy eating of it? Lennie and her moods, the tangles with Chick? Her love for Meg, joy at her return, resentments about her success? Her looking after Granddaddy, talking with him, seeing him, in hospital, Meg's story and her reaction about the lies? Granddaddy in hospital, the coma - and the funny sequence of the sisters laughing? Babe and prison, bringing her home? Lennie's secrets - especially about the relationship with the man - Babe telling Meg, the fight? Her reaction to Meg's behaviour? The problem of her ovaries, sexual relationships, frustration? Working in the garden, chasing Chick up the tree? The new start - and the telephone call? The situation improving Lennie's hopes?

9. The contrast with Meg, toughness, vulnerability, dress and appearance, memories of the relationship with Doc, the visit, going out with him, her not expecting him to be faithful to his wife? With each?

10. Babe, the sisters - Lennie and her frustrations, resentments, love? and the secrets about Lennie? The scandal, the fights? The moods, secrets, memories? The stories about her career for Granddaddy?

11. Babe and her being in prison, nonchalant, coming out, the situation, her reputation? Her relationship to Granddaddy? Her relationship with Meg, especially about Lennie's secrets? The visualising of her memories of the past? Shooting her husband, the drinking the lemonade while he was bleeding? Her relationship with the black boy, the visualising of the liaison? The photos? The visits of the lawyer, his attraction towards her? Her humour, irony? The fascination with her mother?

12. The various attempts at suicide - and their comic failure? Her coming to understand her mother, the death of the cat?

13. Her husband, the relationship, his being shot, his agony, her drinking lemonade? Hospital, the family and their hostility towards Babe? The lawyer? His anger? The ultimatum to the boy and his leaving town?

14. The lawyer, his position in society, ingratiating himself into the family? His proper attitudes?

15. The portrait of the black boy, the infatuation with Babe, the sexual liaison? The photos? His leaving town?

16. Granddaddy and his hold over the girls in the past, illness, the story about her success, his going into coma?

17. The uncle, his concern about Babe, the law, family? Chick and her snooping, her appearance, interfering, respectability, position in the ,town, moral stances? Criticism of the sisters? Lennie chasing her?

18. The portrait of the three sisters, family, relationships - and ironic and contrary human nature?

THE CLUB

Australia, 1980, 96 minutes, Colour.
Jack Thompson, Frank Wilson, John Howard, Graham Kennedy, Harold Hopkins, Lou Richards.
Directed by Bruce Beresford.

The Club is excellent. David Williamson's skill in creating Australian types (and offering insight with critical humour) and writing right dialogue blends with the opening up of his play to include real and contrived football play. I is served well by Bruce Beresford's direction. Melbourne audiences might be disappointed, so venerated is Australian Rules, but The Club, while offering Melbourne what it knows, has much to offer a wider audience. Jack Thompson is a persuasive coach; Alan Cassell and, especially, Frank Wilson are excellent.

As a film about sport, it is interesting and works well; as a picture of politicking, it is incisive; as capturing Australians realistically and mythically, it is entertaining and valuable. The supporting cast including Graham Kennedy serves the film well. Bruce Beresford adds to a distinguished group of films in the '70s from his early Barry McKenzie? films to Don's Party, The Getting of Wisdom, The Money Movers and the award-winning Breaker Morant.

1. The impact of the film as a comedy, as a comedy drama, as a film about sport and illustrating a sport, as a film about power and politicking? The particular focus on Melbourne, the Collingwood Club, Australian Rules and its atmosphere? Was the film confined to Melbourne? Its impact on the rest of Australia, on overseas audiences? The local club and a local sport as a basis for a universal message?

2. Bruce Beresford's directing career in the '70s? His incisiveness on Australian character with Bruce Humphrey's screenplays and David Williamson's? David Williamson as playwright, as observer of Melbourne, of a sport, of Australian foibles, strengths and weaknesses? The Melbourne scene, the Australian themes and language - visualised? The devices for opening up the play for the screen: dramatic interaction, the focus on heads and the grouping of heads, camera movement, discussions on the move? The opening out of discussion scenes to the grounds, Melbourne streets, homes? The use of Melbourne, the Collingwood Oval and Club? The practice sequences and the matches? The contrived football play choreographed by Collingwood coach Tom Hafey? The blending of authentic play with the contrived? The punctuating of the film with football play? The musical score? The use of the song 'Up There Cazaly'?

