LA MISSION

US, 2009, 117 minutes, Colour.
Benjamin Bratt, Jeremy Ray Valdez, Erika Alexander.
Directed by Peter Bratt.

La Mission is an interesting look at the Hispanic community of San Francisco, specifically in the area known as Mission.

The film was written and directed by Peter Bratt, noted for films looking at issues of race and indigenous people in the United States. He is the brother of the star, Benjamin Bratt. Talisa Soto, Benjamin Bratt’s wife, also appears in the film.

The film’s focus is Benjamin Bratt’s Che Rivera, a man in his forties, recovering alcoholic, having spent time in jail, bringing up his teenage son after the death of his wife. He has many good friends as well as an extended family. He spends a lot of time repairing cars, making them look particularly beautiful – and on Friday nights, the extended family drives around San Francisco to a family gathering.

While this aspect of the film offers a great deal of hope, there is suddenly a significant theme when it emerges that Che’s son Jes is homosexual and in a relationship with a young man. This is alien to the culture and the religion of the very macho Che. There is a dispute with his son, his son moves out to stay with relatives. Che has to come to terms with this reality, relenting somewhat when his son returns home, but still unable to deal with the situation.

Jeremy Ray Valdez is sympathetic as Jes, struggling for his identity, keeping the secret from his father, suddenly outed, ridiculed in the neighbourhood, trying to get his father to understand.

The other significant figure is a neighbour in the apartment building, Lena played by Erika Alexander. She clashes with Che, is a social worker, supports Jes, gradually helps Che to understand himself better, take more positive stands. However, when Jes is gay-bashed, he spends time in hospital in a coma. Che is very attentive but clashes with the young man with whom Jes has a relationship. Lena sees this and is dismayed.

After some soul-searching, Che going down into the depths and drinking again, he comes to some kind of understand and making peace and reconciliation.

This is a strong film, very good for audiences to appreciate the San Francisco Hispanic culture, as well as themes of gender, identity and sexual orientation.

1. The film immersing its audience in San Francisco, the Mission area, the Hispanic community, the characters?

2. The work of Peter Bratt? His interests? Supported by Benjamin Bratt?

3. Audience sympathy, insight into the way of life, the world of crime, the issues of money, relationship? The transition of the Hispanic community into the 21st century?

4. The theme of the gay son, the issue of homosexuality in this Hispanic context, Catholic context, traditions, social, religious, macho? Secrecy? Outing? Gay-bashings, anger?

5. Che as the focus of the film, Benjamin Bratt’s presence and performance, in his mid-forties, his experience of life, reminiscing about his life when he was young, his parents, getting into trouble, the friends, crime? His spending time in jail? His love for his wife, her death? His son, the extended family? The group and their work on the cars, painting, design? The Friday gatherings? The bonds between these men? Their place in the neighbourhood?

6. Jes, his age, study, serious-minded, his studies, his experience of himself and his orientation, visiting Jordan, the relationship with him? His deceiving his father, going out, going to the club, the photos? His father finding them, his father’s anger, the fight between the two, his leaving, staying with his uncle and aunt? The dispute in the street, his being outed, the humiliation? His continuing his studies, with his uncle, the cousins, a happy life? Going back to his father, the possibility of sharing, having a meal with his father, his father not understanding, his father’s expressions of his not understanding? The defiance against his father? His father disowning him? The local criticisms, his being bashed, in hospital, the coma, his father visiting him, Jordan’s visit – and Che and his threatening Jordan and choking him? Lena seeing this?

7. Lena, touchy, the clashes with Che, the law, his car, her bike? Their discussions, his attempted apology? Lena and her support of Jes? The bike, Che fixing it, painting it? The meal, talking, self-revelation? The sexual encounter? Lena breaking it? Being formal? But her help, her dismay at seeing Che threaten Jordan in the hospital?

8. The characters of the men, fixing the cars, their way of talking, friendship, their past?

9. The uncle and the aunt, genial, the little cousin, their support of Jes, the visit to the hospital? The uncle and his frank talking with Che?

10. Che, his collapse, the time passing, the beard, drinking, wandering?

11. Jes’s graduation, his joy, the uncle and aunt and family, their support? His father in the background?

12. Lena, her advice, her reflections about self-esteem and respect?

13. The strength of the film in its plot, delineation of characters and their depth, the dramatic interactions? Themes?

PRETTY BIRD

Pretty Bird is an unusual film, perhaps with limited appeal. It is the story of an entrepreneur, a conman who deceives himself as well as others about his ability to create companies and promote inventions. He is played by Billy Crudup with great flair. The contrast is with an inventor engineer, played by Paul Giamatti, a serious-minded man who finds that he has been exploited by the entrepreneur.

The focus of the film is on a rocket belt, enabling humans to fly. Introductory information indicates that the American government had been interested in the invention but had let it go, because it was not commercially viable as well as difficult to use. There is some detail in this film about the rocket belt and its development.

The entrepreneur also exploits his best friend, played by Frank Wood, an ingenuous young man who is probably in love with the entrepreneur as well. He allows himself to be persuaded to give all his money to the enterprise. Also in the cast is Kristen Wiig (writer and star of Bridesmaids) who is the assistant at the company.

The plot of the film would probably not engage a wide audience – but the film is very strong in its portrayal of the central characters and their interactions. It was written and directed by actor Paul Schneider (Bright Star).

