THE BRONTE SISTERS

France, 1979, 115 minutes, Colour.
Isabelle Huppert, Isabelle Adjani, Marie- France Pisier, Pascal Greggory, Patrick Magee.
Directed by Andre Techine.

The Bronte Sisters clearly states its theme in the title, However, this is a French perspective on Yorkshire in the 19th century, Victorian England, the isolated world of the Bronte Family and its effect on the three sisters and their contribution to English literature. The sisters are played with style by entrance, Pisier as Charlotte, Isabel Adjani as Emily and Isabelle Huppert as Anne. There is an effective performance by as their brother Branwell. Jean Sorel appears as Leyland.

The film was made in French as well as in English (as can be beard in the characteristic voice of Patrick Magee as the elder Bronte). The film is highly-stylised. The picture of Yorkshire is often of interiors, lit like works of art counterbalanced by long shot views of the green and isolated Yorkshire moors. There are storms, wild winds to highlight the isolation. The telling of the story is of this melodramatic kind, echoes of Jane Eyre but especially, of Wuthering Heights.

The film focuses on the older Bronte and his marriage, his aging and blindness. Initially the film also focuses on Branwell, the younger brother, not knowing whether he is artist or painter who has to go to be a tutor and is humiliated in a household run by Mr Robinson. He becomes infatuated with Robinson's wife, an older woman. When finally Robinson dies, because he has not been able to take Lydia Robinson away from her household, she rejects him. He begins to pine away and dies. With him in the household is his sister Anne, who gets experience for her own novels. Secondly there is a focus on Charlotte, living in Brussels, working for an older man who is obviously designed as a Rochester figure and indicating the background for Jane Eyre. Finally, there is a focus on Emily, her wildness, her melancholic attitudes, her infatuation with brother Branwell and the background to Wuthering Heights. While the Brontes predated Freud, the film uses psychological interpretations of interactions and their novel writing. Ultimately there is some kind of recognition, the Brontes had disguised themselves as three brothers, the Bells, for the publication of their novels. The film ends on a melancholy note.

Warner Bros film of the 40s, Devotion, portrayed the Bronte Sisters with Olivia de Havilland, Ida Lupino, and Nancy Coleman as the sisters, Arthur Kennedy as Branwell and Sydney Greenstreet as Thackeray. Their have been many versions of Jane Eyre, the classic being that with Orson Welles and Joan Fontaine in 1944. Wuthering Heights has also been filmed a number of times, the Hollywood version with Merle Oberon and Laurence Olivier, a remake with Timothy Dalton as Heathcliffe and Luis Bunuel's Mexican interpretation of the early 50s

1. An interesting and entertain portrait of the Bronte Sisters? Their period? The possibilities of understanding the literature in the context of the writers?

2. The use of colour, light and darkness? The interiors of the Bronte's house? Exteriors of the Yorkshire moors? The seasons? The weather? The atmosphere of Victorian England? The contrast with the scenes in the Robinson household, in Belgium, in London at the book publishers at the opera? The colour photography and the mood? The musical score?

3. The title and the focus on the three sisters? Their place in English literature?

4. The portrait of the family: the father, his religious background, his relationship with his wife? His relationship with his family, care and concern, care for Branwell? His blindness? His interactions with each of his children? especially the shooting scene with Emily? The tragedies in his life, the death of his children? friends, local support?

5. The portrait of the four children? painting, photography? The significance of Branwell and his art? His disappointment in himself? and his eliminating himself from the portrait?

6. The focus on Branwell, his youthfulness, his relationships? Emily and her infatuation? His discussions with Leyland about his future? being humiliated? his having to go to be a tutor, with the Robinson boy, Mr Robinson treating him as a servant? Teaching lessons? The embarrassment of the deal tables? His infatuation with Lydia? Her going to him and the non-consummation of their love? Apprehensiveness? The return home? Her coming to see him, her plea for him to take her away? What was done in novels? His refusal? His emotional collapse, physical collapse, family and their concern? Leyland and his return, the possibility of his coming to life again? Lydia Robinson's news about her husband's death and her complete rejection? His eliminating his picture from the portrait? His death?

7. Anne, quiet, her place in the household? Her going to the Robinson household, knowing her place, her delicate health, retiring from the dinner table? What she had learnt observing the Robinsons? The return home? Her relationship with Charlotte? Tentative relationship with Emily? With her father? Her contribution to the household, self-effacing? Her novel? Going to London and her being identified? Her physical health and collapse?

8. Charlotte, the oldest, her being in control? her going overseas, the experience in Brussels? her return and regretting it? Her longing for the Continent? Her return, the discussion with her employer? her waiting for his letters, her letter and his tearing it up? The background for Jane Eyre? The publication of the novels, her going to London, revealing the identity of the sisters? Her place in the household, with her sisters, their health, collapse? Hoping to run the school? Local support? her finally going to London, to the opera and the rueful comments about the holly?

9. Emily, her weak health, on the moors? Devotion to Branwell? Shooting with her father? Her wild spirit, wilful? The antagonism towards the servants? The deaths, her grief, physical collapse, the family supporting her? Her not going to London?

10. Thackeray and Dickens and their support of the authors, the publishers and the mystery of the identity of the novelists? The discussions about whether they were men or women? The publication and the harsh review of Wuthering Heights? London society and Charlotte going to London?

11. A glimpse of the patriarchal Victorian household with Mr Robinson, his cutting language, treatment of his children, of his wife; sending the food back? Enjoying humiliation? Class distinctions? Mrs Robinson, her frustration, her not liking her children? Her infatuation with Branwell? The meeting, his not sweeping her off her feet and taking her away? Her ultimate rejection of him and her inheriting her husband’s money?

12. The people of Yorkshire, in the inns and taverns, the school, the clergy and the concern for the Bronte family?

BRING YOUR SMILE ALONG

US, 1955, 83 minutes, Colour.
Frankie Laine, Keefe Brasselle, Constance Towers.
Directed by Blake Edwards.

Bring Your Smile Along is a pleasant supporting feature musical of the mid 50s. It seems very much of its period. it is a star vehicle for singer Frankie Laine. It also introduces Constance Towers who was more of a stage actress than screen presence.

