THE CHEATERS

US, 1945, 90 minutes, Black and white .
Joseph Schildkraut, Billie Burke, Eugene Pallette, Ona Munsen, Raymond Walburn, Anne Gillis, Bruce Terry.
Directed by Joseph Kane.

The Cheaters is a Republic film, B-budget, with a group of B-level stars. It is a pleasant moral tract set at Christmas time, made at the end of World War II, and appealed to Americans to be generous with their money and not greedy - especially those who are spendthrift.

Eugene Pallette and Billie Burke are the parents of a family that is wealthy but has fallen on hard times. When the uncle, whose will they depended on, dies and leaves all his money to an actress he saw perform in Uncle Tom's Cabin as a child, they set about finding her to stop her getting the money. However, she is an attractive and bright character and they enjoy her company. Joseph Schildkraut performs as a John Barrymore-style actor who has fallen on hard times and is welcomed into the house as a charity case. A drinker, he is full of charm, begins to transform the people - but does so especially with a rendition of Dickens' Christmas Carol. Needless to say, everybody ends up happy.

1. Popular and sentimental story? 1940s style?

2. Black and white photography, New York, the countryside? Winter, Christmas? The musical score?

3. The title and its reference to each of the characters and their behaviour and attitudes? The importance of the Christmas Carol story for making everyone more honest?

4. The portrait of the family: Jim Pidgeon and his business, his loyal secretary, her warnings, his extravagance, being generous, allowing his wife to do what she liked? The extravagant mother, her children thinking she was silly, the Christmas preparations, the huge staff? The older daughter Theresa and her wanting to keep up appearances for her wealthy military fiance? Angela, whom everybody calls "Kid" and who wants to be seen to grow up? Reggie, who has been studying in the western states? Their financial status, their attitudes towards each other, the celebration of Christmas, taking in the charity case, the dilemma with Miss Watson, their conniving and the plan, going to the country, the country experience changing them, humanising them, cooking, telling stories, gifts? The impact of Mr M. telling the story? Angela and leading the group to be honest? The happy ending?

5. Mr M, a dignified charity case, his accident, the burning down of the factory, going to the family in style, his drinking, relationship with the butler and getting the drinks? His charm for each of the family, Jim relying on him for the story, the newspaper, going with Uncle Willie to persuade Miss Watson to come? Going to the country, stoking the fire, entertaining people? His continually performing? His memories of his past? The friendship with Miss Watson, her urging him to stop drinking, her admiration, his falling in love with her, the delivery of his performance on Dickens, going to the inn, the happy ending with Miss Watson?

6. The will, Miss Watson, down on her luck, the phone calls, her decision to go to the family, enjoying it, the company, good-natured, down to earth? In the country, the cooking? Her concern about Mr M, trying to get him off the drink? The revelation of the truth - and her generosity?

7. A moral tale that is situated in a different kind of America? But still relevant to contemporary America?

CE JOUR LA (THAT DAY)

Switzerland, 2003, 104 minutes, Colour.
Bernard Giraudeaut, Elsa Zylberstein, Jean- Luc Bideau, Michelle Piccoli.
Directed by Raoul Ruiz.

Ce Jour La is a Swiss production, with Portuguese- Chilean director Raoul Ruiz having made a career in South America and then in France over several decades. He received financial support for this project and located it in Switzerland.

Comparisons have been made between Bunuel and Ruiz. With this film they are more than just comparisons. This, in many ways, is a cinema of the absurd. However, the locations are naturalistic, the comedy of manners is elegant as well as absurd. The film offers a critique of the State, specifically Switzerland, with its financial laws, becoming a terrorist, using violence against its citizens to save its finances. The film is also critical of society, in a manner akin to Bunuel, as it shows a father in debt willing to let a murderer out of the asylum that he owns, giving him a message from God that he should kill his daughter who was to receive his mother's inheritance and which he needed to pay his debts. The other characters are a gallery of characters and caricatures: there is the insane daughter, the insane murderer, the father himself and his presiding over his business, his eccentric sister, his mistress, his two sons, a stranger met by the wayside, the evil power from the Swiss government and his brother who has protected the young woman. As with Bunuel, they are assembled at a significant meal in which the characters and interactions are revealed.

The title refers to 28 December in the near future (because it is a Monday, it is 2004). The runes and other signs have told the young woman that it is to be her special day - and this definitely becomes true.

The film is very well performed, keeping a balance between eccentricity and normality, making the strange goings-on almost plausible. There is an irony as the two policeman in the town decide to do nothing and spend the day sitting in a restaurant, finally coming to apprehend the killer. Ruiz has done many comedies of manners as well as eccentric and absurd films. These two aspects of his career come together very elegantly in this film.

1. Raoul Ruiz's career? His work in Latin America, Portugal, France? The Swiss perspective in this film? The work of a maturing artist with a particular perspective on human nature and society?

2. The Swiss settings, the small town, the countryside, the asylum, the mansion, the business offices, the restaurants? An atmosphere of realism for the characters and events? The musical score?

3. The title, its reference to Livia, her anticipation of the day? The special day for Emil? God's message to him and his doing God's will?

4. The opening, Livia and the leaf, seeing it as her sister, writing in her diary, the stranger falling off his bike, coming to talk with him, her explanation about the special day, all the signs leading to it, the group of bikers passing, the one falling? The stranger commenting on the insane people? Her reaction? Her showing her leg, inviting him to kiss it? The evidence that she was insane?

5. The date, the Monday, 28 December, the special day? Emil waking up, the government official opening all the doors and sending him out to do God's will? His going to the chemist, the importance of the blood tester for his diabetes and the common theme running through the film, his forever testing his blood sugar? His going to the family mansion in order to do God's will?