1. The title, the rocket belt, humans flying?

2. The appeal, the specialised audience? Characters’ interactions? Science and technology?

3. The initial information about the rocket belts? The film inspired by a true story?

4. The locations, the town, the shop, the factory? A sense of realism? The musical score?

5. The conman and his self-confidence, Billy Crudup as Curtis, his appearance, manner, way of speaking, rehearsing his speeches, his delivery of his spiels? The revelation of his background, his father, the issue of college, ambitions? His being ignorant – and resenting being called stupid? His belief in ideas? In the American dream of success and enterprise? A believable character? Larger than life? Going through life impervious – and not realising the consequences for his friends?

6. The contrast with Kenny, his mattress business, success, the shop, Mandy as the secretary? An ingenuous man, in love with Curtis, credulous? Believing without any doubts? Allowing his money to be used, the warehouse space, his enthusiasm, Curtis getting him to write everything down, going to the shops, ordering all the equipment, paying, sharing the delight in Curtis’s success? His being rich, going to the banks for loans? Mandy, her going on the date with Curtis? His comment that he wanted to go to the opera with Curtis – and Curtis exploiting him? His not believing what Rick told him? The edge with Rick’s presence, Rick’s success, Rick trying to persuade him of the truth? Fighting with Rick? The sadness of the end?

7. Curtis, recruiting people, research, rejecting interviewees, the issue of money and loans, belief in himself, his headhunting Rick?

8. Paul Giamatti as Rick, sacked from his job, a good engineer? At home, his wife, down and out? Urging him to get the job? His acceptance, the discussions with Curtis, a catalogue and going shopping for all that he would need? Seeing him at work, wanting Curtis away from him? Calling Curtis dumb – and Curtis’s resentment? Puzzle about the company, about how to perfect the rocket belt, discovering the solution, the success, the testing, happiness?

9. The company, Curtis and his dressing up, going to meetings and appointments, calling Mandy an executive? Going on the date, yet nothing eventuating? Mandy and the signs and her embarrassment? The various other interested parties, the talk, conmen with conmen?

10. The rocket, the success, yet the shady situation, Rick and the failure of his credit card? Curtis and his painting the rocket belt – and stealing it?

11. Going to the appointment, the boat, the thugs and his abduction, keeping him in the box for a week, the repercussions, his refusal to tell where the rocket belt was? The confrontation with Rick – and Curtis standing firm?

12. The parable about conmen, deceit, entrepreneurs, carefree? The entrepreneurs as ‘pretty birds’ themselves?

THE CHANGELING

Canada, 1980, 106 minutes, Colour.
George C. Scott, Trish Van Devere, Melvyn Douglas, Madeleine Thornton- Sherwood.
Directed by Peter Medak.

The Changeling is an elegant haunted house story, creating a gradually menacing atmosphere of chilly eeriness (shocks kept to a minimum). It also has the threat of murder/detection and sustains interest (though action fans might find it slow).

The events are made plausible by George C. Scott's strong presence and on discovering the truth with him. Melvyn Douglas contributes a forceful and key performance. A Canadian production, the film is set in Seattle and an elegant mansion with a persuasively vengeful ghost. Much tracking camera work, a vivid seance, atmospheric score, some social criticism and Trish Van Devere, Scott's wife, supports him again. A good example of its kind. Director Peter Medak made Negatives and the Peter O'Toole film The Ruling Class.

1. The appeal of thrillers, ghost stories, haunted house stories? Audience interest in the parapsychic in the '70s? The value of this contribution to the genre?

2. The qualities of Canadian production, American locations, colour photography, the stars?

3. The purpose of the prologue? Audience identification with Russell, the sense of family, the sense of loss with their death? The effect on his mind and people's use of it afterwards? The red herring about his daughter's death and the death of the girl in the house in Seattle? The recurring memories of the accident?

4. The audience identification with Russell and his continued discovery of the house, the ghost, the purpose of the ghost? Wondering with him, suspense and puzzle? His own experiences and search, the search with Claire, the visit to the parapsychic expert, the seance, the detective work, the discovery of the murder, social corruption? The build-up to the personal confrontation with Carmichael? The qualities of the screenplay moving the hero and the audience through these stages?

5. The quality of suspense and atmosphere? The comparatively few shocks? The basic melodrama of the whole and its being made plausible? The eeriness of the atmosphere: the exterior of the house, the stories about it, the large interior, the playing of the note by itself, the pounding noises, the voices, the upstairs and the rocking chair, Russell's vision of what happened, the movement throughout the house, the communication by the house? The vengeful death of the detective? The parallel visit of Carmichael and his death in his home? The pursuit of Claire? The final eruption of the house? The importance of the editing for this atmosphere?

6. How plausible a plot - the facts about Russell, the facts about the house and its occupants? The story of American wealth and greed? Big business and its evil origins? The house itself and its occupants? The plausibility of the ghost and its communication? The credibility of the seance? The odd phenomena associated with the house? The ghost and the pursuit of justice? Audience belief in this, suspending disbelief for the sake of the film?

7. George C. Scott's presence as Russell - at the start with his family, his grief? His mourning in the empty house in New York - and the child's ball? Seattle, friends? His work, the lecture filled with the large audience, the concert, his composing (and the irony of the melody in the music box)? The taking of the house, the friendship with Claire, the greater discoveries about the house and its origin, his becoming involved in the house's mystery, his being alone, sharing the puzzle with Claire and his continuing to do this? The visit to the doctor and the discussions about the psychic? The impact of the seance and his playing the tape and discovering the voice and the message on the tape? The confrontation of the senator? the scene at the airport? The confrontation with the detective? The final fight and the rescue of Claire? How developed a character? Plausible, experience, moods?

