SALVATION

US, 1987, 80 minutes, Colour.
Stephen McHattie?, Exene Cervanka, Viggo Mortensen.
Directed by Beth B.

Salvation is a short film by underground, small budget writer-director Beth B. It does not go very far into its exploration of the phenomenon of the tele-evangelists - and their hypocrisy. It relies, however, on taking off the tele-evangelists and indicating to audiences how they act. The danger of this is that it merely reinforces stereotypes and caricatures.

The film focuses on situations rather than the development of character, indeed, motivation seems hard to understand at times. Perhaps the style of less commercial film-making and the video-clip phenomenon explain the style and the structure of the film. In fact, it ends with what is really a video-clip. The cast works well, given the style and limitations of the approach to the theme.

1. The impact of the tele-evangelists, the millions of Americans who listen to them and give them money? Who appreciate their performances? The questioning of their motives? The exposes that have been continually present - and emphasised in the mid-'80s?

2. How much insight into the tele-evangelist does the film offer? The danger of merely stereotyping and caricaturing? The legitimacy of the spoof and the take-off?

3. The video style of the film: the long sequences of the TV preaching, the scenes in the home, factory, on the roads? In the house, the fight? In the television studios and the programmes? The video-clip final song? The nature of film and video communication?

4. The range of the music: the score, the lyrics of the sone, the finale?

5. Steven McHattie? as Edward Randall: the style of his preaching, its content? Fundamentalist Christianity? The statement of cliches in a dramatic and unctuous way? His performance, his rehearsals? The various ways in which he could communicate his message? The girl arriving at his house, his suspicions, letting her in, the sexual attraction, the sexual encounter, his worrying about blackmail? The sadistic touches? The two men at the door and his suspicions? Sending them away? Jerome's arrival, suspicions, the fight? Trussing him up, attempting to drown him? The rescue, his recuperation? Escape from the bath? Using the cross to escape? His car and the two men in the car? His second escape and the cross falling? Meeting Rhonda on the road? Her ideas, the programme takeover? The family controlling him? The counting of the money and their ineptness? His ousting the two men, ousting Jerome? His being under Rhonda's thumb - the lawyers and the discussion about the marketing of the programme? This symbolised in the final rock song? Portrait of a tele-evangelist?

6. Rhonda at home, listening to every word of the Reverend Randall, mouthing her own cliches, the meals, supporting Jerome, her sister? What she would, do with a show? The plan, finding the Reverend? Her tough attitudes, performance, the sincerity of her message? Salvation and damnation? The final rock video and its symbolising her as the warrior conquering Randall?

7. The sister at home, sexy, with Jerome? Acting her lost part at the door, sexual attraction, the encounter, reaction, being tied up, on the beach, the rescue? In the plan, in the entourage, ousted?

8. Jerome, the worker, at home, slovenly, with his sister-in-law, reaction to Rhonda, the sending of the money to the Reverend Randall? Going to the factory, the Iona walk with the boss, his being fired? His anger, going home? His violence with Randall, the plan, success, counting the money? His being ousted? The two men seeking the party, part of the plan, not able to count the money, the bodyguards preventing them coming back into the studio?

9. The domestic sequences and the American home? Television religion and its place in the home? Sex and power? The irony of the film’s structure: dream, nightmare, salvation - and the irony of these titles?

10. The spoof of fundamentalist Christianity, its presentation of Jesus, its presentation of the Devil, of good and evil, the moral cliche - not lived up to?

SALOME'S LAST DANCE

UK, 1988, 89 minutes, Colour.
Glenda Jackson, Stratford Johns, Douglas Hodge, Nikolas Grace, Imogen Millais- Scott.
Directed by Ken Russell.

Salome's Last Dance has Ken Russell as flamboyant as ever within the restraints of a one-set, small cast and low-budget film. Using Oscar Wilde's text for Salome exactly, he has it performed by Alfred Taylor's brothel staff. This allows for sensitivity as well as insensitivity of performance and interpretation. Wilde watches.