The film was of interest as the first directed by Blake Edwards who was to go to such fame with serious fills like The Days of Wine and Roses and Breakfast at Tiffanys to the Pink Panther series and many films with his wife Julie Andrews. It is co-written with Richard Quine director of many comedies and musicals, a collaborator with Edwards on Rainbow Round my Shoulder for Frankie Lane.

It is a familiar story but done with verve. It was not evident from this film that Blake Edwards would have such a long and successful career. Keefe Brasselle stars with Frankie Lane. There are quite a number of ballads of the 50s and a lively rendition of Side by Side.

1. Entertaining American Musical? Supporting feature? Conventional story and characters? The American dream?

2. The mid 50s, atmosphere, New York, colour photography? The range of songs, Frankie Lane's popularity and renditions? Song and dance?

3. The title, and its optimism? The singing of the title song during the credits? With the kids on the New York street?

4. The focus on Nancy, singing, teaching, her love for David? Her letters to him from New York? Venturing into the big city? The apartment, hearing the song, writing the lyric? Being turned down by the agency? The encounter with Marty and Jerry in her room? The meal, the argument about the rewriting? The collaboration? Her failing in love? Recordings? Going back home? Meeting David again? The possibility of success and finance in New York? Staying at home? The group from New York coming to see her, David stepping back?

5. Marty and Jerry, their jobs, at the theatre, selling popcorn, playing the piano, the chorus dancers, rebelling? Their musical compositions? Friendship? going to the agent? Finding the lyrics? The comedy with Nancy, the meal, arguments, collaboration, success, signing contracts? Marty and his surliness to Nancy and age

2. David and David's visit? The reconciliation and the ending? Jerry, genial, his girlfriend, friendly with the kids in the street, song and dance, success as a recording artist?

6. David as the small town teacher, in love with Nancy, writing to her, coming to New York, seeing what had happened, graciously stepping back?

7. The restaurant, the owner, the staff, the singing of Momma Mia?

8. Popular ingredients for American success stories ? small towns, high hopes, rejections, unexpected success, romance fulfilled?

BONY

Australia, 1991, 100 minutes, Colour.
Cameron Daddo, Burnum Burnum, Christian Kohlund.
Directed by Henri Saffran.

Bony is an entertaining telemovie. Bony is not the original of Arthur Upfield' s novels but rather his grandson as embodied (in a rather unlikely way) by television and stage star Cameron Dado. Dado is an engaging personality and enables us to suspend all disbelief that he could descend from the Aboriginal detective Napoleon Bonaparte. Aboriginal personality, Burnam Burnam himself is an aboriginal leader.

The film has an enjoyable murder mystery and is set in an outback town (actually Wellington on the Murray). There is quite a good supporting cast, especially Tom Richards as the local policeman and Catherine Oxenberg has an opportunity to emote as a rather unlikely wife of a wealthy miner. Direction is by Henri Saffran, director of such films as Storm Boy, Listen to the Lion, Norman Loves Rose.

1. Enjoyable telemovie? The tradition of the Napoleon Bonaparte stories? Updated with his grandson? The outback, the police, the mystery?

2. The outback locations, the desert, the town? Authentic. atmosphere? The musical score (and its using Aboriginal instruments like the didgeridoo)? Familiar material, the murder mystery and the clues? The interweaving of Aboriginal traditions? Special effects?

4. The prologue, the death of the parents? Albert and his sixth sense, his sense of what was happening? The police, their investigations? Albert and his finding the baby in the tree? Taking the young child to the caves, showing him his aboriginal heritage, the hands mysteriously painted on the caves? Albert and his guidance of the young boy, school? The young boy and his ancestry from Napoleon Bonaparte?

5. The transition to the 80s and the graduation from the police academy? Enid, A1bert? friendship? The girlfriends? The bonds between the two men? Bony and his easy manner, pleasant, infectious?

6. Bony and his getting the bus outback, the initial encounter with Frank, Bev and her tough police style and the car, the mystery of Ned's disappearance? The town and the influence of Hemmings? Getting his room, the feel of the town, taking his socks off and wanting to walk on the bare ground? Kate and her friendship and interest? His work, life in the town, the mystery of the swimming pool not finished? Chasing the poachers? The mystery of Ned and his wanting to investigate, Frank preventing him? the visit to Angela, the puzzle about her marriage status, thee drinking, alibis? Her lies? The discussions with Frank, hearing his story of putting Pied, on the bits? Ringing Gina and no answer? Out jogging and the attack by the biker? His being asked to look out for the feral cat and the irony of his overhearing the truth about Frank and Angela? Bev and trying to persuade of the truth, especially about Ned on the bus? The trick with the hat and the clothes? The old man? The visit to Tom, the questions about the gold?
Contact with Albert, the phone call? Going to Angela, trying to communicate with her, leaving, the? explosion? the story of the desert? The swimming pool and the buried body? His going to the Justice of the Peace? Arresting Frank? The explanation of what actually happened? The pathos of hanging herself? His decision to stay in the town, Frank's arrest? With Bev? Bony as a pleasant voting Australian detective?

7. Albert and Burnum Burnum's screen presence and performance? Finding the child? inner sense, the flashes of the truth, tracking the baby? The ironic repartee? And Bony's graduation, the phone calls? Conning about the gold? His flash car? Helping Bony, smart remarks? The aboriginal leader of the 90s, Burnum Burnum, clothes, car, affluence?

8. The aboriginal traditions, aboriginal roots, the caves? Albert and his explanation of looking and "seeing"? The flashes, shoes, prejudice? Attitude towards the white kids?

9. Frank, his position in the town, police station, his story? Tense relationship with Kate, bashing her? His severe attitudes? His relationship with Angela, the sexual liaison, the greed? the he greed, the flashback, the plan, burying the body, the gold? His mocking Kate? The arrest and his defiance? The corrupt cop?

10. Beverly as policewoman, tough, no nonsense, mocking Bony, helping him, being persuaded of the truth, helping him in the final solution?

11. Hemmings, his status in the town, gold prospecting, selfish, his marriage, relationship with Angela? His brother and the prospecting? His talking with Bony, the rewriting of his will, his death?