6. Livia, her waking up, her special day, her being at home? Her sense of anticipation? The arrival of Emil, her kindness towards him, the attraction? Her then hitting him with the hammer? Her brother's arrival, killing him with the hammer? The blood on her dress? Emil not dead and his coming to her, their discussions? The arrival of Bernadette and Hubus, his heart attack, Emil pursuing Bernadette with the knife? The arrival of the stranger, the attraction towards Livia, his being brutally murdered? Emil bringing all the bodies into the dining room, setting them at the table, having the beef meal prepared by Livia, setting all the corpses up?

7. The role of the police, the information, the advice of the assistant to do nothing, the officious young policeman cleaning the stamp, coming to the restaurant with messages? The assistant and his advice, the chief with his cramp? The meal, playing billiards, listening to people's conversations, the chief saying things on which the assistant would have to reflect? The arrival of Master Harald, his urging them to do their duty, their explanations? Their passing the rest of the day at the restaurant? Their final arrival, apprehending the official and executing him?

8. The family meal, the range of characters, their interactions, their eccentricities - difficult to tell who was insane or not? Their relationship to Livia? Her wanting to watch the television? The meal as preparing the audience to know who the characters were before they were killed?

9. Hubus and Bernadette coming to the restaurant, answering their mobile phones, people gossiping? The meal, the return, his death, her murder?

10. Leone coming with Harald, at the meal, the discussion about the family fortunes, his disdain about the product and forbidding it to be used in the restaurant? His story about his ex-wife and her death, leaving the money to their daughter? Leone and her returning to the mansion, seeing the bodies, the discussions with Emil, his pursuing her, her being knocked down on the road, the two young men looking at her corpse and discussing it, Emil killing one of them, the other running away, putting the bodies in the truck and bringing them to the house?

11. Emil, his hearing the voice of God, partially insane, the urge to kill, the farcical aspects of his pursuing everybody, especially Roland, with the gun? His being calmed by Livia? His changing his attitude towards God and his mission? Her explaining it could be from the Devil? The kiss, the meal, his being at home with her, wanting to go to the zoo, going back to the asylum? The promise of her visits?

12. Her protector and his being sent away to look after his mother, the irony of the mobile phone call with her up on the hill? Giving a lift to his brother? Their confrontation in the house, the gun on his brother, his letting his brother be taken out and executed? The discussions with Emil? His staying to protect Livia and explaining she was very rich?

13. Her father, his signing the documents for the government, his being debt-free, going to the house with the official, expecting to see Livia dead, her response, her sitting at the table, pulling the gun on her, shooting himself?

14. Livia and her fortune, relationship with Switzerland and other countries? The humorous and ironic overtone at the announcement of Frederick Durenmatt getting the country's prize? What had happened to ownership of the country?

15. Themes of human nature, greed, violence? Betrayal? Farcical behaviour? The folly of death? The role of the State, its sinister terrorism? Everything back in order - but what order? The motifs of the military trucks driving through the countryside? The themes of guardian angels and guardian devils?

CARPET OF THE WIND

Iran, 2002, 110 minutes, Colour.
Directed by Kamal Tabrizi.

Carpet of the Wind is a film of great beauty, sentiment and charm as well as humour. The focus is on a young Japanese businessman who is commissioned by a Japanese festival to provide a carpet, woven in Iran. His wife is the designer of the carpet. She and her young daughter pray that the carpet will be a success. However, the young wife is killed in a street accident. The young man continues his visit to Esfahan with his young daughter. The carpet which was commissioned has not been woven. The man is in despair, his daughter feels isolated and cannot communicate. However, the welcome of his Iranian friend, Akhbar, is very warm as well as that of his wife and the people of the town. The businessman who should have commissioned the carpet is busy about his many other business interests. A young boy who has a carriage for tourists has the idea that the townspeople can combine and, working on shifts, make the carpet in twenty days. The film shows the collaboration of the townspeople, the exhilaration of their work, the difficulties in getting the wool, the dye and other aspects of weaving. However, the carpet is completed - as well as celebration of a marriage with the visit of the local Mullah.

The film is rich in its character-drawing, beautifully crafted, well acted. The film also introduces religious themes such as Japanese prayer as well as Muslim traditions of prayer, blessings and making ordinary life sacred. The director of the film also made at the same time a very esoteric film called Take a Look at the Sky Sometimes, using many of the same cast. However, it is quite elliptical and uses magic realism in its interpretation of Iranian religious customs. Carpet of the Wind is more classical film-making.

1. The universal appeal of this film? Its interchange of cultures, Japanese and Iranian. Universal values, character, religious dimension?

2. The use of the Japanese locations as well as of Esfahan? The contrast of the beauty of each country? The beauty of the city of Esfahan, its temples, its history as well as the ordinariness of daily life, especially for the weavers? The musical score?

3. The title, the focus on the carpet, the realism of making the carpet, its symbolic design and use for the Japanese festival?

4. Japan: the young woman, her love for her daughter, joy in life, prayer, her abilities with carpet design? The planning of the carpet? Her making the peace origami birds with her daughter? Going to buy the paper, not having the money, the car accident in the street? The family's grief at her death? The young man, the elder, the commissioning of the carpet, his friend in Iran, the dilemma about the carpet?

5. The man going to Iran with his daughter, arriving at Esfahan airport, meeting his friend Akhbar, the welcome? In the house, the young boy with the carriage? The visit to the business owner, the double-talk about the carpet, Akhbar not telling him the truth? The reality that the carpet had not even been begun? The moroseness of the Japanese man, his despair, sitting alone? The young boy and the plan for the making of the carpet?

6. The character of Akhbar, the eternal optimist? His friendship with the Japanese? The welcome into his home? His charming wife, her kindness towards the little girl? The visits to the owner, the discovery of the truth, Akhbar and his avoiding telling the truth, his wife trying to get him to acknowledge what had happened, her telling the truth? Akhbar and his attempts to try to get the carpet made?

7. The young boy, his family, his sick father, working for Akhbar? His infatuation with the Japanese girl, learning some words, asking Akhbar? Their playing together, taking her for the ride? The outing, Akhbar's wife and her playing with the little girl, the daughter's disappearance? Her going on the coach ride, everybody frantic, the police searching? The boy bringing her home?