The rhetorical and florid poetry may not appeal, nor may the caricature performances (decadent people and acting a story of decadence and brutality) nor may Wilde's own decadence and personal decline. But, for those who stay with it, it is cleverly acted by Stratford Johns (Taylor/Herod), Douglas Hodge (Bosey/Baptist), Nikolas Grace as Wilde and Imogen Millais- Scott who is very good as a maid/Salome. And Glenda Jackson glowers as a Lady Macbeth Herodias with satirical touches on Macbeth as well as reference to Lady Bracknell's handbag. Glenda Jackson had appeared for Russell in Women in Love, The Music Lovers, The Boyfriend. Russell himself appears as a frantic photographer. It is oddball material, but revealing Oscar Wilde.

1. The reputation of Oscar Wilde, his literature, imagination? His personality? Moral reputation? Decline? His aesthetic? Homosexuality? As presented in this film?

2. The work of Ken Russell, his flamboyance, images, subjective interpretation, over the top style?

3. London in the 1890s, the street, the brothel, the theatre room, the stage, decor and colours, the moon and clouds, the costumes and their extravagance? Editing and pace?

4. The text of Salome: operatic, the translation from French to English, the poetic rhythms, the florid rhetorical style? The skill of the renditions by the cast?

5. Russell's idea: Alfred Taylor and his brothel, an atmosphere of London, decadence, the members of the brothel staff, their acting the play for Wilde, its being banned by the Lord Chamberlain, the performers: prostitutes, dwarves, the topless guards? Wilde as audience? The amateur style, the vulgarity, the jokes, the flatulence? Bosey inviting Wilde to the performance? Russell as the photographer? Its culminating in Wilde's and Taylor's arrest?

6. Oscar Wilde: in himself, achievement and reputation, marriage and family, homosexual friends, his love for Bosey, resorting to Taylor's brothel, his relationship with the men in the brothel, the literally golden boy? Homosexual attitudes, love and passion? Requited and unrequited? Betrayal
and violence? His arrest and the subsequent trial and imprisonment, his ill-health and death?

7. Lord Alfred Douglas and his background, Wilde's relationship with Bosey, Bosey in himself, relationship with his father? His performing the role of John the Baptist? Wilde's comment that he could have been Salome and
himself the Baptist?

8. Taylor, his brothel, the invitation, the performance? Hip own arrest? Lady Alice and her presence, actress, being a witness? The maid and her being Salome? The dramatic culmination of her death?

9. The play and its florid poetry, rhetoric, aesthetic, words for music with musical rhythms? How well did the play work?

10. Herod the Tetrarch: obese, decadent, his kingdom, his relationship with Herodias and the divorce, his roving eye, Salome, lust, wanting her to dance, the shock of her request, his fear of the Baptist and yet listening to him, his oath, his consent - and his ultimate order to kill Salome?

11. Salome: her age, wilful, the distraught soldier and his death and her callousness, her fascination with the Baptist, her lust, taunting him, the kiss? The use of the lift for the drama with the Baptist and his imprisonment? Wilful with the Tetrarch, with her mother? Refusing to dance, changing her mind? The sexual ambiguity of the dance? Herod's response? Her attitude towards the Baptist, his head on a dish, her sexual reaction? her death?

12. Herodias and her domineering style, her rationalism, disdain of the prophet, irritation, putting up with the vulgarity, her own vulgarity, eyeing off the soldiers, in the travelling trunk? Her response to her daughter's request?

13. The court: the golden boy and his infatuation with the soldier, his lament? Going to Wilde and with him as audience? The topless women soldiers? The court attendants and their being in drag, the transvestite jokes? The dwarves and the satire on the Jews? With the topless guards?

14. The soldiers and their keeping guard, the comic touches, the contrast between the two, farcical actions, sexual relationship with Herodias?

15. Russell as photographer, his fussing about, looking like Santa Claus?

16. The police, their arrival, the grounds for the arrest, their treatment of Wilde and Taylor, of Lady Alice?

17. The film as a flamboyant exercise, an interpretation of Oscar Wilde? Of Victoriana and decadence? Human nature?

STRIKEBOUND

Australia, 1984, 101 minutes, Colour.
Chris Haywood, Carol Burns, Hugh Keays-Byrne?.
Directed by Richard Lowenstein.

Strikebound is a semi-documentary about troubles on the Victorian coalfields during the 1930s. The film was based on the memoirs of Wattie and Agnes Doig. They are played in the film by Chris Haywood and Carol Burns.

The film is very much in favour of unions, rights for workers, critique of the owners of industry. Richard Lowenstein had made a short film, Evictions, based on the research by his mother Wendy Lowenstein about social conditions in Victoria.