12. Angela and her place in the outback society, tough, her drinking, relationship with Hemmings, her plots with Frank, with Geoff? Killings? The flashbacks dramatising ;he murders? The plan to kill Bony? Her attention on her husband, the rewriting of the will? Her suicide?

13. Kate, her friendliness towards Bony, brutalised by her husband, the black eye, her being left money by Hemmings?

14. Geoff Hemmings, his relationship with his Uncle, with Angela, tough, the attack on Bony, Bony taking him out into the desert, getting the confession from him as they walk through the desert?

15. The police, the official from the neighbouring town? Satisfaction in convicting Frank?

16. The background to Ned's story, his trying to investigate the nugget, his being killed?

17. How interesting a police drama, detective story, genial detective?

BEACH RED

US, 1976, 105 minutes, Colour.
Cornel Wilde, Rip Torn, Burr de Benning, Jean Wallace.
Directed by Cornel Wilde.

Beach Red is a war film, an anti-war film, emerging from the American consciousness of the mid-1960s. This was the period of the early years of the war in Vietnam. 1968 would produce John Wayne’s The Green Berets. However, the focus of this film is on the war against Japan of twenty years earlier.

The film is often graphic in its presentation of war, reminding some audiences of the different versions of The Thin Red Line, with the war in Guadalcanal.

The film stars Cornel Wilde who is also its director. Wilde had made a number of offbeat films between 1955 and 1975 including, in the 50s, Storm Fear, The Devil’s Hairpin and Maracaibo. His more ambitious efforts during the 1960s including the Arthurian, Lancelot and Guinevere as well as the story of a hunted man in Africa, The Naked Prey. During the 1970s he made a film highlighting the crisis in the environment, No Blade of Grass.

1. How important an anti-war film? what impact against war would it make? The significance of the title and the overtone of red? The style of the film and its perspective on dying? The importance of the credit sequences and their childlike nature and happiness? The irony of the ballad being sung to this accompaniment? The use of memories throughout the film as a contrast to the war situation?

2. How important for the impact was it that a small war was presented? A microcosm, of the greater war? One day in the life of these soldiers, one small incident and campaign?

3. The objective of the small campaign was again small. How important was this for highlighting the meaning of war and its purpose? The fact that only a small distance was gained in the war? So many lives lost for this small distance? The fact that the soldiers did not understand the purpose of their mission? The need for trust in authorities that this is important for the overall campaign? What comment on war and the participation in war does this give? How necessary are such small campaigns in a total war?

4. The importance in the film of the small number of people seen? The fact that we knew a few people and their feeling intensely? Our ability then to extend this to all those involved in the war? A good technique for such films? Why? The interest in the small number of people? The use of voiceover commentary for the inner thoughts and feelings of the characters, the use of flashbacks, the style of the flashbacks, and the times they occurred? The paralleling of the small number of characters with the actual Japanese soldiers? The equivalent of the Japanese? Flashbacks and the emotional impact? The clash of ingenuity between the Americans and Japanese?

5. How strong was the film on realism? the preparation on the boat, the fears, sickness, feelings and thinking, the marines and the landing, the beach itself and the jungle, the patrols, and the length of time for morning and afternoon extended?

6. Impressions of the deaths in the film? The fact that so many were arbitrary? The number of people dying on the beach, the dramatic impact of the way they were filmed? Deaths by patrols? How arbitrary was death in the war situation?

7. Reactions to the massacre of the Japanese? The purpose of such a massacre? That the Americans would be massacred? What can justify such massacres?

8. The Captain a central figure for the film? The explanation of his career? The flashbacks to his wife and family? The love and happiness? Wounded? His treatment, contrasting with warfare? His treatment of the other men? The possibility of a good man remaining good within a war situation?

9. Contrasting him with the sergeant who was brutal? Does the ordinary soldier have such brutality in him? Such prejudice and a desire to kill?

10. How ordinary were Cliff and Egan? As revealed by their flashbacks? Cliff so young, the memory of his encounter with the girl etc.? Egan as older, seeming to be a father to Cliff, his memories of his girlfriends and the happiness this brought him? How typical the ordinary men? How much did they have? How much ordinary ingenuity during the battle, for survival, in relating to each other, on the patrol, the shock of Egan's death and its effect on Cliff? The fact of Cliff getting shot by the Japanese and shooting the Japanese? The involvement of the ordinary man in war end death?

11. How did this contrast with the soldier who wanted to return to base carrying the wounded man? His heroism?

12. How similar were the Japanese to the Americans? The commander with his photos and memories? The ordinary soldier with his memories? The disaster of the massacre for the commandeer and his suicide and his memories as he died?

13. The irony of the mutual shooting? What did Cliff and the Japanese learn as they lay dying? The dying of hatred? The sharing of the water canteen? The Japanese shot before our eyes? What effect would this have on him?

14. The major message of this anti-war film? How successful was it in communicating its message?

BLAST FROM THE PAST

US, 1998, 108 minutes, Colour.
Brendan Fraser, Christopher Walken, Sissy Spacek, Alicia Silverstone, Dave Foley.
Directed by Hugh Wilson.

Blast from the Past is an entertaining comedy, an amusing premise where a paranoid family in the early 60s have built an enormous fallout shelter, home, generators, supermarket. The father is an eccentric scientist with a phobia against the Russians and the possibility of nuclear destruction. When President Kennedy announces the blockade on Cuba, a plane crashes in the front garden and the family go into their shelter which is automatically locked for thirty-five years. The mother, Sissy Spacek, is pregnant. Over the years the couple bring up their son who is something of a genius but very naïve. Eventually, when he gets out, the world which has changed (with glimpses given us over the decades of the change in the bar above the house), the father thinks that the world is full of mutants. However, the son who is also looking for a wife, encounters Alicia Silverstone and has a series of adventures as he is introduced to the world of the 1990s. Brendan Fraser is very good at this kind of naïve role. It is reminiscent of his performances in a number of comedies like Dudley Do Right as well as Bedazzled. He found stardom with the Mummy series but, at this time, also appeared in the serious film about James Whale, Gods and Monsters.

Director Hugh Wilson was involved in the Police Academy series and made a number of entertaining films including Guarding Tess and The First Wives' Club.