8. The boy and his plan, the twenty days, the shifts? Akhbar not believing it, looking for the boy, organising it?

9. The owner, his talk about his many business interests, his courtesy? His decision to support the weaving of the carpet? The design, the assembling of the wool, the dyeing of the wool, the woman in charge? The various members of the shifts, Akhbar's wife and her cooking? The work, its progress, the difficulties with a torn string, the wrong wool, the dye, going to the mosque on the Friday to buy more wool? The old man wanting to help and the unravelling of his pullover for wool? The weariness, the joy of working, the techniques of carpet-making? The religious dimension and the blessing of the work?

10. Akhbar and his achievement, his making mistakes about the heat, the dyeing of the wool, going to the mosque, taking the Japanese man with him? Their reconciliation after the Japanese man's disillusionment?

11. The marriage ceremony, the inviting of the Mullah, the reverence towards him, the joyful celebration and the dancing? The Japanese man at home, the little girl and her feeling at home in Iran?

12. The completion of the carpet, the boy and the girl putting their threads? The transition to Japan, the festival and the carpet? The close-up of the two threads and the symbol of friendship, love and cultural exchange?

CITY OF GOD

Brazil, 2002, 130 minutes, Colour.
Alexandre Rodrigues, Leandro Firmino da Hora, Fellipe Haagensen, Douglas Silva.
Directed by Fernando Meirelles.

In the early 80s, a powerful Brazilian film called Pixote startled audiences with its grim picture of city street kids, violence and drugs and dehumanising prisons. City of God takes us back to the 60s and 70s, to the slum settlements of Rio and immerses us in an experience that is harrowing, sometimes shocking. Director, Fernando Meirelles,, tells his story with cinematic verve and a visual style that combines straightforward realism with handheld camera immediacy that has the effect of making audiences observe the characters and events with some objective moral judgment as well as sharing the excitement and danger that is the world of the gang members in the City of God.

Young photographer, Rocket, tells his story and those of his friends. His voiceover introduces us to a wide range of characters, captions indicating whose story we are concentrating on, with the stories interweaving quite intricately. He takes us back to the 60s when he was a little kid and was partly afraid and partly admiring of the local gang of which his brother was a member. On the side are two little ten year olds, especially the bespectacled Benny and the worldly-wise Lil. When a massacre takes place at a motel brothel, we don't want to think that it is Lil who has killed the staff and clients. When we eventually see him do it, we realise that here is a ruthless, narcissistic, power-hungry boy who grows up to be the barrio boss.

The film's large gallery of characters bring to life their squalid life, children shooting one another, teenagers controlling drug distribution, teenagers growing into callous adults. While this is Rio, the story is the same for so many cities in so many different eras. A powerfully challenging film.

1. The impact of the film? A success world-wide commercially and critically? Awards? The impact for the Brazilian audience and its mirroring of a city, a period, the violence? A social critique of Brazil? For non-Brazilian audiences, an insight into violence in Brazil, poverty and the interconnection?

2. The location in Rio de Janeiro, the shanty towns, the look of the 60s, the cleancut cottages, the dirt streets and fields? The contrast with the crowding of the 70s and 80s, the transformation into darker slums? The poverty? The people set within this context? Authentic?

3. The visual style of the film, the hand-held camera, the different colour filters, the circling cameras? The use of the split screen? The colour processes illustrating the different periods, day and night, interiors and exteriors? The editing and pace? The musical score, the local music?

4. The structure of the film: introducing the audience to the favella, Rocket and his seeing the chicken, with his friend, with his camera, the approaching gang? The flashback to the 70s, the development of the characters during the 70s, the development of the themes of violence, especially the participation of children? The transition to the drug scene in Rio? The captions throughout the film? The screenplay and its moving backwards and forwards in time? Focusing on Rocket, his growing up, knowing the protagonists, his own stances, the demands on his life, family, the dangers? His photography, his opportunity, photographing the thugs, fearing for his life, underestimating their vanity at being photographed? The return to the initial scene with the gangs confronting each other in the street? Seeing the fight through Rocket's lens? His future?

5. The irony of the title, the name of the district? God's presence and absence? The use of religious symbolism, Catholic symbolism? The presence of the church, the influence of the church, the absence of the church? Superficial religion? The film and its pessimism, its portrayal of human nature, of crime and violence? The ending - possibility of change, possibility of hope?

6. The character of Rocket, as a little boy, playing football, not being part of the group, the small-time young gangsters in the town, the Tender Trio: Shaggy, Clipper and Goose? The planning of the crime, the brothel, the robbery? The pursuit by the police, the boys hiding in the trees, one giving himself up to the church, one killed, the other fleeing with his girlfriend and being trapped in the hijacked car while pushing it? Rocket and his observations, the involvement of his brother? His parents at home, his hard-working father? His being taught lessons so that he would not go into this gangster world?

7. The Tender Trio, their personalities, playing football, lording it over the others, as perceived by Rocket? The importance of his brother, at home, the domestic scenes, the contrast with the robbery? The portrayal of the robbery, the brothel, the girls, the clients, the taking of their money and possessions? The horror of the reprise later when it emerges that Li'l Dice had killed the workers at the brothel and the customers?

8. The Tender Trio and the collapse, the young man hiding in the tree, going to the church, changing his life? The young man killed by the police? Rocket's brother, the girl, his infatuation? Her reaction? His going to work, the cover-up, trying to get the money again? His planning to leave, his parents and the denunciation? The girlfriend going with him, the car, the pursuit by the police, the deaths?