3. The status of the V.F.L. in Melbourne? Australian Rules and the southern states? As symbolising Melbourne and Victoria? The reaction of other parts of Australia? The significance of Australian Rules, its skills, rules? X Practice and training sequences, the games, competition, fanfare? The traditions as presented in the Club especially in the talk. photos? Skill and local interest and support? The move into businesslike management of the club in the '70s? The change from the past in the V.F.L.? The film's presenting this, the critique of it?

4. The simplicity of the title, its reference to Collingwood and the management of the football team, the membership? The fanfare for the club? The old guard and its memories? Jock as symbolising this? Jock and his ambiguity - a hero with shadows? The clubroom, the photos, the memories? The possibility of evoking the past, especially Ted Parker's stories to Laurie? Laurie's memories? The meetings, the agenda, money and the payment of new players, recruiting, power struggles, dialogue? The confidence of the team? Survival of the team in competition? The various members and their need for survival in their jobs? Popularity, power? The club as a microcosm of any organised group?

5. The focus on the players: the training with which the film opens, the change-room, the reactions to Haywood and the hostility, the poor playing in the matches and the reactions, Danny and his dynamic role, his memories of the past, his confronting Parker and abusing him, the strike threat and the reaction of the committee, especially Jock, the later revolution led by Danny, the taking down of the pictures? The locker room spirit? The picture of individual players (especially authentic players as Kink and Wearmouth)? The appeal to team spirit, the move to accept Haywood, Danny and his deciding to move out of the key position for Haywood to move in for ultimate success? The impact of success and winning? The finale of the film with the emphasis on play, Haywood's contribution? The atmosphere of the players - the criticism that they were contracted, bought, ordered around? Self-dignity? Retirement? Transfer to other teams for financial gain etc.?

6. The initial focus on Haywood as new recruit, his Tasmanian background, his arrogance in the boardroom in asking more money, Parker's paying it? The poor reaction in the locker room? His poor play and the commentators' remarks? His being taken off? Parker's anger and the confrontation with Laurie? Haywood at home, his acting sourly, his relationship with Susie and her criticisms of the players? Her later reaction and being sick of him losing? The university students, way of life, flats? Marijuana? The theories about players and Hagwood mouthing them, his arrogance towards the club? The visit from Jock and the long story about his Tasmanian family and the incest situations, his father's death? The mock flashbacks showing these sequences? Jock's believing all this and sympathising? The contrast with Laurie's confrontation and calling him a kid with potential? Haywood's giving the cheque back to Parker? His decision to play and succeed? How well-written the part - a figure and passive rather than active in comparison with the other characters? Jack Thompson's performance and style as Laurie? His story, the background of his playing, coaching, lack of success? As coach? His men? The confrontation with Ted and his anger over Haywood, Ted's intervention? The caricature in the papers? The argument with the committee members, the confrontation with Ted? Laurie and his relationship with the players? Hassling Haywood, the support of the players? The encounter with Gerry and Jock and the stripper? The confrontation with Haywood and galvanising him into success?

7. The threat of a new coach? His involvement in the deals but his being kept outside? The importance of Parker's reminiscence about Laurie's play and Laurie's doing him the favour about the press release? His sympathy for Parker when he was ousted? His satisfaction with the team's success? The hero for the film - the Australian, sportsman, underdog, confronter of the Establishment?

8. The contrast with Parker - Graham Kennedy's comic style? The president, his financial background and the signing of the $10,000 cheque, the discovery of the truth about his business and bankruptcy? His concern about Haywood, the clash with Laurie, his being hurt, his taking a stand with the committee? The hostility of Jock and the jealousy? Gerry and his smooth-talking but ousting him? The sequence at the Hotel Windsor and the stripper, the later use of the stripper's story to get rid of Parker? His standing for his rights? The previous fight with Danny and Parker's uncertainty? Jock and Gerry and their clash and their forcing him to resign? Laurie's sympathy? Parker's story about the past, his having seen all the matches of the club? His loyalty to the club and his hopes to have been a successful president? Laurie's sympathy shared by the audience? His retirement and his being seen watching the game?
Jock and the first impressions, pleasant and bluff? His age, manner? Memories, his record for games and coaching - and his use of this? The place of tradition, his long speech to Danny about the strike and his evocation of the traditions of the club? His jokes, his cliches and truisms?