His film career has focused on youth issues as well as popular music, especially that of Michael Hutchence and INXS. His feature films include Dogs in Space and Say a Little Prayer as well as He Died With a Falafel in His Hand.

1. The acclaim for the film? For the director? For treatment of social themes? For what audience was the film made?

2. The background of Richard and Wendy Lowenstein? Socialism? Social movements in Australia? Communism? Awareness of social movements, oral tradition? Concern? The nature of social change in Australia, in Victoria? The strengths of the screenplay in using oral tradition? The style of docu-drama? The interviews with the Doigs and their framing the film? A blend of documentary style, names and dates, with drama? The impact of the film? Informative? Sombre? Emotional?

3. The stance of the film: towards the workers, the miners, social movements during the Depression, politics in the '30s? The militancy of the miners and the unionists? As seen in retrospect? The use of contemporary footage? The film arguing its case - intellectually, emotionally? Propaganda? The values portrayed? The empathy asked for?

4. The film as contributing to Australian social history? Australians' knowledge of such history? Memory? Capitalism, Labor, the Labor Movement, communist parties, red scares? Politics in Victoria? Subsequent union clashes and divisions?

5. The quality of production: the detailed re-creation of period? The use of Gippsland locations? Korumburra. a '30s town in the Depression, poverty? The Doigs' house, the halls, the shops? The importance of re-creating the mine locations: the light, the dark, the claustrophobic effect? Audiences sharing the mine experience? Action sequences? The contribution of the music, the songs, ballads?

6. The period and the experience of the Depression: the atmosphere of the '30s, the migrants and their poverty, working in the mines, comparisons with the British mines, the ugliness of the way of life, the poor wages, the standover tactics of management, the mutual stubbornness, the dangers in the mines, the leading to militancy, the support groups, the religious groups? The film using colour, the final black and white photography? Look, decor? Authentic?

7. The portrait of the Doigs: Agnes and Wattie Doig and their being introduced, the comment at the end? The impact of seeing the real Doigs fifty years later? Audience interest in them. sympathy? The importance of their lived experience. Agnes and her religion. Presbyterian background. the Salvation Army. her growing concern, social involvement? Wattie and his communist affiliations, the Labor Movement and its toughness?

8. The detail of mine conditions: the slush, the explosions. the tunnels and their danger, the rails? The miners as characters within these conditions? Growing anger, the background of the strike, the meetings, the organisation, leadership? The background of Wonthaggi, the Communist Party, the bringing in of scab labour? The political attack on Labor? The politicking, the bashings? The miners and their paying off the scabs with ten pounds? The drunken Yugoslav? The sabotage? The decision to stay down the mine? Police clash? The anxiety of families and wives? The miners coming out? The audience getting a feel for this strike and crisis situation?

9. The consequences of the strike? The final newsreel material being located within the drama of the film and the history of the times?

10. Wattie and Chris Haywood's skill in creating a character in a docu-drama? His place in Korumburra, relationship with Agnes. his work, the red flag, police attitudes, the attitude of the manager? King and tokens? The reaction to the scabs - and Wattie's violence, chasing the scab through the town? Yet his sentiment with the baby? His relationship with the group of miners, his friends? Seeing them at work, the decisions for the strike, the meetings, the reaction to the scabs, with Idris Williams? His British background, Scots singing, joy? Staying down the mine? Leadership? A Labor character?

11. Agnes and her British background, the comments on her Presbyterian allegiance, her moving to the Salvation Army? Her dedication, attending prayer meetings, songs? Her uniform? Her devotion to Wattie? The clash between the 'Onward Christian Soldiers' and the red flag? Mrs King and the baby, her care, her growing social concern, her speeches, her attacking management, attacking the police? Her standing by, helping the wives, buying? Her growing awareness of social movements and some of the inadequacies of church support?

12. The portrait of the manager and the police? Their being portrayed as villains? Lacking sympathy? (Too strongly?) Their actions as regards the strike, its continuing, towards the men? The attitudes of the police, their use of power?

13. The portrait of the individual miners, the old man and the cause, the miners at work, striking, demonstrations? Staying down the mine and its repercussions for them?

14. Idris Williams and his background, Wonthaggi, popular, his authority, singing with the group, marching with the men?

15. The picture of the women in Korumburra, their support of their husbands, the poverty of the Depression, the poverty of the strike?