1. A pleasing comedy? A piece of American? Memories of the 1960s? The glimpse of transitions to the 1990s? The world of the 1990s? The extraordinary change in the appearance of Los Angeles, buildings and homes, squalid slums, the world of drugs, adult video shops? The change in manner, manners and music?

2. The title, the irony about the nuclear bomb on Los Angeles? The arrival of Adam in the 1990s as a blast from the past?

3. The re-creation of the world of the 1960s, costumes and décor, fashions, homes, television? The preservation of the 1960s in the underground shelter? The contrast with the grunge look of the 90s, the wealthy look, clubs, apartments? The changes? Symbolised by the music, the Perry Como music of the past compared with the rock and heavy metal of the 90s?

4. The plausibility and implausibility of the plot? Father with his eccentric views, spending years and his money building the shelter? The wife and her devotion to her husband? The party, Kennedy on the television, the Cuban blockade, the fears? Going down to the shelter, the plane crashing in the garden, the doors locking? Their staying there for thirty-five years?

5. The husband and wife, the eccentric father and his genius, providing for everything? The wife, her devotion, pregnancy, giving birth, bringing up Adam? Over the years, his walking, talking, learning? Adulthood? Her beginning to drink? Her wanting to go out and scream? The changes in the two? Adam and his devotion to his parents, the child genius - with lack of experience (and having to see baseball before he understood it)?

6. The thirty-five years and the opening of the door? The father going up, the man at the bar, the sketch of his life over the decades as his mother's son, the change in the 70s with the music, his hair and beard, the 80s, drugs, 90s and his manic religion? The discussions about the existence of God, the appearance of the father? The arrival of the son and the mother? His gathering his devotees?

7. Adam and his preparations for going up, the shopping list? His amazement at the world? Age, lack of experience, naivety? The adult bookshop and his father's warning about poisonous gas? Getting on the bus, wanting it to stop, his getting lost? In the shop, hearing about the deliveries? His having no small change? His wanting to sell his baseball cards, the meeting with Eve, her warning him, losing her job? Giving him the lift, his paying with the card? His going to his room, the naïve enjoyment of the room, the amazement at the city, television and the sexy ads? Eve's return? His offering her the job? Their getting the supplies, visiting her home, her ex-boyfriend and the clash? Troy, Adam not understanding what "gay" meant? Genial attitudes? Troy getting him a new outfit? Going to the club, the girl speaking French, the two girls at the bar, his skill in dancing, the lessons from his father? Going home with Sophie but coming back to Eve's apartment? His trying to tell her the truth? Her getting him committed, his running away, the bus, finding home again? Eve finding him, introducing her to his parents, her discovering the truth? His wanting two months, shutting the doors, getting his parents out, the beautiful home, getting the man upstairs as the manager of the club? With Eve? The happy ending?

8. Eve, her voice-over and comments, streetwise, boyfriends, her chance meeting with Adam, saving him with the card, giving him the list, her suspicions? Bringing the card back, taking on the job? The clash with her boyfriend? Troy, sharing the apartment? Her trying to understand Adam, where he came from, her psychic interpretation? Her taking him to the dance, her jealousy, the return home, his reappearance and her happiness? Hearing his story, ringing up the officials to commit him? Realising the truth, going to find him, meeting the parents, the meal, the house, the happy ending?

9. The parents after thirty-five years, the wife and her alcoholism, the father and his continuing phobia about the communists? Adam explaining the 90s and the end of the Soviet empire - and his measuring out the ground for a possible fallout shelter?

10. Troy, gay, friendly, helping with Adam's clothes, at the bar, the truth?

11. The officials, their trying to catch him, the woman and her poise, his being pursued by a psychiatrist, her upset about the car?

12. The irony of the stocks and shares, his becoming a millionaire? Building the house for his parents?

13. The comments on contemporary America - and a touch of nostalgia for the niceness of the past?

BEST IN SHOW

US, 2000, 90 minutes, Colour.
Parker Posey, Michael Hitchcock, Catherine O'Hara, Eugene Levy, Bob Balaban, Christopher Guest, Michael Mc Kean, John Michael Higgins, Jennifer Coolidge, Jane Lynch, Fred Willard, Jim Piddock.
Directed by Christopher Guest.

Best in Show was written by the co-stars Christopher Guest and Eugene Levy. It was directed by Guest. Guest made a great impact in the 1980s with his mockumentary, This is Spinal Tap, written with Michael Mc Kean who also appears here. Guest went on to direct a satire of Hollywood, The Big Picture, and a satire of community theatre, Waiting for Guffman. After Best in Show he went on to make The Mighty Wind, an affectionate mockumentary about the country and western groups of the 1960s.

Guest has an ensemble cast who create the characters envisioned by the writers and are skilful at improvising. The focus is on a married couple, the Swans played by Parker Posey and Michael Hitchcock, who are upwardly mobile and have a dog who mirrors this, although it goes neurotic after witnessing their sexual encounter. There is also the couple from Florida, Cookie and Gerry who own a small hound, who love their dog, with Katherine O'Hara as the wife who had plenty of men friends in the past and Eugene Levy himself, creating an eccentric character (only to be outdone by his character created with Catherine O'Hara for The Mighty Wind). There is Sherri- Ann who is married to a ninety-year-old, finding many things to not talk about with him, who employs a lesbian trainer and moves in with her to start a magazine. There is also the gay couple, Stefan and Scott (Michael Mc Kean and John Michael Higgins) who have a pet poodle. Another dog owner is played by Christopher Guest himself, Harlan Pepper, from the south, who sells fishing gear and aims to be a ventriloquist. There are also very funny performances by Fred Willard and Jim Piddock as the two commentators, Willard as the crass and ignorant American commentator making outlandish statements and having to be corrected as well as informed by Jim Piddock as the British commentator. Bob Balaban appears as the chairman of the show.

Christopher Guest's films are very funny, offering very humorous caricatures of people that you might know. However, he is able to create characters who are also generally sympathetic and so the film is not just simply a laughing at people and institutions as the pomposity of the dog shows in Philadelphia and the people who take them terribly seriously.