9. Rocket and his growing up, his love for photography, getting the camera? His observing life in the favella? Going to the clubs, the drug situation, his own drug use, his best friend and their adventures? Going to the newspaper, the clash with the reporter, his photos being admired, being used, the prospect of being paid? The reporter and her having an affair with him? Using him? His response to this kind of life, relationship? His going into the City of God, moving comfortably with the criminals, photographing Li'l Ze, observing him and the drug-dealing business, the clashes of the gangs? His photographs and the paper sensationalising them, his being afraid of Li'l Ze's reaction, on the contrary, Li'l Ze being pleased with the notoriety? His relationship with Bene, watching Bene and his change of attitude, his enjoying the use of the money, his glamour and style? The deaths? The encounter with Knockout Ned, the story, the takeover by carrot of the drug baron, Ned and his alliance with him? His girlfriend and Ze raping her? Rocket and his attraction towards her, the lyrical scenes on the beach with her and his friends? The build-up to the final shootout, the chicken running across the road as at the beginning of the film, Rocket caught in between the two gangs, his photographing everything? His future career assured?

10. The portrait of Li'l Dice and Bene, so young, observing, Li'l Dice giving The Tender Trio the idea of robbing the brothel? The later irony of Li'l Dice being the psychopathic killer? The money? The two young men growing up, in the City of God, aping the American gangsters, their life, interactions? The clashes with rivals, the role of Carrot, his organising the death of the drug baron? The older, adult drug lords being killed by the teenagers and young adults? The role of Knockout Ned?

11. The portrait of Li'l Dice and his transforming himself into Li'l Ze. His dependence on Bene, a homo-erotic relationship? The brutality of his raping of Knockout Ned's girlfriend? His use of Rocket? The build-up to the gang warfare, his supreme confidence, leading the gang into the confrontation? The final irony of his being shot by a child gangster? The contrast with Bene, his being involved in all the action, his advice? Yet his wanting to be different, with the girls, in the clubs, buying the clothes, trying to make himself better? His death?

12. Knockout Ned, the background of the boxing, friendship with Rocket, involved with the drugs? His family? His girlfriend?

13. The place of women in the favella, the mothers and their grief about their sons? The girls and their becoming the equivalent of gangsters' molls? In the clubs, prostitution? The contrast with Knockout's girlfriend, the attraction for Rocket, the quiet times together? The violence and the rape?

14. The portrait of child gangsters, the seeming innocence of the 60s and yet Li'l Dice and his utter brutality? The training of the gangsters in the 70s, their organisation, the forcing of the prospective drug dealer to shoot one of two people and his actually doing it? The gangsters under the age of twelve? Aping the others? Roving in gangs, the shootouts, the killing of Li'l Ze?

15. The role of the police, turning a blind eye, actually being in charge of some of the drug deals? The significance of police corruption in Brazil?

16. The overall impact of the film, audiences being immersed in the shanty town and its life, trying to understand the characters, their backgrounds, the influences, their values and principles, the lack of principle? Poverty and its role, the desire to overcome poverty, the greed for wealth and for a different lifestyle? The significance of this social setting of Brazil and the consequences for later decades?

CAT O' NINE TAILS

Italy, 1971, 107 minutes, Colour.
Karl Malden, James Franciscus.
Directed by Dario Argento.

Cat o' Nine Tails was one of the earliest of Dario Argento's thrillers. As the 70s and 80s wore on, he made a transition from violent and psychological thrillers to horror films. He is best known for such films as Tenebrae and Suspiria, still making films into the 21st century with such thrillers as Sleepless starring Max von Sydow.

Karl Malden gives a sense of humanity as a blind journalist using his capacities for hearing to help a newspaper journalist unravel a mystery. The journalist is played by James Franciscus.

The setting is industrial espionage and social security in an Italian firm. The film uses the subjective lens as the eye of the killer, with the focus on blades. The reference in the title is to the many strands of the murder mystery.

The film works quite well as the detecting of the murders, as a human document with Karl Malden and his niece, playfully working together, her being his eyes. For those who enjoy this kind of mystery, it is perhaps no surprise when Catherine Spaak is revealed as the murderer.

1. The work of Dario Argento, slasher thrillers, detective stories, his later transition into full slasher horror?

2. Argento and his working within Italian cinema, the 70s and the 80s, his stylised work being so different from the tradition of neo-realism and the developments of such directors as Fellini? His film origins being rather in the spaghetti westerns and spaghetti horror?

3. The title, the reference to a whip, the different strands making up the whip, the strands for the mystery?

4. The espionage setting, the company, the robberies, the scientific investigations, ambitions of scientists, exploitation of their discoveries? The dangers, especially of contamination?

5. The scientist, the files, his girlfriend, his being murdered on the railway station? The manager of the firm, his daughter, their relationship? The other members of the company, their involvement, the meetings and discussions, searching for the truth?

6. The portrait of Anna, seductive, alluring, Carlo and his interest? Her relationship with her father? The sexual encounters, the seduction, the violence - and the revelation that she was the killer?

7. Karl Malden as Franco, his blindness, his ability to hear, on the street, the cars, the violence? Lori and her relationship with him, friendship, care and love? Her being his eyes? The encounter with Giordani? The discussions, going to the press office? The photographs, the clues, the blow-ups of the photos, the revelation of the murder? The police and their interest, questioning, collaboration? The further detection, the discussions with Giordani? The clues? The dangers for Franco, in the dark, the threats to Lori, Anna revealed as the killer?

8. Giordani, his work as a journalist, coming across the case, encountering Franco, their discussions, his return, at the office, the photos, pursuing the clues? Each of them and the questionings? The danger to Carlo, his meeting Anna, the infatuation, the relationship? The ultimate confrontation?

9. A film of its time, the style of the 70s - but an interesting murder mystery, detection, personal touch, the implications of this kind of industrial espionage and violence?

CAT PEOPLE

US, 1982, 112 minutes, Colour.
Nastassja Kinski, Malcolm Mc Dowell, John Heard, Annette O'Toole, Ed Begley Jnr.
Directed by Paul Schrader.

Cat People was originally a 1942 small-budget horror film from producer Val Lewton and directed by one of his regular directors, Jacques Tourneur. It was a 72-minute black and white horror film, relying on atmosphere and the presence of Simone Simon. Forty years later, Paul Schrader made a stylish remake. However, it did not have the emotional power of the original, relying rather on its atmospherics, the presence of the cast, the violence and the sexuality.