9. The picture of the Australian conservative? The gradual revelation of his jealousy, harshness and pettiness, brutality e.g. towards his wife? His double-dealing and naiveté? His jealousy and ousting Parker? His own hopes? His harshness and Laurie's final confrontation and accusing him of coward-ice? The anti-Parker sequences? The deals with Gerry? The visit to Hapwood - his being seen outside, the discussions with Susie, with Haywood, the ironic humour of his smoking Marijuana? His gullibility about Haywood's story and Gerry's telling him the truth? The confrontation with Parker and his adamant attitude? The confrontation with Laurie? The incidental scene with his wife and the mention of his brutality towards her? His final defeat?

10. Gerry - the administrator, smooth talker, manner at meetings, suave diplomacy, giving bits of information but not the full truth, getting Laurie on side, Jock? His smooth talking of Ted? His handling of Danny's outburst, the threats of Ted, the new coach and players? His telling the truth about his own attitudes to Laurie? The final manipulation and his being seen to survive? The picture of the manoeuvrer, the manipulator who is corrupt but able?

11. The members of the club, the offices, the committee meetings, the players and their spirit, plans, money, ambitions? The atmosphere underlying the playing of the game?
The authentic detail of the matches and the contrived play? The value of opening up the play and showing actual sport? The contribution of the real life commentators, their manner, the jargon? The TV panels, radio interviews? Newspaper reporters? The Australian myths in realistic terms? Having a go, the spirit of success? The blend of humour and seriousness? The pettiness, the jealousies, the false use of tradition? Sentiment? The Australian male? How much insight did David Williamson offer into the 20th century Australian?

THE COOLANGATTA GOLD

Australia, 1984, 112 minutes, Colour.
Joss Mc William, Colin Friels, Nick Tate, Josephine Byrnes, Robyn Nevin, Grant Kenny.
Directed by Igor Auzins.

The Coolangatta Gold is an enjoyable and exciting Australian film - that was unexpectedly unsuccessful at the box-office. Produced by Hoyts/Edgley, it was financed by the profits from The Man From Snowy River. It uses its Gold Coast locations well. It focuses on a triathlon, a competition for an Ironman title - and shows running, surfing, canoeing. The sports sequences were filmed at an actual competition designed for the film - parallel with the sport is a sub-plot with the martial arts and the success of a rock band (with an elaborate disco sequence).

Direction is by Igor Auzins (High Rolling, Water Under the Bridge, We of the Never Never). Photography is by Keith Wagstaff who worked on such films as The Man from Snowy- River. The musical score is by American Bill Conti (Rocky, The Karate Kid, Mass Appeal). There are several songs from Split Enz and Tim Finn.

Nick Tate gives an intense performance as the obsessed father. Colin Friels is quite effective as the older brother and Joss McWilliam? does his best in the role of the persecuted son. Robyn Nevin has a small role as their mother.

The film focuses on particular Australian themes - especially sport and competitiveness.

1. An enjoyable film? Sport, competition? Its style?

2. Panavision photography, the use of the Queensland locations, beaches, surf, homes, the plantation? Action sequences: martial arts, the disco sequence, the triathlon?

3. The rousing musical score? The insertion of the songs and the disco sequence? The importance of the musical background?

4. The focus on the Australian family and its ethos? The relationship between Joe and his wife? The long marriage, its brittleness? The communication between husband and wife? Communication breakdown? The family plantation, the home? Joe and his obsession about sport, his past? The disdain for Steve? The demands on each son? The wife and her response, her regard for each of her sons? Her demands for Steve?

5. The portrait of Joe: a man living his past, his defeat, his obsession? Keeping fit, competitiveness with his sons, continued comparisons? Running gruelling training? The strain on himself? Adam and his driving him, timing him, pressures? Work sequences, at home? Steve and neglect, disdain? Talking with his sons, his capacity for communication, cutting himself off? Building up the competition? Watching the two sons in the final competition? The ultimate confrontation? What was he left with?

6. Adam and the pressures from his father, training, his father's expectations and ideals, his losing? At home, working? His relationship with Steve? Affection, comparisons, understanding his brother? The dance and going off with the girlfriend? The clash, the bike, crash? His telling Steve how to win the competition? Participation in the competition, his final decision for Steve?