8. The mystery of the death? The music box, the ball in the river, the identity of the girl who had died and the research, the discovery of Joseph, the voice on the tape, the medal, the digging up of the house, the dream and the vision of death?

9. Claire and her place in Seattle, the house, sharing the research? Her mother as a character adding to the plausibility? Her presence at the seance? The digging up of the house? Claire's anger at being sacked, her searching for Russell in the attic, the pursuit by the chair?

10. The senator - in himself, a tough campaigner. wealthy businessman? His speech for the symphony? The confrontation at the airport and his fears? His contacts with the police? His being confronted in his home by Russell? The mystery of his medal? His experience with the portrait of his father, the discovery of the death, going up to the room in his imagination yet dying in his own how? vindictive justice?

11. The background detail of the film to give it a plausibility - the doctors, the police, the concert and the lecture, the rehearsal at Russell's home, Minnie and her giving information to the senator, the senator and his security guards, the detective?

12. The violent aspects of the film - e.g. the little girl and her dream and the digging up of the body, the death of the detective? The atmosphere of menace and its violence?

13. The success of the film as a ghost story? As a study of a man obsessed to discover the truth? As a comment on the American tradition - wealth, violence, power, the need for punishment?

A CHANGE OF SEASONS

US, 1980, 97 minutes, Colour.
Shirley Mac Laine, Anthony Hopkins, Bo Derek, Michael Brandon, Mary Beth Hurt.
Directed by Richard Lang.

A Change of Seasons was one of several films about men's middle-age crises - 10, Loving Couples (also with Shirley MacLaine).It was one of the better and more successful films of its kind. Its portrait of affluent Middle America, crises in marriage, the exposure of tensions and hypocrisies is very much a western phenomenon - American style. Anthony Hopkins gives a mannered performance as the university lecturer. Shirley MacLaine? (anticipating her Oscar-winning role in Terms of Endearment) is a warm if somewhat repressed wife and mother. Bo Derek has a chance to be seductive - especially in the opening fantasy sequence - and also has a chance to act. Mary Beth Hurt portrays the complexity of the up and coming generation. The film is attractively photographed mixes seriousness with farce. Direction is by Richard Lang (The Mountain Men).

1. The tradition of the romantic and screwball comedy? The battle of the sexes? The traditional light touch? The more serious undertones in the '70s and '80s? Points made with farcical touch?

2. The film as a piece of Americana: Middle America, affluent and educated America? Americans having the leisure and time for neuroses? Moral issues and stances? Traditions, respectability? Farce, marriage games, musical chairs - the French image of the merry-go-round, La Ronde? The older generation and its repression? The younger generation mixed up? Themes-of right and wrong? The '60s and commitment? The transition to the '80s? A less than edifying picture of American society and morals? Where did audience sympathies lie? The background of university, homes, holiday homes, hotels? Audiences being able to identify with the characters and their situations? Musical score? Songs and lyrics and insertion into the film? The title and the visual representation of age, change, the year's seasons, the passing of time? The perspective on growing older? The psychological insight of the film? The contemporary interest in mid-life crisis? How well dramatised, entertaining? A parable about middle age? Credibility? Validity of points made?

6. The portrait of middle age, the perspective? The adolescents and young adults of the '50s and '60s moving to the '70s and '80s? The hold of tradition, expectations, structures? The removal of supports? Surface respectability being removed? What is the measure of community standards, normality? Changes and lack of hypocrisy? The differences between saying and doing? The effect on the next generation?

7. Themes of the battle of the sexes? The clash of middle-aged husband and wife? The different perspectives and expectations? Women more bound by traditions? Men having greater freedom? Feminist attitudes, Women's Liberation? Openness? The masculine fantasies - and Bo Derek as a symbol of this? The opening credits fantasy? Style and dreams? Middle-aged men and the desire for younger woman, seducing their students? Wanting to be accepted, thinking themselves still attractive to the young? The effect on the younger women? Women in middle age and attractiveness to men? The repressed wives and their lack of social development, educational opportunities? Adam and his attitudes towards his own behaviour, standards, expectations of Karen? His being able to deceive her? His reaction to her behaviour - projection because of its mirroring his? Karen and her reaction to being deceived, over-reaction? Feeling freer? Steve and his behaviour and talk, double standards? Casey and her reaction, condemnation? Her own open lifestyle, Paulie and their both wanting some kind of commitment and permanence? Farcical and serious explorations of this battle?

8. The presentation of surfaces: lifestyle, marriage of 20 years? Adam and his work, his pretensions, age? Preoccupation with death - a greater reality? His permissiveness towards himself? His lack of regard for his wife and his deceiving her? The distance between the two? The need for reassurance? Blasé attitudes? Respectability being disrupted by Karen's behaviour, Adam's reaction to Peter? The move to easy accommodation of both couples? The holiday together? The effect on Lindsay, on Peter? Casey's reaction on coming to the holiday house? The crisis encouraged by Casey? Adam and his reaction to Lindsay, her going off, his pursuing her? His reaction to her father? Karen and her reaction, fidelity being disrupted, her past busyness and shock? The encounter with Peter, sexual liaison, her laughter, revenge? Her going on holidays? The husband and wife handling the situation in the house? Their comments on Casey and Paulie? Steve and his talk, arrival, assessment of the situation? The end and Karen's decision to go back to dine with Steve?