1. The skill of Christopher Guest in writing, directing, performance? Satire, irony, affection? A balance between laughing with and laughing at?

2. The world of dog-lovers, the Mayflower Shows in Philadelphia, the huge hall, the rooms for preparation? The variety of contestants? The portrait of humans and their dogs - and the mirroring effect? The officials, the judges, the announcers, crises, joys and woes?

3. The introduction to each of the characters, each of the dogs? Idiosyncrasies, the dogs mirroring the humans? Getting to the show, the details of preparation, the display and performance, the response of the audience, the build-up to the grand final for Best in Show, joy, disappointment - and the postscript aftermath for the central characters?

4. The humour of the film, subtle American humour, with and at people, the audience sharing the foibles of the characters and getting insight into them?

5. The Swans, their discussion their situation with their psychiatrist, Beatrice and her sitting on the sofa? The sex issue, the anguish of the dog in witnessing their performance? Their arguing? At the hotel, being rude to the staff, the sulking dog? Their going to the show, forgetting to bring the bumblebee toy, the search at the show, their harshness to each other? The wife returning to the hotel, searching the room, her insults to the maid, to the receptionist? Going to the shop, insulting the man at the shop, his offering the wide variety of toys? Her buying one, the return? Beatrice misbehaving and being ousted from the competition? The postscript with the new dog and their reassuring the psychiatrist about how good things are?

6. Harlan Pepper, seeing him in the south, with his family, his pride in his bloodhound, selling fishing tackle? Preparing for the trip, taking the dog? His talking, the interviews, his theories about nuts? His music? His preparation, performance, success? His ventriloquism and performance?

7. Stefan and Scott, the gay relationship, their explanation of meeting, their life together, work together, hairdressing? The parody of the married couple? The toy dogs? Camp behaviour and discussions, their life stories, flirting? Clothes, the discussions with Cookie and Gerry - and Gerry being broadminded? Decorating the hotel room in their taste? Scott and the display of the dog, succeeding, going back to the hotel, changing clothes? Stefan and his support and applause? The sadness of not winning? The aftermath and their being together?

8. Sherri-Ann?, Lewis, the age difference, the parody of the gold-digger? His having nothing to say, not seeming to know what was going on? Her declaration of love, about talking and not talking, sharing food interests? Her saying that he pushed all her buttons? Her relationship with the trainer, their being caught on television kissing, her doing the hair for the trainer, no makeup? The displaying of the dog, the expectations of winning, the anger at losing? Sherri-Ann? and her continued eating? The final interview, the declaration of love, their editing the magazine, American Bitch?

9. Cookie and Gerry, coming from Florida, the travel, her reputation, meeting men that she encountered, his trying to say that he was a catch? The story of their meeting, falling in love and marrying? Gerry and his eccentric look and manner, the two left feet? The visit to the friend - and, once again, Cookie and her past? At the show, nice to each other, talking with Stefan and Scott? The display, the joy at winning, Cookie and her falling, having to ask Gerry to display? Gerry winning? Joy? The aftermath and their making the album, the records - and the terrible singing?

10. The hotel receptionist, his story, trying to cope with Mrs Swan? The manager of the venue and his explanation of the atmosphere, the preparations? The president of the Mayflower Show, his speeches, the ethos of the show?

11. The commentators, Fred Willard and his excellent improvising as Buck, his crass statements? The poor Englishman having to cope, give information for him and for the audience, his reaction to the jokes and having heard them last year?

12. The personalities of the judges, their skills in judging, the documentary look of how the dog show worked?

13. An enjoyable piece of Americana, the ability to see foibles as well as to be sympathetic?

THE BIRDCAGE

US, 1996, 114 minutes, Colour.
Robin Williams, Gene Hackman, Nathan Lane, Diane Weist, Dan Futterman, Calista Flockhart, Hank Azaria, Christine Baranski.
Directed by Mike Nicholls.

A remake of the French 70s comedy La Cage aux Folles. Provocative in its day, with its tilting at homophobia, it
made many audiences laugh with, rather than at, two gay men and their predicament when one man's son wants his future in laws to come to dinner. The question is to be out or not to be out. The farcical comedy of the dinner where one man pretends to be the mother was very funny. The complication was that the prospective father-in-law was a politician campaigning on strong moral stances.

The original led to two sequels and a Broadway musical (very popular in Australia). This American remake, directed by Mike Nichols and written by his old comedy partner, Elaine May, seems unnecessary except to show how Hollywood of the 90s handles the themes. It has also been made topical and pokes fun at Bob Dole and the Republican campaign as well as the double standards of some of the Moral Majority. It is obviously a plea for tolerance and understanding. A controlled Robin Williams is effective contrasting with Nathan Lane's flamboyance and impersonations as his partner. Gene Hackman and Dianne Wiest show great comic timing as the in- laws. The film seems a bit too obvious at first with the drag acts at the night club. But gradually it becomes quite funny, very funny at times.

1. The popularity of La Cage Aux Folles? This film as an Americanised version? Comparisons, differences?
2. The Florida setting, the opening with the camera going over the water into the city? Into the Birdcage? The Florida atmosphere and locations? The contrast with northern states - as explained by Senator Keeley? The musical score? The songs, especially the finale?

3. The nightclub itself, the drag queens, the performances, Armand as director, Albert as star, the rehearsals - and the gum-chewing dancer? The drag queens?

4. The film and its attitude towards homosexuality, tolerance and understanding? The couple for twenty years? Their bringing up the son? The contrast with the conventional family, the Keeleys, the son's mother and her life? The film's commenting on how well he was brought up?

5. The film's shots at the moral majority? The campaign for morals - and the interviews on television with the founder, the irony of his death with the under-age black prostitute? The media's response? Senator Keeley and his being part of the campaign? His reaction to the death? His concern about his re-election? The plan that the marriage would divert attention? His listening to Albert pretending to be Mrs Goldman? The discussion about traditional values and his warm response? The irony of his having to leave the club dressed as a woman, his wife as a man? The facetious remark about white making him look fat? His wife and the man saying that he had never danced with a man before? The comic touch on serious issues?