Nastassja Kinski is Irena, raised as an orphan, sent to meet her brother, Malcolm Mc Dowell, in New Orleans. It soon emerges that he is one of the Cat People, the leopards of ancient times (which are visualised in the opening sequences to give a mythical background to the action). John Heard plays the zookeeper, infatuated by Irena.

The film becomes something of a serial killer thriller with Malcolm Mc Dowell turning into a leopard and murdering prostitutes. He puts pressure on his sister, with overtones of incest, to save him. However, he is shot by Heard. Irena resists Heard's love and obsession but finally succumbs, but allows herself finally to remain behind bars in the zoo.

Schrader had written Martin Scorsese's films Mean Streets and Taxi Driver and was to write The Last Temptation of Christ and Bringing Out the Dead. He also directed a range of films from Blue Collar and Hard Core in the 70s to Auto Focus in 2002.

1. The impact of the film? Memories of the original? The spirit of the original, transformed by Schrader's style?

2. The New Orleans locations, apartments, homes, the vistas of the old homes and the old Quarter. The zoo?

3. The musical score, the popularity of Giorgio Moroder's film scores of the 80s? The theme and its being sung by David Bowie?

4. The mythological aspects of the film: the opening, the ancient tribes, the desert, the woman condemned, at the tree, the leopard, violence and sexuality? The origins of the Cat People? The transformation of the victim's face into that of Nastassja Kinski? The later memories of the origins of the leopards, especially in Irena's dream about the tree and the leopards? The credibility of this mythology for the horror film?

5. Irena as the focus of the film, her being brought up as an orphan, her relationship with her step-parents, her not knowing that she was a Cat Person, yet her instincts and fears? The encounter with Paul at the airport, going home with him, his explanations? Meeting Female, her stories, her caring for Paul? At home, yet unsure?

6. The contrast with Paul, greeting his sister, his own background, searching for her? His relationship with her, the sexuality, overtones of incest, his being transformed into the leopard? His taking the prostitutes to the hotel, the violence and killing them? His staying as a leopard, his being transformed back into himself? His being pursued, his causing accidents on the roads, his being shot? The autopsy? His appearing in Irena's dreams? How well-drawn the character, the credibility of someone believing that he was in fact a leopard?

7. Oliver and Alice, their working together, their relationship, her love for him, his not being able to return the love? Their work at the zoo? Having to go to catch the leopard, the pursuit, the murders? With the police? The pursuit, the taking of the leopard, the mystery? Oliver and his shooting Paul? The autopsy? His knowing the truth? Alice, the scene in the swimming pool and her being menaced by Irena? Oliver and his obsession, Alice confronting him with this? His love for Irena, her refusal to make love, her fear? The consummation, his commitment to her, his tying her up, her being transformed into the leopard? His finally not killing her but taking her to the zoo? The seeming normality at the zoo, Alice suggesting they go for lunch, his returning to the cage, the close-up of the leopard?

8. New Orleans as the setting, the background of voodoo and other mysterious religious and superstitious practices? The city for a legend about Cat People and this kind of behaviour, violence?

9. The credibility of the themes, their being symbolic of the shadow side of human nature, animal symbols, animal behaviour, the dichotomy between the spirit and the flesh, the flesh dragging down the spirit? A Manichean and Christian interpretation of this kind of story (from Paul Schrader's own Calvinistic background)?

CATCH ME IF YOU CAN

US, 2002, 142 minutes, Colour.
Leonardo di Caprio, Tom Hanks, Christopher Walken, Martin Sheen, Nathalie Baye, Amy Adams, James Brolin.
Directed by Stephen Spielberg.

Frank W.Abignale Jr assured interviewers during his promotion tours for Catch Me If You Can that the events portrayed were basically accurate. He also assured audiences who might be alarmed that the movie says that crime pays that he has literally paid his debt to society (with a substantial income from consultancies to counter the kinds of frauds that he indulged in).

Leonardo di Caprio still looks boyish enough to convince us that he is a teenage imposter. His movie career has given him enough experience to bring some depth to the extraordinary bravado of Frank Abignale and to the depth of feeling he has for his father and, eventually, for his FBI pursuer, Carl. Catch Me If You Can has several key sequences which take place at Christmas. Frank calls Carl Hanratty to make some contact knowing that Carl is working late and alone in his office. As the movie progresses, it is clear that they are bonding like father and son.

Part of the charm as well as the roguery of Frank Abignale is his deep love for his father. He admires him, he takes his cue from him with the story of the enterprising mouse. He shares his father's sense of fun and tweaking his nose at authority. He is driven, while pretending to successful characters, to make up to his father all that he lost. His
parents' divorce is traumatic and drives him away from home. His final visits with his father sadden him and the news of his death is a shock. In the meantime, he has found another father, Hanratty. Just as he revealed his own father in his exciting and lying escapades, for the rest of his life, in working for the FBI, he reveals the qualities of Carl Hanratty.

While Tom Hanks has a role which is the opposite of flamboyant, he is completely convincing as a humourless,
conscientious and dedicated filed officer. Christopher Walken (to whom di Caprio bears a persuasive resemblance to be his son) is by turns endearing and sinister.

This is a Steven Spielberg movie. After several very serious movies (Amistad, Private Ryan, AI, Minority Report), he seems to be enjoying this colourful and often comic story which takes up his favourite themes of abandoned children. The screenplay, however, with its moving backwards and forwards in time, seems unnecessarily cumbersome.

1. A light Stephen Spielberg comedy (despite the length)? The playfulness of the credits? The tone of the film, the musical soundtrack and the period, the bright colours - the reflection of Frank's world?

2. The film based on a true story, its credibility, style of life and America in the '60s, later? Frank Abignale as adviser, and his caution at the end about justice and his repaying all his debts?