9. Bo Derek and her style, fantasy image, reality? Sexuality and seduction? The sophisticated young student? Attraction towards the older man, affair? Her desire for permanence.- even marriage? Her avoiding Karen? Her being invited to the holiday, her reaction, reaction to Casey, reaction to her father? The possibility of a bond with Adam? Adam seeking out Karen at the restaurant -Lindsay's eyes being opened, her being hurt, leaving?

10. The comparisons with Peter - his easy style, work, casual relationships? Laughter? Entering into the spirit of the holiday? Reaction to Casey, to Steve? His emotional response to the carry-on? His telling his own personal story to Casey and her sympathy? His sensitivity, the sequence of his leaving - and the bond with Karen? An affirming personality?

11. Steve and the parallel with Adam? His reaction to Lindsay, shock, the talk with Karen and understanding the situation? His explanations for the reaction of the middle-aged man, death, attractiveness etc.?

12. Casey and her self-preoccupation, reaction to the situation, bombastic, curt, condemnatory? Shock - quietening down and sorting things out? Walk and talk with her mother, sympathy for her? Sharing her experiences? Listening to Peter? Her love for Paulie, his arrival, commitment?

13. The continued articulation of the events and the relationships - the flip and slightly prurient tone? Making points?

14. The tone of the film with Lindsay leaving, her comment on Adam using her as a fling? Her life? Adam left alone? Karen and her decision to leave him?

15. An adequate entertainment dramatising contemporary confusions and questions?

CHANGE OF HABIT

US, 1969, 88 minutes, Colour.
Elvis Presley, Mary Tyler Moore, Barbara Mc Nair, Edward Asner.
Directed by William A. Graham.

Change of Habit is a good-natured film about nuns in the late '60s. Mary Tyler Moore is very attractive as the central character. The film is also an Elvis Presley vehicle - he is a doctor working in a New York slum.

The film probably seemed more daring on its release with the changes in the Catholic church because of the Second Vatican Council. It focuses on nuns moving out of their traditional habits, moving into a ghetto area for social work. The film focuses on the problems of the city - in the traditional way.

In retrospect, the film seems somewhat dated because of the changes in religious life since the '60s. Comparisons might be made with such films as Shattered Vows with Valerie Bertinelli focusing on the background to the changes in a nun's life during the '60s.

There are some enjoyable minor characters, a crusty Irish priest. a cautiously progressive Bishop. There are also some songs - and Elvis finally playing his guitar at a Rock Mass. Direction is by William Graham. director of many telemovies.

1. An enjoyable romantic comedy? With the touch of social drama?

2. A vehicle for Elvis Presley? At the end of his movie career? Songs, a more serious role?, The film as a vehicle for Mary Tyler Moore? Her work on the screen? Television? The supporting cast including people like Ed Asner?

3. Atmosphere of New York, location photography? The contrast between the convent and the city area? The poverty, ill health? Sinister aspects? The feast day celebration? Music? Songs? The final music at the Rock Mass?

4. The focus on Catholic nuns: the traditional lifestyle, life in the convent, seclusion and prayer, obedience? The opening in the convent with the traditional style, the prayers for the nuns, their going out on the mission? Taking off their habits, modern clothes, hairstyles? Their moving into the area unknown? Shopping, settling into their apartment, decorating it? Their keeping some of their religious style? Their work, its success? The irony of them crossing the road in habits and without and the differing reactions from the policeman? Signifying the change from the traditional image of the nun? The attitude of the gossiping women, of the crusty parish priest, of the Bishop, of the Superior?, The end to the experiment?

5. Mary Tyler Moore as Michelle: in the convent, the transition, her working for John, her competence (and aggressiveness)? With the autistic girl and training her?- With the Puerto Rican boy and his attraction towards her, his final attack on her in jealousy? Working for John, putting off his advances? The humorous sequences at home, work, painting, cooking, guitar-playing? The contrast with saying Grace, the visit to the church, the clash with the parish priest? The success of the experiment? Being reported to the Bishop? Moving back into the habit? The final fiesta? The return to the convent, her dilemma? Her presence at the final Mass -and the open-endedness of the ending?

6. Irene and her black background, in the convent, her caution? Strict rules in the home? Her skill as a nurse? The encounter with the blacks in the ghetto, her strong stances? Her realisation that she had escaped? Background of poverty? Her stance, her return to the convent? Her learning from the experience?

7. Barbara and her earnestness, adapting to the new way of life, friends with people in the street, the sexy attitude to get the men help with moving the furniture? Her friendship in the supermarket, her demonstration in the supermarket? Her wanting to be arrested and the cliches about police brutality? Her decision to leave? Presence at the final Mass?

8. The Superior and her concern, dilemma, with the Bishop, getting the nuns back home? The Bishop and his stance, interest in the experiment, his criticism of the parish priest, his ending the experiment?

9. The parish priest, in the church, his remarks against-the nuns and their change of habit, their behaviour? His visit to the two old gossips? His not succeeding with the Bishop? The credibility of his final change of heart and his presence at the Rock Mass?

10. Elvis Presley as John; credible doctor, his background, the accident and his life being saved? His doing good? Methods? Attraction towards Michelle? Helping, the dates? Shock to find her a nun? Visit to the convent? His presence at the Rock Mass? The open-ended ending?