6. Armand, a subdued Robin Williams (except for his discussion about various dancing styles, for example Madonna, Twyla Tharpe, Bob Fosse)? His owning the club, his direction? His warmth for his son? The absent mother? The story of performance with Katherine, her reminiscences about their night together? His deal and giving her money, taking custody of Val? Bringing him up with Albert? Love for Albert, being able to put up with his tantrums? Val telling him the news about the marriage, his joy, his having to deal with Albert? Sending Albert away, Albert's reactions? Going to see Katherine and Albert's further tantrums? His locking himself in his room? Armand coaching him to walk and talk like a man, like John Wayne? His reaction to the Keeleys, trying to cope, exasperated going to the kitchen? Exasperation with Agador? The meal, getting the soup, the predicament with the designs on the soup bowls? Albert coming in as the mother? Coping with the meal, Katherine's arrival? The revelation of the truth? His getting the Keeleys out of the club? The happy ending at the wedding?

7. Albert, effeminate, effeminately mannered? His being the wife and mother? Bringing up Val? Performance, rehearsals, tantrums? Being insulted, being frightened and screaming, going to Katherine's and seeing Armand and Katherine and drawing the wrong conclusions? Training to be a man? Coming out as Mrs Goldman, his carrying it off with great aplomb, the conversation, charming Senator Keeley, the singing of I Could Have Danced All Night, his political views and the senator's response? The wig falling, their going into the bathroom to fix the wig, Katherine's arrival? The truth? His crying at the wedding?

8. Val and Barbara, the lies to the Keeleys, the story about the Greek cultural attaché and the housewife? Val and his persuading his father to meet the Keeleys, the transformation of the apartment, getting rid of all the gay icons? His nervousness, the arrival of the Keeleys, conversation, going out to the kitchen, Albert coming in as his mother, Katherine's arrival and his telling the truth? Barbara, her trying to explain things to her parents, travelling to the dinner, at the dinner, coping with Albert? The revelation of the truth? The happy ending with the wedding?

9. Gene Hackman and Diane Weist as the Keeleys, their comic timing? The senator, his conservative stances, being outspoken, on the television interviews, watching them? His treatment of Louise? Her trying to make the best of everything? The decision about the wedding, Louise's plan? The travel? The arrival, coping, feeling on edge, his warming to Mrs Goldman, sharing political views, dancing? Louise and her being upset at his behaviour? Coping with the meal? Bewildered by the revelation? Having to get out dressed as a woman, Louise as a man? At the wedding? The satire on right-wing senators?

10. Agador, the clothes that he was wearing around the house, doing the housekeeping, being cheeky? Having to cook the meal, having to wear shoes, falling down, the soup and his experimentation? Singing?

11. Katherine, her past relationship with Armand, the money, setting up her own business, the bimbo-looking secretary reading Nietzsche? Her agreement with Armand, their reminiscences, reminiscing in dancing, her being stuck in traffic, her arrival, wanting to do the best for her son, meeting him, the truth, at the wedding?

12. The transferring of the situation from France to the United States, especially the role of the senator in American society and its conservative sexual attitudes? The humour, the farcical aspects of the film, the comic sequences? Coming together and working well for a wide audience?

A CRY FOR HELP (END OF THE LINE)

US, 1975, 74 minutes, Colour.
Robert Culp, Elagne Heilveil, Ken Swofford, Chuck Mc Cann.
Directed by Daryl Duke.

A Cry For Help (End of the Line) is a very effective telemovie. It takes the old story of the cynical disc jockey interested in his ratings, who stumbles into a real-life harrowing situation and has to cope. The portrait of the suicidal girl who needs help is effectively done but Robert Culp stands out as the disc jockey. The film also comments on many of society's institutions and their ability and inability to help those in need. The film was directed by Daryl Duke, director of such interesting films and telemovies as Payday, Griffin and Phoenix, The Silent Partner.

1. The focus of the title, its tone? Its place in the story? The alternate title and its reference to suicide and the phone link? The impact for the home audience?

2. The qualities of the film as a telemovie - a piece of Americana, the role of radio, the coast, cafes, hotels, beaches, the police, the church, big business and advertising? The atmosphere of the crisis situation and the disc jockey trying to cope?

3. The pace of the film, the importance of the editing? The structure: Harry's waking up, the suicidal girl, the establishing of the day for each of them, the interplay of their days and connections? The incidental characters and their ordinary day - and the final relevance of what they were doing to the plight of the girl and helping Harry? The importance of the radio station bosses, the sponsors and their decisions about the situation?

4. The plausibility of the plot? Radio and its contemporary role? Radio personalities and their careers, types? Putting on a show and getting ratings? The ego trip for the disc jockey? Down and out and in need of professional help? Capitalising on crises? The human issues consequent on this kind of show? The range of listeners - seeing them wake up, interested in the radio programme. characters in trouble? The growing involvement of the characters? The girl ringing in and the number of other people ringing in? The contact with the disc jockey and his importance in people's lives at the beginning of the day? The short space of time covered? The range of reactions to the crisis situation? The need for checking the truth., inviting people to co-operate, making contacts? The possibility of one human being saving another?

5. The interaction of the two principle characters: Harry and his waking up, driving to work, his life style? The contrast with Ingrid and her wandering around the cafe? The range of people who had contact with Ingrid - her parents and the phone call, the man behind the counter in the bar. the board for the radio station. the driver and his making advances, the police and the attack on them by Harry, the lady with the poetry quotation, the doctor, the man in the hotel and his seeing Ingrid on the beach. the old man and his dog, the seminarian and the parish priest. Ingrid's landlady and her son? The point being made about ordinary people in their daily lives, noticing others. the possibility of helping to save someone?

6. Harry and his style - how real did he seem. his arrogant manner on the radio, his way of answering people's questions, rudeness and people enjoying it? The reaction of his assistant? The bosses and the points about commercials? Their helping him to a career? Cutting him out at the climax of helping Ingrid? The importance of his career and its slump? The nature of his rudeness - part of his character? His cynical reaction to Ingrid? The urge to replay the tape? His trying to judge reactions? The importance of the tape being replaced so often? The contact with the doctor and his identifying the trouble? Ringing the police and the attack on them? His reaction and gradual involvement? His growing anxiety, response to clues, urging people to ring in? The sequences when he was not on the air and the insight into his character? His final saying he didn't care? The phone call? Giving Ingrid the phone number - which he would not do otherwise? A future for him for having intervened in someone's life? A rounded portrait of a cynical disc jockey with a chance to be better than he normally was?