3. The film as a piece of Americana of the 60s and 70s, the good-looking young well-dressed white American and his ability to con anyone? The New York State locations, New York City, Florida, Georgia, New Orleans, France?

4. The structure of the film: the French prison and Frank's plight, Carl Hanratty coming to interview him, his performance, Hanratty organising the extradition, Frank performing although sick? This meaning that the audience knew the ending at the very beginning? The impact then of the flashbacks?

5. Leonardo di Caprio as Frank Abignale, as a young boy, as an adult? Making a credible performance to show that Frank really could have existed and done the things he claimed? The portrayal of his character, his abilities, life in the family, at school, jobs and his bravado, daring, the conman and his talents? Yet a lonely young man, wanting to bond with his father, gradually alienated from his father and feeling his rejection? His absent mother, Carl Hanratty as becoming a father-figure? The glimpse of his mother and half-sister? Justice and his future?

6. New York State in the 60s? School, business? Frank's age, his father's award and speech about the frogs? His bond with his mother, the joyful household? His father's financial troubles and the IRS, pretending to be his chauffeur to make an impression, Dad supporting him in these impersonations? His going to the new school, the kids picking on him, pretending to be the French teacher? The headmaster calling in the parents, his father's response and encouraging his son? The seemingly happy home life and the memories of France?

7. The portrait of Frank's parents, Frank Sr and his place in the community, the award, his speech, the conman in himself, the deals, his failure, being pursued by the IRS, going to interviews but failing to convince people? A man of bravado and failure? The memories of the war, meeting his wife, the romance, the marriage, her coming to America? Their belonging to the club? Jack Barnes and his friendship, the irony of the affair and Frank discovering it? The mother and her cover-up of the affair, her decision to leave, the divorce?

8. The effect on Frank? His leaving home, down and out, trying to work out what he would do, seeing the brochure about pilots and their glamorous life, seeing the flight attendants? His application, his skill in building up stories about himself, not seeing them as lies? His acceptance, going to the training, the glamour of the pilot's life? Of the flights, his not knowing the details even about the seats? His moving to Los Angeles, being pursued by Hanratty, paying the cheques, the development of his scheme and signature? The banks and their believing him? Hanratty arriving at the hotel, his pretending that Abignale had just left? Fooling him? His going to Atlanta, meeting Brenda at the hospital, deciding to become a doctor, watching the TV soaps and learning about medical procedure in surgery , his using it, the reaction of the other staff/? His squeamish reaction to the surgery? His falling in love with Brenda, her background story, being turned out by her conservative parents, the abortion? Inviting him to New Orleans? His arrival, meeting the family, ingratiating himself with them, especially with Brenda's father? His bold talk about the law, studying it, passing the law exam, becoming part of the firm? The engagement party, Hanratty and his pursuit, the plan to meet Brenda at the airport, her giving the information to the authorities? His waiting at the airport, disguising himself once more as a pilot, escaping to France? His precarious existence in France, his skill in forging, seeing him at work in the laboratory? His being arrested, collapsing, ill, his reaction to the French authorities, their treatment of him, Hanratty's arrival, his still trying to pretend, the extradition?

9. The character of Hanratty, the dedicated FBI man in the Hoover era, severe and humourless, his reaction to his colleagues, the background of his divorce and not seeing his child, the loner? His relentless pursuit, accountability to his bosses? Tracking the cheques and finding out about the method of forging? Going to the hotel in Los Angeles, being conned by Frank? The phone calls and the growing friendship between them? The continued pursuit over the years? Christmas time and his working alone, Frank's calls to him, his becoming a surrogate father-figure? Frank becoming a surrogate son-figure for him? The failure in New Orleans, the failure at the airport? His going to France, extraditing him?

10. Frank and his continued meeting with his father, his father getting down and out and demeaning jobs, security? His father's refusal of the car and the other gifts that Frank was offering him? Going to see his mother, on the outside, looking in on his mother and Jack, their daughter, the little girl coming to the window? His hearing of his father's death only from Hanratty?

11. The range of people tricked, the bank personnel, Brenda, her father and mother, the people at the party? The prostitute and his dealing with her, offering her a cheque and getting change?

12. His going to prison, serving his time, Hanratty's proposal, his accepting it, going to work, discovering fraud? The temptation to escape, Hanratty fearing that he had, his return to work, the development of trust?

13. Frank Abignale's continued success in investigating fraud, writing manuals, helping the authorities against people like himself? American irony?

CHICAGO

US, 2002, 114 minutes, Colour.
Renee Zellwegger, Catherine Zeta- Jones, Richard Gere, Queen Latifah, John C. Reilly, Lucy Liu, Taye Digs, Colm Feore, Christine Baranski, Dominic West.
Directed by Rob Marshall.

Beginning its life in the 1970s on the Broadway stage, under the direction of Bob Fosse, this popular piece of American theatre has become a popular piece of American cinema, winning Oscar for Best Picture and a number of other Oscars with one for Catherine Zeta Jones as Best Supporting Actress.

Coming after Baz Luhrmann's Moulin Rouge, it was welcomed by audiences who could now accept quite stylised musicals. It still may take a while to get into the swing of the style but, after seeing Roxie Hart, the 1920s Chicago housewife who dreams of singing in a club and who murders her lover (the mixture of fantasy and reality), audiences will realise that the action moves from down to earth realism to highly theatrical action, especially through song and the all that jazz gyration inherited from Bob Fosse's choreography. Once this is accepted, there is an energy and verve in the singing and dancing not seen for a long time in a musical. All the songs by Kander and Ebbs (Cabaret, New York, New York) are memorable and imaginatively, often provocatively, staged. Mama Morton's prison has inmates who sing of killing their man. Billy Flynn the shyster lawyer controls his clients and the press like puppets.

The setting is Chicago in the 1920s, the time of Prohibition, bootlegging and gangsters. The way to celebrity was through crime and through the press. Looking at this musical we realise the ironies of what it is presenting: an amoral American attitude that glorifies celebrity right or wrong.