16. The emotional impact of the film, its stances? The portrayal of the strikers as ordinary human beings - sympathetic, unsympathetic in their treatment of the scabs, the railway station sequence and paying them off, the chase of the scab and the bashings?

17. The contribution of the film to Australian history, social awareness, comment on religious issues, political issues?

A STREET TO DIE

Australia, 1985, 90 minutes, Colour.
Chris Haywood, Jennifer Cluff.
Directed by Bill Bennett.

A Street to Die is an interesting, moving and well-made film. It is the work of Bill Bennett, writer, producer and director. A journalist, he brings an eye to current affairs - but he also brings great understanding and sympathy. The focus on the film is the plight of the Vietnam veterans, physically and psychologically. The specific focus is on the first Agent Orange case in Australia - discussions for the Department of Repatriation, questions of compensation, decisions of the tribunals and courts and the influence of these decisions for further cases for the veterans.

A Street to Die is set in Mt. Druitt in the western suburbs of Sydney. The film captures the atmosphere of suburban life excellently. However, the street is for veterans. one side those of World War Two and Korea, the other side for those of Vietnam. It soon becomes evident that the Vietnam veterans have great problems in themselves, with their families and sometimes, with the health of their children. Chris Haywood is excellent as the veteran who discovers his illness, who prepares for death while fighting his case. Jennifer Cluff is also excellent as his wife. There is a very good supporting cast which makes the film powerful and convincing.

1. The dramatic impact of the film? The struggle for Vietnam veterans and the questions of Agent Orange? The Royal Commission decision against them in 1985? The film's interest? Concern? Audience emotional response? Understanding?

2. The film's acclaim and nomination for AFI Awards? Modest budget, effective production: Sydney suburban locations, the atmosphere of the western suburbs housing estates, streets, hospitals? Authentic flavour? Sydney, lifestyle, climate? The atmospheric musical score?

3. Audience knowledge and experience of the Vietnam war, the 60s, American requests, Australian involvement, politics? The memories of the conscripts, the jungle warfare, defeats and victories, the use of chemicals, the impact of the return of the veterans, the mood against the war, moratoriums and demonstrations? illness, pensions and repatriation cases, international cases against chemical companies? The film supplying background information?

4. The opening, Mt. Druitt, the suburbs of Sydney, outer limits, the streets: one side World War Two veterans, one side Vietnam veterans? Mood and atmosphere - the little girl and her sullenly breaking the bottles?

5. Chris Haywood's personality and style as Col: genial, the surveying of the houses, driving the streets, his relationship with Lorraine, love for her, with the children? The glimpses of him at work, the unions? Settling in the suburbs, home, the barbecue and the neighbours, Craig and his friendship, talk, playing chess, the kids in the background? Warmth, anger? Maureen and Julie? The hints of his illness, the rash, being tired, jogging, exercise and the question of smoking? The visit to the doctor and her interpretation of his illness as stress? The lumps? His getting on the wrong train, collapsing at the station and having to be picked up? The hospital and the tests (and the double talk by Nurse Sweet and the jokes about her nature and treatment of patients? Coping? The doctor and smoking? The growth of the disease, his weakness, the ability to walk, having to sit, wanting to do jobs, to make the house perfect? His anger with Lorraine? The realisation of the Vietnam side of the street? The focus on the chemicals, his study of them, going to the library, seeing the sprawling at school and his anger? Lorraine and the conducting of the survey? The visit to the beach - lyrical, romantic touch? The stone and the collapse? Going to hospital - the races, his jokes? The pathos of his actual dying? A man of dignity, a soldier? The purpose of his life? The purpose of his death?

6. Lorraine as a good woman, her bond with her husband, intimacy? Sharing with him? Settling in the new home, getting to know the neighbours, her work? Her bond with her children? Concern about her husband, the hospitals and the doctors? The care for him? The strong sequence where she told him of his condition? Her having to cope, her scream? The support of the neighbours? The sadness of his death? The funeral and her anger? Townley and the discussions about what to do, the search for the medical records and their not being forthcoming? The build-up to the hearings? Her participation in these? The aftermath - the phone call and the low-key victory? A portrait of a good woman with demands made on her?