11. The young girl and her autistic state, John and Michelle helping her, the therapy, her violent outburst, her hearing and speaking? Her stepmother and her gratitude? The contrast with the Hispanic boy, the attempts at help, his violent attack on Michelle?

12. The Banker and his lending money in the area, sinister attitude towards the women, his henchmen? The encounter with the nuns? Irene and her defying him at the fair? His attack on her?

13. The two old gossips and their attitude towards the church, traditions, their final comment about the changing Mass?

14. A light piece of Americana? Social conc2 n? Human values? 160s religious and church style?

CHANEL SOLITAIRE

UK, 1981, 106 minutes, Colour.
Marie- France Pisier, Timothy Dalton, Rutger Hauer, Karen Black, Catherine Allegret.
Directed by George Kaczender.

Chanel Solitaire is an international 'women's picture'. Directed by George Kaczender (In Praise of Older Women), the film has all the ingredients of old fashioned lush soap opera. The film traces the early life of Coco Chanel, in flashback from her first successful fashion show. The film skims the surface - which is very prettily presented.

Marie- France Pisier (The Other Side of Midnight, Scruples) is attractive in the central role. The international supporting cast includes Timothy Dalton as Boy Capell and Rutger Hauer (Max Havelaar, Night Hawks) as her suitors. Karen Black has some moments as a French courtesan and Brigitte Fossey is attractive as Coco's aunt.

The film re-creates turn-of-the-century period and does not take us into the later celebrated life of Coco Chanel. There is an unintentionally humorous scene in which her Chanel No. 5 is christened. Katharine Hepburn played Coco Chanel in a Broadway musical version of her life.

1. Entertainment? Biography? Soap opera - woman's picture? The audience intended for the film? International? The emphasis on feminine interest and style, especially fashions? Coco's suffering?

2. The production values: international production, re-creation of period, locations, fashions and decor, style? Convent, shops, homes, restaurants? Paris and Deauville? The musical score? Lush production values?

3. Coco Chanel's reputation, work in fashion and perfumes? Audience interest in her life and career? The presentation of her early life? The various versions of her later celebrity?

4. The framework of the fashion show? Coco reminiscing on the staircase? The theme of Chanel Solitaire and her experience of being by herself? The sad and rueful tone of the title? The pathos of Coco's early life? The basis of her career?

5. The sketch of Coco as a child: the death of her mother, the funeral and the journey in the cart, his lying about the orphanage, her life in the convent and its harshness, the primness and prudery, the young nun and Coco seeing her cut her hair, the harsh growing up, her devotion to her sister and her response to her sister's death? Growing bitterness? Resentment when she left the convent and yet the goodbye to the young nun? Her independence of relationships? A self-made young girl? How self-sufficient?

6. Her reaction to her family and their abandoning of her? Her aunts rescuing her from the orphanage? The older aunt laying down the law for her life in the household? Her being set to work, her work with dressmaking -and her weak eyes? The development of her skills? Her desire to be a singer and entering the competition? Making a fool of herself? The flirtation with the soldiers? The consequences in the encounter with Etienne?

7. Chanel and Etienne? outings, his taking her into his home, her response to its magnificence, her looking after the horses? Her being installed in the household? Her presence, skill in millinery? Her style of hats? The encounter with Emilienne? The meals? Talk? Growing friendships and contacts? The birthday party and meeting Boy Capell? Sexual liaisons? The building up of a potential clientele? Developing an affluent style?

8. Her response to Boy Capell on his arrival? Talking? Self-assertion? The birthday meal and the insult? Falling in love with him? Etienne's absence in Argentina? Boy's support, the opening of the shop, its expansion, money deals? The restaurant sequence and Boy's being insulted? The lyrical affair? His persuading her to open the shop in Deauville? The war and its anticipation, her survival during the war?

9. Her growing in self-assurance? The self-made woman? Self-assertive, creating a style, fashions? Her love for her Aunt Adrienne? Working with her? The shows? Emilienne's patronage?

10. Adrienne and her friendship, shared experiences, style? Her marriage? Working for Coco? Bearing the bad news of Boy Capell's death?

11. The men in her life: Etienne and his self-centredness, initial help, her working with the horses, sexual relationship, his absence in Argentina, his return, disappointment, conceding defeat to Boy? Boy and his British background, mining background and ambitions? His wanting to rise in public circles? The public insults? His passion for Coco? Involvement in the war? The development of coal? His seeming fidelity to Coco and her fidelity to him?

12. The end of the war, his awkwardness in telling her about his planned marriage? Her spurning him? Paying him back?

13. Post-war Paris and Coco's fame? Her breaking free of men? The friendship with the lesbian Missia Sert? Outings? Scandal? The sequence with the naming of Chanel No.5? Boy's confrontation of her and his disgust?

14. His leaving his wife? The reconciliation? Coco's forgiveness? The accident? Her grief and disappointment? Her determination to carry on her career?

15. Popular entertainment? Insight at the popular level?

CHANCES ARE

US, 1989, 103 minutes, Colour.
Cybill Shepherd, Ryan O'Neal, Robert Downey Jr, Mary Stuart Masterson, Christopher Mc Donald, Josef Sommer.
Directed by Emile Ardolino.