The cast is admirable, all doing their own singing and dancing. Renee Zellwegger has the most difficult role as the meek but ruthless Roxie who has to grow into an exploitative vixen and wows people with her emotional appeal, her singing and her dancing. And Zellwegger does that well. Catherine Zeta Jones is dynamic in her musical numbers as is Queen Latifah as Mama Morton. Richard Gere also shines as Billy Flynn, singing and dancing effectively but always with an ironically knowing tone in what he does. John C. Reilly is a standout as Amos Hart, the hard done by husband and his song, Cellophane Man, is superbly done. This is how a piece of American musical theatre can be made cinematic.

1. The impact of the film? Its many awards?

2. Successful adaptation from stage to screen? The difference from the stage version, the drawing on the artifices and artificiality of the stage? The blend of reality and fantasy?

3. The importance of the décor, the sets and the costumes? Re-creation of the period, stylised? The transition from drab to glitter and glamour? The dingy clubs, apartments, cells, in comparison with the wealthy homes, the courts, the offices? The glimpses of the world outside, outside the court?

4. The Roxy Hart story, Chicago in the 1920s, its reputation gangsters? Amoral? Celebrity, showbiz? The attitudes of the public? The law and justice? The irony of the dialogue, the satire?

5. The music of Kander and Ebbs, its style? Jazz, smouldering, rhythms? The songs and the point of the lyrics?

6. The irony of the presentation, moving from reality to imagination via the songs, the Bob Fosse-style choreography, developed by the director, Rob Marshall?

7. The range of songs and their illustrating character, developing the plot? The overture in the club, Velma singing 'All That Jazz' and Roxy imagining herself? The Mama Morton song? The cell-block routines? 'Chicago', 'Me and My Baby'? Billy Flynn and 'Razzle Dazzle' and 'All I Care About is Love'? 'Funny Honey'? 'We Both Reached for the Gun'? 'I Can't Do It Alone'? The importance for Amos Hart of the 'Cellophane Man' song? The tapdance, 'Nowadays', 'I Move On'? The final reprise of 'All That Jazz' with Velma and Roxy?

8. The initial focus on Velma, the shooting, her preparing for the show, arriving, singing alone, the song and dance, 'All That Jazz'? The piano player, the patrons of the club? The atmosphere, the sexiness? Roxy standing there and her dream? Imagining herself?

9. The transition to Roxy? Alone, going home, Fred Ceacely and her hopes that he would promote her? The developing pathology of Roxy Hart and her self-centredness? On the steps, the landlady, the sexual encounter, the aftermath, her anger with Fred, shooting him? Amos coming home, her sob story, the story to the police? Amos trying to save her by lying?

10. The police, the interrogations, their attitudes, out to get her? Her going to jail, Mama and her song? Her power in the prison, money and influence? Velma in jail? The cell-block song, the introduction to the range of characters - and their murderous attitudes towards men?

11. The character of Mama, seeing her as the plain warden, seen in her boa and feathers and glamour, the importance of money, helping Velma, making the transition to Roxy - even to the hair-do?

12. The introduction to Billy Flynn, the street-smart lawyer, Richard Gere and his style, smugly smiling, success, his explanations, 'All I Care About is Love'? His conditions for the case, the money, the interviews with Amos Hart and making the demands, Amos trying to get the money, unable, the attitude of Billy Flynn? The interviews with Roxy, dropping Velma? Preparing Roxy with interviews, her not being very bright yet a natural shrewd instinct? Each wanting to control the other? Roxy and her self-assertion, the clashes with Velma? Velma giving her ironic advice?

13. Amos, his love for his wife, his story, a genial but dumb man, used by Roxy? The importance and mood of 'The Cellophane Man'? His change of attitude towards Roxy, yet overwhelmed by her pregnancy, believing her, supporting her? Continually used by her?

14. The development of the case, her being coached and not doing well in rehearsals, her response to publicity, Billy planting the stories, Mary Sunshine and the interviews, the hair-dos? In the court, the judge, the reporters? Manipulation?

15. Mary Sunshine, the reporter, pushy, the interviews, manipulating the stories, promoting sympathy for Velma, then for Roxy? Wanting information from Billy? The court broadcasts and building things to a climax? Her role in Billy's manipulative song and 'Razzle Dazzle'?

16. Billy Flynn and the 'Razzle Dazzle' song, Roxy as his puppet, everybody else manipulated? Roxy and her concern about money, the scheme of the pregnancy, fainting in the court, the sympathy of the papers? The device of the diary, Velma's role, Billy's use of the diary in the court? All part of the plot, her going free?

17. The impact of the 'not guilty' verdict on Roxy, her expectations about photos, her anger at no photos, the noise on the street and the next murder? The wealthy woman's murder, her being taken to court, her glamour in front of the press and the police? The importance of success, celebrity and the public?

18. The combination of enjoyment of song, dance, settings with the tone of the plot, the characters, the issues, the moral issues? The climax with Roxy and Velma being so successful on stage, the public adoring them - a piece of Americana, response to publicity and glamour? Celebrity?

COLD SWEAT

France/Italy, 1970, 94 minutes, Colour.
Charles Bronson, Liv Ullmann, James Mason, Jill Ireland, Michael Constantin.
Directed by Terence Young.

Cold Sweat was made by director Terence Young (The Valacchi Papers, Red Sun, the early Bond films): this thriller provides good average entertainment. It might not exactly raise a cold sweat for the audience, but it does generate quite some suspense4 Charles Bronson stars as a harassed ex-convict, who has made good on the Riviera, visited and menaced by vengeful former comrades led by James Mason (with a strange Southern U.S. accent). Bronson's wife. played interestingly by Liv Ullman, and his step-daughter are held hostage and share the prolonged terror. Attractive French settings, likeable stars who help make the action more plausible and some suspenseful climaxes are all to advantage.