7. The film's sketch of family life, the bonds, husband and wife, home sequences, outings?

8. Craig and Julie and their friendship, the little girl and her tantrums and the background of the chemicals affecting her brain? Torn and his control at the barbecue? His getting religious mania?

9. The doctors - the discussions about stress, antibiotics? The doc~ tor covering her tracks and trying to claim that she was putting Col in hospital? The phone calls? Walker and his insistence on being called 'Mr' as a surgeon? His concern for patients? The doctors at the hearings?

10. The importance of the hearings: Townley and his help. the range of experts, the members of the tribunal, the human face of the tribunal - their capacity for listening, their impatience? The range of opinions given, medical knowledge, political stances, attitudes towards the war? The role of government?

11. Audiences being able to identify with the characters, their situations? The film's authentic detail? Humour and seriousness?

12. The effect of this kind of film on audience consciousness? Contribution to social awareness of the Vietnam war, the Vietnam veterans, chemical warfare, the strains and stresses of the experience of war?

THE SLIM DUSTY MOVIE

Australia, 1984, 107 minutes, Colour.
Slim Dusty, Jon Blake.
Directed by Rob Stewart.

The Slim Dusty Movie is a genial film. It focuses on Australia's top record-selling star, a Country and western singer who has been popular over many decades right throughout the country. The film was produced and written by Kent Chadwick (Street Kids) and directed by Rob Stewart (The Timeless Land). Slim Dusty and his family appear as themselves. Inserted are some flashbacks enacted by Jon Blake and a supporting cast. The film gives a picture of Slim Dusty's background in the country in central north New South Wales and his emergence as a radio star and a singer on the road in the '40s and '50s. There is a glimpse of his marriage to his song writing wife Joy McKean?.

The film is virtually a concert tour by Slim Dusty, leaving Sydney at the opening and culminating in a performance at the Opera House (with more sophisticated, socially conscious lyrics for the songs). In the meantime we aria treated to a piece of Australiana, a portrait of the countryside, especially the north (Bowen, Charters Towers, Mt. Isa). There are concerts, glimpses of ordinary people .enjoying the concerts, Slim Dusty interacting with people. A focus is the Mt. Isa rodeo. There is also a visit to the aboriginal station of Peppiminarti (between Daly River and Port Keats). There is a corroboree and then a concert. Ayers Rock is also used. The film shows an alternate to the stories of the Australian cities. Filmed in Panavision and featuring a large number of Slim Dusty's songs, the film is both a memoir and a tribute as well as a visual album.

1. The popularity of Slim Dusty - as an Australian, singer, performer? His records? As a personality?

2. The treatment of Slim Dusty's life and career: biographical overview, the concert tour? The background of his Australian tours? His Australia? The Australian outback ethos, especially Queensland and the Northern Territory?

3. The appeal - to country audiences, to city audiences? Australian audiences? Overseas?

4. Panavision colour photography: the atmosphere of the flashbacks, the countryside, Sydney? The atmosphere of the 40s and 50s? Radio, carnivals, concerts? The contemporary Australia: Sydney, the Queensland towns, the Mt. Isa rodeo, the Northern Territory aboriginal station, Ayers Rock? The towns, the locations? The style of the concerts: performance, the band, audience response? The blending of action with songs e.g. the rodeo? The visits to the old-timers who worked with Slim Dusty or inspired the songs?

5. The songs themselves - the atmosphere of country, country music, American influence, Australian style? Lyrics, ballads? The stories behind the songs, Characters? The old days, nostalgia? The tribute to the old days and the country way of life? The finale and the socially-minded lyrics?

6. The tours and the audiences? Ordinary people? Country town people? The old-fashioned theatres - and the song lyric? Bowen and the concert? Mt. Isa and the pubs, the rodeo? The aborigines in the towns? The contrast with Peppiminarti and the corroboree and the concert in the open air? Central Australia, Ayers Rock? The truck-drivers? The trucking songs? The audience in the opera House? The film's focus on people?

7. The portrait of the group, the sequences in the cars and buses? Picking up hitchhikers? Allowing local guitar-players to join them in concert? The members of the group, their performances? Their being highlighted by Slim Dusty? Instruments, costume? Casual? Their enjoyment of the tours. contribution?

8. Slim Dusty's family and their skills, his wife and her singing and composition, son and daughter and their singing? Sharing the concerts? Spotlight?