Chances Are is a very pleasant ghost story - a touch of reincarnation - but all is sweetness and light. It is an attractive vehicle for the more mature Cybill Sheppard - as well as a genial role for Ryan O'Neal. Robert Downey Jnr (Pickup Artist, Less Than Zero, True Believer) is enjoyable in the central role. Mary Stuart Masterson is a vigorous leading lady as well. There are Washington settings, a world of affluence. There is glamour. There is also some humour. Direction is by Emile Ardolino, director of Dirty Dancing.

1. Romantic comedy, romantic ghost story?

2. Washington and Virginia in the '60s and the '80s? Homes, museums? life-style and fashion? Musical score?

3. The title, Johnny Mathis' song, romance, reincarnation?

4. The wedding, Corinne and Louis, in love, Philip and his declaration of love? Happy, life, the anniversary, Corinne telling Louis she was pregnant, the gifts, Philip's arrival? The court sequence, the judge harsh on Louis? Phil and the tip-off, the photo of the corrupt judge? The return, crossing the road, the car accident and his death? Corinne's grief?

5. Scenes of heaven, the line-up of the dead, the angels, Louis and his impatience to get back, his choice about how to return, the angel forgetting him to give the injection to forget?

6. 25 years later: Alex, grown up, working in the library, helping Miranda with her overdue books? Travelling, sleeping in the car, ambitions, going to Ben Bradley at the Washington Post? The encounter with Philip and their immediate friendship, Philip's help? The interview, his lack of experience, not accepted? Disappointment? Meeting Philip, the lift, finding himself in the Jeffrey's household?

7. The jogging of his memory, things that he would say about objects in the house, images coming back, his realisation who he was, his upset during the meal and being sick, the repercussions for his relations with everybody, the decision to tell Corinne, her reaction? Wanting to tell Philip but unable? Warding off Miranda? Wanting to help Corinne, overhearing about the money, the social and his dancing with Madge, the comedy, getting her cheque, giving it to Corinne? Seeing the earrings? Corinne believing, his hesitation, setting up Phil and the encounter with Corinne? In the court, his behaviour, the accusation of the judge, the photo? The
second accident, in hospital, the angel coming with the injection? Not remembering anything, in love with Miranda, the job from Bradley because of the photo scoop?

8. Corinne, happy, pregnant, the death, her grief of 25 years, busy, the exhibition of the First Ladies, love for Miranda, protecting her? Philip and his devotion? Her offhanded meeting of Alex, worrying about his behaviour, the night, the morning, her job and the need for money, his telling the truth, her upset, the social and Madge, believing him, in love, the memories? Her devotions to Louis? Going to the psychiatrist and his analysis, her various rituals? Meeting Philip, the night with him, the sense of love, admitting that Louis had been dead for 25 years? Alex's loss of memory? The wedding?

9. Phil and his pleasantness, good friend, work, marriages, helping Alex, cooking the meal, his adoration of Corinne, fathering Miranda, Alex almost telling him the truth, the night with Corinne, love? The court, realisation of who Alex was? The help? The wedding?

10. Miranda and her study, the overdue books, meeting Alex, the puzzle, her advances and his rejection, her love for her mother, for Philip, their being together, her study, going to court, the happy ending?

11. The angels and the management of heaven, the lists, reincarnation, the injection? The belated injection?

12. The judge, his handling of the c se, treatment of Louis, the photo, exposed 25 years later?

13. A sweetness and light fantasy?

THE CHAMPAGNE MURDERS

France, 1967, 107 minutes, Colour.
Anthony Perkins, Maurice Ronet, Stephane Audran, Yvonne Furneaux.
Directed by Claude Chabrol.

The Champagne Murders is yet another Claude Chabrol thriller. It is interesting that two versions of the film were made. The French version was called Le Scandale. The Champagne Murders refers to the background and environment of the thriller.

Chabrol uses Anthony Perkins (later to use him in Ten Day Wonder along with Orson Welles) and his wife Stephane Audran, who has appeared in at least a dozen of Chabrol's films. The film is very interesting, although not as engaging and involving as his later thrillers. The themes of guilt, responsibility, repentance are all present and there is a strange inverted ending which remains in the memory.

1. To what genre does the film belong? Psychological drama. social criticism. murder mystery? A blend of each? The significance and focus of the title? The significance of the original French title, The Scandal?

2. How particularly French was the film in its sensibility? It was made for an international market with international stars and made in English as well as French. Did the film-makers bridge the gap from France to a more universal audience or not?

3. Colour, Techniscope. music? The attention to detail of the wealthy millionaire class? The beauty of the Champagne fields, the bizarre interiors of the house with old world and new world e.g. television? The odd world of the modern Parisian artist and her studio? Hamburg and its blatant street sexuality? What environment did the film present and how well?

4. Could the audience identify with any of the characters? Identification or observation? How did this have repercussions on the response to the film and its themes?

5. The initial psychological emphases giving the tone of the film? The initial social critique? How did this provide a basis for the murders and the solution to the mystery?

6. The response to the opening with Christopher and Paul, Paris, picking up the prostitutes, the accident and the ugliness of the bashing and the strangulation? What kind of introduction to the characters? To their world, types?

7. How sympathetic a character was Paul throughout the film? During the opening, his victimisation and injury? His hospitalisation and release? The nature of his madness and hovering on the border between sanity and madness? His wealth allowing him to be eccentric? The playboy, playing with Christine and taunting her about his name and the selling of the vineyards? Hamburg and his relaxing, the experience with Paula and his realisation of her death afterwards? His becoming a victim of circumstances especially after the death of Evelyn and his discovery of her corpse? The exhilaration of his discovery that he was not responsible? A possible recovery? How interesting a character and well developed? Themes of guilt and responsibility and irresponsibility?