7. The portrait of Ingrid - wandering, the cup of coffee, the pills, telephoning her mother and not talking, listening to the radio, ringing in and criticising Harry? Her continuing to wander, the lift and the driver's advances, her growing desperation? The visit to the church and the discussion with the seminarian, confession? Wandering the beach? Her being found in time? The comments on her being a loser? Harry's final phone call and the possibility of her making something of her life?

8. The average policeman and his reaction, inability to do much, worrying, going out to search for clues, following the clues, being ready for the rescue?

9. The portrait of the sponsors and advertisers? The motives for people listening in?

10. The sketches and authenticity of the range of people seen: the man in the bar and his customers, the driver and his work in the garage and attitude towards marriage and sex, the lady librarian looking up the poetry, the man in the hotel and his demands on management yet his ringing in, the boy and his fondness for Ingrid and discovering that she had left the home, his mother? The old man and the dog? The seminarian and the parish priest? The child and his mother finding Ingrid?

11. Themes of care, communication, concern? Life and death? Pressures in contemporary society? The possibilities of people being challenged to be saviours?

CRUSOE

US, 1988, 90 minutes, Colour.
Aidan Quinn, Ade Sapara, Warren Clarke.
Directed by Caleb Deschanel.

Crusoe is an 80s American interpretation of Daniel Defoe's classic novel. The time of the action has been advanced almost a century to 1808 in Tidewater, Virginia. Crusoe, known in the film only as Crusoe, is a slave-owner in Virginia, pursuing slaves - yet human; buying slaves and wanting to go on expeditions of slave-buying. This is the context of his shipwreck. While on the island, he survives in the Defoe fashion, but encounters two African natives, one a victim of sacrifice whom he calls Lucky, the other a warrior who is as superior a being as Crusoe himself -his equal, whom he eventually frees from slavers.

The film was directed by Caleb Deschanel, a director of photography (The Right Stuff) and director with such films as The Black Stallion, Nutcracker, The Escape Artist. Aidan Quinn is Crusoe - quite persuasively so, but not a powerful screen presence to sustain this kind of film. An offbeat, interesting, message version of the classic story.

1. Audience knowledge of Robinson Crusoe? The classic story? Its place in English literature? The archetypal story? Cinema traditions and versions?

2. The transition of the action to the 1800s, Tidewater, Virginia, the atmosphere of slavery? The ironic reversing of roles as regards black and white on the island? The update to the 20th. century perspective? An allegory for the late 20th. century? (And the use of anachronisms, especially in language)?

3. Virginia, the use of the Seychelles for the location of the island: beauty, the tropics, jungle, the sea, beaches, the storm sequence? Musical score?

4. Crusoe at home in Virginia, chasing the slave in the swamps, not as harsh as other owners, inspecting the slaves at the auctions, the dislike of the slaves, his relationship with his peers, with the business community? The bids? His proposal to take a ship-for the buying of slaves? His guaranteed? The voyage, his lack of popularity with the crew - and the urine in his shaving water? The audience attitude towards Crusoe? (The changes from Defoe's hero?)

5. The storm, the vivid staging of the storm? The captain, his log, the fire? The drownings? The crew? The attitude of Crusoe, trying to save people? Exhaustion? Saved, out of the wreck? Drifting to shore. exhausted, the dog? The coconuts and fire? Salvaging from the wreck? His skill in building, the garden, the boat and the failure? The pig in the garden? Shaving. growing a beard? Alone, going eccentric, slightly mad, talking to himself? His code? Surviving as a 19th. century gentleman?

6. The arrival of the natives, Crusoe watching them, the grim sacrifice and the slitting of the throats, the pouring of the blood? The painter and the make-up on the victims? Crusoe shooting, saving the native, calling him Lucky, the sharing of the meal, demanding that he wipe his mouth with the serviette. putting him in leg-irons, Lucky's escape and the blood on the irons?

7. Crusoe's encounter with the warrior, the confrontation, each dominating the other, the eating of the geese. the stealing of the geese? Crusoe caught in the trap. the warrior playing with the gun, its discharging? Crusoe in the quicksand, the warrior saving himself, saving Crusoe at the last moment? their working together on the boat, each singing their own traditional song? The dominance of vocabulary? The presumption of Crusoe that people should learn English? The shooting of the pig, the bullet in the flesh of the pig during the eating? Each imitating the other's song? The bond between the two? The arrival of the slavers, the chase and the warrior being hurt. captured, Crusoe making himself known, the discussions with the crew, with the scientist? The voyage, Crusoe letting the warrior go, helping him away? (And the old man seeing it and going back to sleep?)

8. Lucky and the warrior, two African natives, in themselves, participation in the sacrifices and rituals, equals and slaves, dignity? The question of language and manners? Defoe and the 18th. century presuppositions about the superiority of English? The change to the 20th. century? The embodiment of 20th. century style Fridays?

9. The slavers and their cruelty, the anthropological professor and his comments on cannibals?

10. The archetypal Crusoe story: the man in himself, survival, touch of madness, change, returning to life? the social message of the film - couched as a contemporary allegory, contemporary notions, social perspective, use of language?

CRUISING

US, 1980, 100 minutes, Colour.
Al Pacino, Paul Sorvino, Karen Allen, Don Scardino.
Directed by William Friedkin.

Distracting, even unnecessary hullabaloo (promoting box office and curiosity). Basically, this is a search for a multiple murderer by an under cover policeman, where suspense is not developed, identity not much concealed and motivation sketchily suggested. The situation of the murders raised controversy, the sub-culture of the New York sado-masochist homosexual world, photographed briefly though somewhat pryingly. It is like the Mr. Goodbar world, dark, night-disguised, inherently violent, a world written up but not visualised by the average audience and therefore more immediately shocking. More on the effects of constant living in this world on Al Pacino's policeman would have been valuable. As it is, more is suggested than explored.