9. The structure of the film: the framework of the tour and the concerts? The immediate on Slim and Joy? The insertion of the flashbacks? Slim as a boy, the country, the dances, his home, his father, the guitar-playing, changing his name, composing songs under the trees, the visit to the radio station and his singing? The war and the soldiers in the train? His father's support and the visit to Sydney? The language and style of his songs? Joy and her companion and the radio programme? His success? The records? The death of his father and the funeral? The tour, the carnivals, the detail of the carnivals? The small attendance at the concerts? His marriage to Joy, the wedding - with the typical photo poses of the time? The children, the tours? A pleasing picture of an Australian family?

10. Slim and his successful career, a man in his 50s? His clothes, hat? Manner of speaking? Working with his wife and family? Talking with people, driving, aware of the locals, signing autographs, well-known, his contacts - the old men and their stories, working with them in the songs? So many friends in the north? His charisma at the concerts? At the rodeo - the songs, introducing the riders? The bond with the aboriginals at Peppiminarti? The portrait of a 'fair dinkum good bloke'?

11. The kind of Australia portrayed? Queensland and the Northern Territory? Tough, pioneering, working? Rugged? Men and women - the station owners and workers of the north? The miners?

12. The portrait of the aboriginals - in the Queensland towns? The importance of the corroboree at Peppiminarti? The community? The concert and their listening to Slim?

13. An engaging tribute and memoir?

THE SENTIMENTAL BLOKE

Australia, 1919, 120 minutes, Black and white.
Arthur Tauchert, Lottie Lyell, Gilbert Emery, Stanley Robinson, Harry Young, Margaret Reid, C.J. Dennis.
Directed by Raymond Longford.

The Sentimental Bloke is based on the classic poems by C.J. Dennis who appears in this film as himself. The films were popular ballads with Australian slang, humorous, insightful.

Arthur Tauchert is no Saturday matinee idol. An ordinary bloke, he portrays the central character with sympathy as well as down-to-earth humour. Lottie Lyell, who had emerged as a film star in Australian films of the decade, is strong as Doreen.

The film is able to capture the mood of C.J. Dennis’s ballads by the captions and cards. Which make a bit of hard reading because of the slang, the dropped consonants, the apostrophes … However, it is worth the effort with such classic scenes as the Bloke going to see Romeo and Juliet and finally calling out for them to put in the boot.

The film was remade in 1932 by Frank Thring Sr and as a musical in 1976 with Graeme Blundell and Geraldine Turner.

The Sentimental Bloke takes up themes that were popular in the 19th century, stories of poorer characters in the inner city of Sydney. This is captured very well in the black and white photography of the time. The film is the urban equivalent of the hayseeds kind of comedy, especially seen in the various versions of On Our Selection (also filmed by Raymond Longford).

Raymond Longford began writing and directing in 1911 with The Fatal Wedding and The Romantic Story of Margaret Catchpole (with Lottie Lyell). He made a silent version of The Silence of Dean Maitland (remade by Ken G. Hall in 1934) as well as a Mutiny on the Bounty in 1916. He took up religious themes and feminism with The Church and the Woman (1917) and The Woman Suffers (1918). His On Our Selection came in 1920 with Rudd’s New Selection in 1921. He also did a follow-up to The Sentimental Bloke, Ginger Mick in 1920. There was The Dinkum Bloke in 1923. However, he did not do much filming after the end of the silent era – The Man They Could Not Hang in 1934. It was a tragedy that he finished his life as a nightwatchman in a factory in Sydney in 1959. However, he is much honoured after his death for his achievement for Australian cinema.

1. The status of the film as a classic: C. J. Dennis' poems, characters, image of the city, larrikins? The quality of Raymond Longford's film? Subsequent remakes in comparison? The stars and their presence? The quality of the episodes, the humour, the sentiment?

2. The atmosphere of 1919, post-World War One, the development of the cities? Australian nationalism? The humour of the poems? The characters for audience identification? The black and white photography, fixed camera, sense of movement within the frames, close-ups? Location photography and the feel of Sydney? The acting style - natural and artificial for silent films of the period? The glimpse of C. J. Dennis at the opening of the film?

3. The atmosphere of the city, details of Sydney, the inner suburbs, the suburban way of life? Manly and the harbour and the beaches? The characters of the city, the contrast with Uncle Jim and the reference to hayseeds? The transition to the countryside? The city people's dream of a future in the country?