8. Paul's bonds with Chris and the nature of their friendship, the past? Chris as an Anthony Perkins nervous type? How well drawn a character? The initial impact, his later explanation of himself as a gigolo, wanting money and security? The motivation of his marrying Christine, the bonds between them? His self-indulgence. boats? His pedantic behaviour. e.g. watching the television interview and smashing the set? His behaviour at meals? His moodiness? His love of money, manoeuvring Christine into helping him use Paul? The clashes with Paul, with Christine? How much of the truth did he know? The final rev~ elation of his liaison with Jacqueline? Her urging him to kill Paul and his inability to do it? How guilty and responsible was he for the occurrences?

9. Christine and the portrait of the self-satisfied businesswoman? Her greed,, power., control? Her beguiling Paul and cajoling him? Her playing up to the American businessman? Her relationship with Chris - how much love, how much patronising and mothering? Her patronising Jacqueline? Parties, social life? Her wanting to achieve wealth? Trying to blackmail Paul after receiving the anonymous letter? Her lack of scruple? Fear that he might kill her, the irony of her death?

10. How well did the film portray the world of wealth, millionaires, psychotics? The world of wines, industry, greedy American businessmen? Prostitutes and Hamburg? Evelyn and the promiscuous kisses at the parties? The bizarre parties in Paris. The emptiness of this world, the greed, the absorption in materialistic ambitions? How much sympathy did the film have for this, criticism?

11. Jacqueline and her background presence? Unobtrusive? The ambiguity in audiences recognising the actress portraying her? The change in Hamburg and Paris? Her presence finally in the how and the shock of realisation? The confrontation and Paul asking where Jacqueline was? The visual presentation of her making herself up and at times the mirror of half Jacqueline the secretary to half Jacqueline the actress? The revelation of her killings and her motives? Her wanting Paul to be killed and pushing Chris? Why was she unable to persuade him to kill?

12. The visual irony of the triangle and their struggle, the crane and lifting shot and leaving the three of them there? The significance of the struggle, the symbolism of the three tearing at each other? An appropriate ending?

13. How interesting an exploration of people, motivations, society, crime, guilt and responsibility?

THE CHAMP

US, 1979, 122 minutes, Colour.
Jon Voight, Faye Dunaway, Ricky Schroder, Jack Warden, Arthur Hill, Joan Blondell.
Directed by Franco Zeffirelli.

From theatre and opera to Shakespeare, St. Francis and Jesus of Nazareth, Franco Zeffirelli now directs a Hollywood film - a remake of a popular 30s feature set in Miami training and racing circles and climaxing in a boxing title match.

With Jon Voight sympathetic as Billy and Faye Dunaway an ultra-glamorous fashion designer, it is all glossily attractive entertainment. But young Ricky Schroder also stars (and has acting ability) and is torn in his love for his would-be successful father. The result is tears a-many on-screen and, at least, moist eyes and sniffling in the audience. While it is all obviously contrived, the material has appeal.

1. This film was very popular - why? Its presentation of people, the boxing background, family, father and son, the mother and her son? The importance of the sentiment, tears? The perennial appeal of this kind of material?

2. The film is the work of Franco Zeffirelli, his visual style, feeling? An Italian making a particularly American film?

3. The film as a remake of a popular film of the 30s? A 30s story brought into the 70s? The basic story and its appeal - Billy and his being down and out and his making a comeback, the relationship of father and son? The particular view of values, relationships?

4. The presentation of the United States, Miami - the background of horse racing, training, the races, gambling, the boxing world, the world of the wealthy and their yachts? Audiences identifying with this world and its characters - with a touch of glamour and fantasy? Colour photography, the score and its feeling?

5. The world of sport and its ethos? The opening with the training of the horses., the atmosphere of the races? Boxing and its competitiveness, the need for rigorous training and getting in shape, the gymnasiums and the style of training., the championships, the fight?

6. The film's appeal with presenting a child? Ricky Schroder and his charm, acting ability? How credible a young boy? His boyish style, strength yet tears? His relating to his father.. to his mother, to the various adults in his life? His coping with his father and helping him? His views on life and what he learnt from Billy? His happy life, the sadness of its mysteries? The hurt in discovering the truth about his mother? The solution to his problems and the change for the future?

7. The presentation of adults - Billy and his atmosphere of failure. irresponsibility? His being a bum? His potential career and his losses? Clashes with his wife and the failure of marriage? His various mistakes, the need to prove himself, prove himself to his wife? The importance of parenthood? The significance of death? The adult point of view on the events compared with that of the child's point of view?

8. How attractive a character was Billy? Jon Voight's style? Seeing him training the horses and his happy attitude towards life, dancing and skipping, his feel for the horses? The bond with T.J. and their rapport together? Simply at how , driving around, buying things, training? Billy and his gambling and his risks. his drinking? T.J. taking him home and putting him to bed? The various wise things that he said that T.J. would remember? His ever-intentions to reform? His winning money and buying presents for everyone? A genial character? The continued hopes of a come-back and his son calling him 'Champ'? His fight in the bar,, his losing money. his desperation,, the buying of the horse and its hopes. the need to sell it? The continued disillusionment with himself? The encounter with his ex-wife, the pain that this caused, trying to cope? Having to appeal to her for money? The decision about the comeback? How had he been a father to T.J. in practice,, with what success? A sympathetic character despite himself?