7. Steve and his relationship with Adam, the bond? With his mother? The clash with his father? His success in his own world: the martial arts and his grading, skill? His trainer? The encounter with the ballet, with Kerri? Attraction, meeting, sharing, the disco sequence, the clash with Adam, the affair? Her continued support? At work, the plantation, the gruelling training? The abuse from Joe? His decision about the triathlon, the help of Adam? The competitiveness, the achievement? The end and his decision and freedom?

8. Kerri and her ballet, teacher, the demands of the ballet, the disco sequence, relationship with Steve, supporting him? Her girlfriends?

9. Steve's band, the music, playing at the Roof Garden, success? Auditions? Possibilities and a future?

10. Grant Kenny playing himself as an Iron Man competitor? The target of Joe's hostility? The authentic atmosphere, locations and the ethos of the Gold-Coast? crowd, the competition? The events and the photography, editing and pace? Excitement? Achievement?

11. A popular film of the '80s? Australian themes: masculine and feminine themes, family, sport, competition, achievement?

CAMEL BOY

Australia, 1984, 72 minutes, Colour.
Voices: Barbara Frawley, Ron Haddrick, John Meillon, Robyn Moore, Michael Pate.
Directed by Yoram Gross.

Camel Boy is one of the mini animated features from the Yoram Gross studio. The method of animation is to use drawings with naturalistic backgrounds. The plot focuses on Afghanistanis and their bringing camels to Australia, the treks across the western deserts, the return of the camels to Afghanistan.

The film is designed for children and helps them to understand the Asian migrants, racial prejudices, life in the Outback, the difficulties of travelling across the desert, encounters with aborigines.

The film is engaging, has a great deal of action. It also has the talents of such - actors as Ron Haddrick and John Meillon for the voices of the characters. As always, there is a jaunty musical score, this time a variation of 'Click Go The Shears'.

1. The work of Yoram Gross and his studios? Skill in animation? Style? The content of the films and their being designed for children?

2. Australian history, South Australia and the West, the desert, the animals, the camels and the horses, the pioneers, the Asian migrants?

3. The characters and the drawing style, echoes of Disney but distinctive? Enjoyable and accessible by children? A blend of archive photography with the drawings?

4. The musical score, the variations on ‘Click Go rhe Shears'?

5. The film's focus on Ali, the story of Ali, children enjoying this story? The second part and-the contrast with the focus on Peter? The two boys and the parallels? Asia and Australia?

6. The Arab-Afghanistan? background? The camels in Australia? Their being imported, 19th and 20th century? Their ability in the desert, the contrast with the horses? Their strength and saving the horses? and the men, their ability to sniff water, their speed through the desert? Their being let loose, the wild camels and the herds? The round-up of the camels? Their being exported to Asia?

7. The Asians, their culture, coming to Australia, the voyage, the prejudice of Australians, their skill, advice, the camel boy and his experience, the young camel, the medallion, reunited with the camel?

8. The portrait of Ali as a young boy, his relationship with his grandfather, the strength of the Muslim religion - worshipping, not drinking? The contrast with the Australians? The prejudice of the attacks? The birth, the train, the medal, the encounter with the aboriginal boy and the finding of water, his grandfather's death, his return to Asia, joining, the army, growing up? The meeting with Peter, hearing the story, his final happiness?

9. The Colonel and his being in charge, the expedition, the map? Morgan and his severity, prejudice? The friendly stockman? The Colonel's attitude towards the Asians, the visit to his home, his wife, the journey, decisions, the success of the trip? The Colonel appearing in the form of the actor telling the further story about the camel round-up and Peter?

10. Morgan and his roughness, drinking, prejudice, the horses, the water, his being hurt, saved, wanting to shoot the camels, want to shoot the aborigines? The ugly Australian?

11. The sympathetic stockman and John Meillon's voice, his help, the medallion, his continued support?

12. Scenes of the desert, beauty, harshness, flash floods, the heightened sequences of the terror of the dogs, Ali galloping through the desert, the encounter with the aborigines, the finding of the water?

13. The significance of the dogs sequence and its atmosphere of fear?

14. The aboriginal theme, at home in the desert, the encounter with Ali? The prejudice of Morgan? The giving of water?

15. Peter and his work with the camels, his love for the camel, stowing away, the voyage, meeting the Asians, the discovery of the medallion, his being in prison, telling Ali the story? The happy ending?