4. The simplicity of the sentiment: emotion, feeling, values? Good and bad? Traditional values? The police, prison, work, cheekiness, respectability? The desirability of respectability? Being proper, going on outings, proposals and marriage? Failure and repentance? The importance of marriage, love of husband and wife, children and the future? The Australian dream? A blend of reality and unreality?

5. The touches of solemnity in the poems and in the film's treatment? The emphasis on Australian characteristics and nationalism? The reference to religious touches - especially for the Bloke's reverence in seeing his son being born and in going into his wife's room?

6. Bill in himself as the sentimental bloke? A man of the city? The two-up game, the humour of the chase, eluding the police, being caught, time in prison, the search for jobs, the markets, the factory, falling in love with Doreen, arranging the date with her, outings, proposal, the play, the ferry and the beach, jealousy of the Stror’at Bloke? The build-up to the visit to Doreen's mother, the fear that Doreen would become like her mother, the wedding, the happiness, the gambling and the drinking, the fight with Doreen - and the joy of making up, the visit of Uncle Jim, going to the country, hard work in the country, the birth of the child - and the final sunset? The cheekiness of the Australian hero and yet his sentiment - even to crying? A sympathetic image of an 'ordinary Australian'?

7. Doreen as heroine: nice, seeing her at work, the organising of the date, her ordinary enjoyments, her singing (the Curse of the Aching Heart) and the effect on Bill? The jealousy of the Stror'at Coot? The outing to Manly, the visit to the play? Her mother? The wedding? uncle Jim and moving to the country? Pregnancy, the midwife helping her with the birth? The final images of husband, wife and child? An image of the ordinary Australian woman of the time?

8. The sketch of the mother, the jokes about her, her fatness, her tears? The wedding? Her death and its sadness? The sketch of the neighbours?

9. The sketch of Ginger Mick and his friendship with Bill? Two-up, work, temptation after marriage? The Stror'at Coot and his suave manners and Bill's jealousy? Uncle Jim - and the echoes of Dad and Dave?

10. The attitude towards the law and authority: two-up, the chase and the devices for escaping the cops, his bad temper and wanting to go out and bash a cop? The Manly Ferry and beach sequence? The humour of the Bloke's response to Shakespeare? The visit and the good manners at Doreen's mother’s? The wedding sequence?

11. The charm of the poetry, its slang, spelling, imagery? Humour and irony? Sentiment? Insight into Australia's transition from 19th to 20th century?

THE SIEGE OF PINCHGUT

UK, 1959, 100 minutes, Black and white.
Aldo Ray, Heather Sears, Gerry Duggan, Grant Taylor.
Directed by Harry Watt.

The Siege of Pinchgut is an interesting thriller. It has all the elements of the drama of the siege as well as a quick raising of issues about social justice. It is very much a film of the late '50s.

It was the last film to be made by Ealing Studios. It was written and directed by Harry Watt, the documentary film-maker who made such films as The Overlanders, Eureka Stockade and, in Africa, Where No Vultures Fly. Novelist Jon Cleary collaborated with Watt on the screenplay.

The main characters were played by overseas stars, all British except for Aldo Ray in the central role. However, there are a few roles for local actors including Gerry Duggan and Grant Taylor. The film uses Sydney locations quite strikingly, especially the harbour and Fort Dennison itself.

1. An interesting and entertaining thriller? Australian? International?

2. 'Fifties film-making, the Australian industry, the overseas crews, writers and stars? The effective use of Sydney locations, the city, the harbour, the harbour bridge, Fort Dennison? The role of the police and their work on the harbour? The international cast?

3. Authentic atmosphere? Derivative dramatic material?

4. The basic situation, Matt Kirk and his escape from prison, the set-up of the escape, the ambulance, the police stopping the ambulance, the emergency, the hospital, Kirk leaving? The tensions between the men organising the escape and carrying it out? The indication of tensions and difficulties? The preparation for the tensions of the siege?

5. Aldo Ray as Matt Kirk? His brother, his escape, the skills in organising the escape, a calm and non-violent man, the victim of corruption, his place in society, his past? Relationship with his brother? His attitude towards the police, his control of the group? Decision-making? Pinchgut, the food? The boat, the crisis and its solution? The shootings? His final leaving? Hope for the future?