1. The initial critical and public response? The reasons for the hullabaloo? The treatment? The exploitation of the theme? The outcry against the treatment, the topic?

2. The work of William Friedkin - his interests, treatment? (His presentation of The Boys In The Band in 1970, the French Connection?) His work of adaptation of a novel, his screenplay and direction?

3. Homosexuality on the screen: facts, audience response to anomalous sexual situations? The screenplay's attitude towards homosexuals? Respect? The indictment of this particular area especially with its emphasis on sadism and masochism? The sub-group within the homosexual world? The link of sadomasochism with homosexuality? The inherent violence in this sub-culture and its moving towards murder? Discriminatory attitudes in the '70s? Audiences being shocked, unused to visual presentations? Audience curiosity? Prying? Audiences relating homosexuality to their own attitudes? The possibility of identifying with these characters? The audience identifying with Steve Burns and his curiosity, prying, self-discoveries, his job?

4. The technical aspects of the film: the cruising credits and the ending with the boat on the harbour? The presentation of New York and the focus on its ugly waterfront, the lurid colour photography, the focus on the darkness, the bars, the leather, the ugly streets, homes, parks? The ugliness of the police precinct? The contrast with daylight.. the places where the characters worked., studied? Nancy's apartment? The importance of the score - the eerie music, the songs and their lyrics?

5. How realistic was the screenplay? How contrived? The aspects of nightmare? ordinary life and the sub-culture world of sado-masochism? Steve as emerging from an ordinary world and being plunged into the sub-culture? The reality of this sub-culture - the men in the streets. the cruising itself, the bars and recreation. the sexual encounters, the violence? The contrast with Ted Bailey and his ordinariness - the writing of plays, friendships? Yet his death? Was the sub-culture world presented with balance? The crimes within this context and the need for investigation and solution?

6. The presentation of the murders - the limbs in New York harbour, the set-up of the first murder? The forensic examinations throughout the film and discussion of the style of the murder? Captain Edelson and his responsibilities? His decision to invite Steve Burns? His appearance. a possible decoy? Edelson and his team., the search for clues, linking up the clues? The importance for Steve to immerse himself in this world? Edelson and his contacts? The pressure on him from authorities and the District Attorney to solve the case? His retirement? The discussions with the transvestite and listening to the accusations against Di Simone? The arrest of Lee. his interrogation? Edelson's response to Steve's wanting to opt out, his reliance on him? His welcoming him to the detectives?

7. The atmosphere of the killings - the bars and the encounters, the rooms , the park, the pornography shops? The range of people presented, sexual attract~ ion, violence? The compulsions to violence?

8. The film presenting Stuart within this milieu: at the bar, looking at Steve, his presence in the various clubs? Steve recognising him in the photo? The presentation of him in his apartment. his running. weightlifting and exercises? His study? His friend and their discussions? His relationship with his father,, the letters discovered later? His seeing his father in the park and discussing with him? His sense of having to kill people? The relationship with his father? Steve and his watching him, his changing into his leather gear, going out., the encounter.. the mutual stabbing? Finally seeing him in hospital? The portrait of a manic murderer? The clarification of motives?

9. The contrast with Skip? His presence in the bars. drinking? His work at the hotel? His seeming to be a suspect? His picking up Steve. tying him up and the police raid? The interrogations, the torture? The brutal naked policeman bashing him? The wrong man?

10. The importance of the audience knowing the identity of the killer - and the repercussions for the dramatic impact and lessening suspense?

11. Steve and A1 Pacino's portrait: the context of the murders and his training as a policeman, being young, ambitious? His accepting the task? The importance of his relationship with Nancy. his reaction to her at the various stages of his work and his return? The growing alienation? His moving into this world, the taxi ride., taking the apartment., the pornographic magazines, changing his clothes. make-up? The encounter with Ted and his being filled in about the area, the attitudes of the locals to the murders? To the police? Eating,, visiting the bars? His looking with curiosity and the audience sharing this with him? The importance of the focus on A1 Pacino's face and the intensity of his expression. observations? His presence at the bars. the dances. the police night? Wandering the streets, the parks? The pickups? Buying the scarf and the explanations for cruising? His listening for clues? His reporting to Edelson? The decision about Skip, setting him up? The arrest. Steve's being bashed? His wanting to leave the job? The discovery of Stu? Watching him,, ransacking his house? The encounter with Greg and its violence? His being ready to stab Stuart?

12. Steve as a policeman, his obligations,, his readiness with clues, participation in the set-ups? His final presence in the hospital with Stuart? His achievement?

13. Steve as man - the repercussions for his job in changing his personality, clothes, make-up, dancing, moving in this brutal men's world, sexual encounters? The effect on his identity? His need to talk with Ted? His seeking him out, the fight with Greg? The capacity for jealousy? Ted's death at the end and the audience realising how much Steve had become involved in this world?

14. The policeman and his job, skills at detection? The needs of a policeman in his work? His private life? The importance of the encounters with Nancy - and the irony of her standing with the cap and jacket on? Steve returning to the ordinary world?

15. Edelson and his work. contacts, pressures, methods, forcing Steve to continue? His visit to Ted's apartment at the end and his realisation of Steve's proximity and the effect on him?

16. The presentation of the New York police - the District Attorney and his pressures., elections? The officers? The nature of raids? Interrogations and torture? The big black policeman? The forensic discussions - corpses, knives? The dinner at the hotel and the getting of the knife, the fingerprints from the pornography shop? The irony of the police cruising - Di Simone and his companion at the beginning? In the park during the film? The final encounter with Edelson? The homosexuals dressed as police? Police leather and the point being made about uniforms and sado-masochism?

17. The characterisation of Ted - his pleasantness, relationship with Greg? Greg and his violence and the knife? The significance of his death? The variety of sides to the homosexual world?

18. The presentation of the victims - the professor, the actor and his sexual encounter, the man cruising in the park, the man from the shop and his being stabbed in the film booth? Stuart and his compulsion to sing, feel that he was being made to do it?

19. The finale with Steve returning to the ordinary world and Nancy transformed in the cap and jacket? Stuart's letters and the insight into him? Edelson and his insight into what had happened by his presence at Ted's apartment? The ship cruising in the harbour?