1. How true was the title for the film, for audience reaction?

2. How successful a thriller was this? In its use of thriller conventions, hero, menace, chase? How much excitement did it generate? Or did it remain on the level of the conventional, in plot, situations, dialogue and performances?

3. How well could audiences identify with the characters and feel with them? The use of threat to Joe, of violence and rape to mother and daughter, the chase at the end? The ordinariness of the people and ordinary audiences identifying with this? Was it successful here?

4. Did the Mediterranean settings and exotic background add to the film as a thriller? The use of colour. music?

5. Was Joe a convincing hero? Charles Bronson's style. tough laconic heroism? His use of wits and force? Could audiences sympathize with him? The mystery of his past? Should he have kept it from his wife? His response to the invasion of his home? His response to the threats to his life, wife and child? Was his response to the situation adequate and his use of ingenuity? Was his concern for wife and child well communicated? How?

6. Was the flashback technique and explanation satisfying for Joe's past? As giving motivation and emotional response for the crisis situation?

7. The importance of Whitey's arrival and his threats and death? How did this change the atmosphere of the film? The cinematic use of the house and its rooms for this dramatic effect and audience identification?

8. Was Ross a convincing villain? In style, James mason's personality, his Southern accent? Did the film explain his grudge against Joe satisfactorily? What hold did he have over Joe and his associates? How evil was he in his plots, menace. drug-traffic? The malice of his revenge? Why did he ultimately let Fabienne and the daughter go? Was this a change of heart? Consistent?

9. How attractive was Fabienne? As a sympathetic wife? How conventional was her presentation and dialogue? Her relationship to Michelle? The importance of a teenage daughter for this particular thriller? The nature of their fear and the film's communication of fear? The reality of the threats, the desperate moving of time, especially when Ross was dying, the drama of the chase and the women's fear?

10. The significance of Moira for the plot? Joe's ingenuity in kidnapping and using her? In going for the doctor? As a balance for Fabienne and Michelle? How convincing were the sequences with Ross wounded? The irony of his being wounded?

11. The tension for the women in his being kept alive? The intercutting from the hut to the car and the holiday atmosphere? The desperate getting of the doctor? The dramatic impact of Ross's dying and loss of blood? The attempts of the women to keep him alive?

12. Was the final chase in the hills satisfyingly dramatic? Appropriate for this film? Cold sweat?

13. Why thrillers like this appeal to audiences? Desperate situations? Risk of life and death? Ingenuity for surviving?

CODE OF SILENCE

US, 1985, 96 minutes, Colour.
Chuck Norris, Henry Silva, Bert Remsen.
Directed by Andrew Davis.

Code of Silence is a tough Chuck Norris police actioner. It was written by Michael Butler and Dennis Shryack, writers of some Clint Eastwood films including Pale Rider. However, this film is more straightforward, lacking the subtlety of the Eastwood films.

Code of Silence relies on the presence and image of Chuck Norris. The former martial arts champion has made a succession of action films very popular at the box office. He is in the line of Clint Eastwood's laconic heroes as well as Sylvester Stallone's Rambo-like warriors.

Code of Silence, set in Chicago, focuses on police and the drug trade. There is consideration of the importing of drugs from Colombia by families. Henry Silva, perennial villain of '70s and '80s films, is the main villain here. There are the expected confrontations, corrupt police, cover-ups. stranded heroine to be rescued ... The finale has Norris using a computerised tank, The Prowler, to confront his enemies in the warehouse. One critic said that he got the aid of something which was on an emotional par with himself. This is probably unfair - but indicates the type of action film that Norris appears in.

1. Interesting and entertaining police story? Contemporary problems? Chuck Norris vehicle?

2. Chicago locations, the city, poverty and wealth, the drug culture in the city, the police precincts, the wealthy homes and yachts, the warehouses? Editing and pace? Action sequences and stunts? The use of The Prowler and its technology for the final confrontation? Rousing musical score?

3. The title and its reference to police solidarity, to the solidarity within the families in the Mafia tradition?

4. Chuck Norris's screen presence and image? Eddie Cusack and his role on the Chicago Police? His co-ordinating attacks? The failure of the attack? Cusack's own prowess and heroics? The confrontation with the Comacho family? The pursuit of Tony Luna? The discovery of Luna's daughter and his trying to save her, her hiding out with him, her being taken? His need to rescue her? Emotional involvement? The confrontation with Felix Scalese, his yacht, the confrontation, Scalese's death? The problems in the police force, the Commander and his suspicions, Cragie and the murder, the planting of the gun, Kopalas and his seeing it? Kopalas and his work with Cusack? The chase and the death of Scalese? The confrontation with Luis Comacho? The Prowler? The rescue of Diana? The 180s tough American hero on the side of right and justice?

5. The drug culture in cities like Chicago? The wealthy familles? Cocaine dealers, contacts, couriers? Gangster gangs? The opening confrontation with the Comachos threatened by the rival gang? The stealing of the drugs? The Colombia connect-ions? Reprisals? Murders and kidnapping? The involvement of businessmen? People in fear, hiding? The build-up to the confrontation with the police?

6. The picture of the police, having to cope with gangsters and cocaine dealers? Brutal methods? Callous morality? The rival gangs? The operations and their strategies, execution? Things going wrong? The cover-ups for police ineptitude? The planting or guns? Cragie and his keeping face, the pressure of Kopalas, the support of his fellow police? Their criticisms of Cusack? The fear of Kopalas, his helping Cusack, telling the truth? The turning against Cragie? Police solidarity, the pressures in their work?

7. Luis Comacho and his family, sinister-, his masterminding the reprisals? Tony Luna as gangster, flight? Luna's Uncle Felix and the pressures on him? The car chase and the crash with the death of Luna and Scalese? The final confrontation with Luis Comacho?

8. Diana as heroine, her belonging to a gangster, her parents, the wealthy home? Her not believing the truth? In a safe house with Cusack? Her being kidnapped? Rescued?

9. The expected blend of toughness, action, the triumph of right?