9. T.J. within this context, an attractive young boy, the range of experience that he had in growing up, the various friends around the racetrack especially Josie and her help, the vet, his receiving the horse and his loving care of it, train it, racing it?

10. The build-up to the race. the dramatics of the horse's fall? The irony of the race being the occasion of his meeting his mother, the introduction to Annie and their discussion about vets, meting Mike? The humour in the discussions with Dot about racing? T.J. and his flirting with Annie, the bet, the beginning of tensions?

11. The character of Annie - was it credible that she should have been married to Billy? The encounter at the racetrack, her affluent background, marriage to Mike, her career? The arranging of the visit, the presents for T.J., the happiness of the swim, her affection and her showing of this? The decision to send Mike to plead for having T.J.? Inviting him to stay? How wise was she in telling the truth? His reaction and inability to cope? The clash in the stables with Billy? Seeing her at home in New York with Mike and explaining to him her feelings? T.J.'s invitation for her to go to the fight and her presence there? The end and her grief at Billy's death? The fact that she had made mistakes, walking out on Billy and T.J.? Her career - and the fashion parade as highlighting this? Billy's borrowing the $2000 from her and her lending it? What would happen after the film ended and her care of T.J.? The portrait of a woman who made a mistake, a mother?

12. Billy and his trying to cope with Annie's presence, not going on the yacht, going to the shooting gallery, gambling, losing the horse, fighting? The decision to make a comeback, having goals, the build-up to the return match and his vigour in training? Annie's being present at the fight?

13. T.J. and the changes in his life after he learnt the truth, his return to his father, helping him train? His writing to Annie and her presence at the fight?

14. The gallery of characters from the racing and boxing world - authentic, especially Jack and his friendship with Billy, decisions about the fight, training him, helping him during the fight?

15. The dramatic build-up to the fight, the training sequences, the hoax, the motives? How well staged was the fight? The long fight, the sequences between rounds, the victory? The final talk and the bond between father and son? How credible was Billy's death - appropriate for this film, avoiding of the issues of what was to happen to T.J.?

16. T.J. and the final dramatic sequence with his father, the tears, his having to cope? What did this leave the audience with?

17. The appeal of the portrait of relationships, needs, love, mistakes, tears?

CHAIN LIGHTNING

US, 1950, 94 minutes, Black and white.
Humphrey Bogart, Eleanor Parker, Raymond Massey, Richard Whorf, James Brown, Roy Roberts, Morris Ankrum.
Directed by Stuart Heisler.

Chain Lightning is a very conventional Humphrey Bogart vehicle - a picture of the development of jets from World War Two to 1950. He is not always persuasive as a test pilot. Eleanor Parker is long-sufferingly attractive as his eventual wife. There is a strong supporting cast including Raymond Massey. Direction is by Stuart Heisler, director of many thrillers in the '40s and '50s. There is discussion about Chuck Yeager, the hero played by Sam Sheppard who had The Right Stuff.

1. Audience interest in aviation and its history? Planes? The development of jets? The breaking of the sound barrier? The repercussions for commercial travel? For warfare?

2. Warner Bros. production, black and white photography, the cast, Bogart vehicle? Aerial photography?

3. The war footage and the background of World War Two? The test pilot sequences? The blend with domestic drama? Musical score?

4. The development of aviation in the 20th. century, the developments during war, manoeuvrability etc.? The types of planes, the missions? Battles? The repercussions for the fighters, the gunners? The development of the jets? Breaking of the sound barrier? Speed, height? Development of techniques, engines, design of planes? The commercialisation? The opening up of new routes e.g. over the North Pole? A history of aviation to 1950?

5. Structure of the film: the opening with the crisis, memories, audience expectation? Success of the mission? Success of relationships?

6. The war, the dramatisation of the missions? Matt Brennan and Carl and their encounters, tensions? Repercussions for later? The raids and the visuals of the bombs dropping, the planes, the aerial attacks? The end of the mission, the farewell, the singing? The encounter with Jo? The build-up to the wedding. its impossibility? Matt abandoning her? The tone for further developments?

7. The careers of fighter pilots after the war: flying circuses? Training schools - and the girl crashing the only plane? Possibilities in civil aviation? Matt attracted. accepting? Getting the feel of the plane, success and developments? Carl and rivalry? Jo and her work - emotional response, meeting her again, telling her of the letters he never posted? Tension between the two? Love and stubbornness? Willis and his persuasion, the Air Force? ideas? The flight over the Pole? The achievement? The suspenseful landing? Carl's death?

8. Willis and the developments of civil aviation, workers, ideas, Matt and his enlistment, the Air Force? The accident and the crushing of his legs? His push and the flight over the Pole? Successful American businessman?

9. Jo as attractive heroine, war, preparations for marriage, hurt, friendship with Carl, her job, work, encounters with Matt, his success, the final reconciliation?

10. Carl and the war, his efforts, clash with Matt, his style, working for Willis, enlisting -Matt, the attacks, his testing the plane and his death?

11. The Air Force and its backing, picture of civil aviation, the repercussions for commercial flights? The background to Chuck Yeager and the breaking of the sound barrier in the late '40s - The Right Stuff?

12. This picture of Americans in the '40s and '50s and the tradition of The Right Stuff?