6. Fort Dennison and its nickname of Pinchgut? The background of convicts - and the relevance for the plot? In itself, the boat drifting there, the Fultons and their management of Fort Dennison, their work? The fort's role in history, guards and convicts, the Military, Crimea, the world wars, the Japanese and World War Two? A museum? The ordinary touches - the supplying of the milk. the tourist trips? Yet important for defence? A symbol of Australian law? Guilt, innocence, corruption, cruelty, death?

7. The portrait of the Fulton family - their work, being taken as hostages, hostility, devising various ruses, fear, communications, interrelationships? Ann and the information? The snipers? Helping with the sealing of the doors? Meals? Kirk and his changing attitude? Johnny and help?

8. The plans, the control, the avoiding of violence? The shots and attitudes hardening? Johnny's wound? Matt's change? Bert and the tourist tour? The blend of the ordinary and the special? The information about the explosives, the ship? Getting the shells, the threat and the firing of the blacks? Time, television, phone? Luke and his participation in the escape, in the siege? Violence? Death? Bert and his role, tensions? The siege snipers, the importance of time, the attack, Matt's death, Johnny changing?

9. The police and their work, suspicions, the attitude of Hannah and the confrontation, the sniper and the suspension of sniping?

9. The documentary-style detail of the ship, the explosives, the time given to the unloading? Accidents?

10. The spreading of the siege situation, the danger to the city? The television interviews, the details of evacuation?

11. The film's presenting characters partly as stereotype -but more? Audience sympathies, understanding? The nature of the decisions? Possibilities? A satisfying resolution, on the level of thriller? On the level of social justice? Of social drama - with implications for a city under siege?

12. An entertaining piece of Australiana? Insights from British production? Fifties entertainment?

THE SWORDSMAN

US, 1948, 80 minutes, Colour.
Larry Parks, Ellen Drew, George Macready, Edgar Buchanan.
Directed by Joseph H. Lewis.

The Swordsman is an enjoyable piece of Hollywood historical hokum. Hollywood enjoys Scottish stories (echoes of Scott and Stevenson) with the clans fighting each other in the 18th. century.

Larry Parks is alive as the hero, Ellen Drew a charming if Americanised heroine. George Macready, as always, is the villain. Edgar Buchanan is there as the reliable friend.

The screenplay echoes most of the familiar themes of the life of the clans, their hostilities and stubbornness, their battles - with a touch of the Romeo and Juliet and the attempt to reconcile families.

The film was - directed by Joseph H. Lewis whose reputation has increased over the decades, especially with such small-budget films as My Name is Julia Ross, The Halliday Brand.

1. Enjoyable historical matinee material? The appeal of Scottish settings and stories?

2. The re-creation of Scotland, the mountains and the highlands, the 18th century castles and homes? The musical score?

3. The title and the focus on Alexander? As hero, reconciler, as swordsman?

4. The theme of the clash between the clans? The stubbornness, the lack of point of hostilities? The continuance through generations? The breaking of social interaction? Violence and battles? The need for reconciliation?

5. The focus on Alexander, his return, attraction to Barbara, concealing his identity? His father and Angus? His going to the fair, winning the competition? The clash with Robert and the other brothers? His being trapped, blaming Barbara? Imprisonment? The fair fight? Barbara and her plans for the exchange? His role as a mediator? His welcoming Robert
and the brothers? Their betrayal, the fights? Heroism? The happy ending with Barbara? Conventional matinee hero?

6. Barbara as the heroine, attraction to Alexander, being a woman of vitality, her interventions, helping Alexander, setting the trap for the brothers? Her warning about the betrayal? The happy ending?

7. Robert and the brothers as villains? Fomenting the hostility between the clans? Robert getting his own brothers murdered and their being, set up for hostilities? Going along with the reconciliation, the visit to the clan, the banquet, the attempt at betrayal? The confrontation with Alexander?
His sinister brothers, especially the murderer?

8. The heads of the clan, their continuing hostilities, the reconciliation? The various personnel in the castles?

9. The friends of Alexander, Angus and his support? The clergyman?

10. The basic themes of heroism and battles, betrayal, reconciliation? Life in Scotland in the 18th century? The touch of the Romeo and Juliet story with the reconciliation of families?

SWORDKILL

US, 1986, 81 minutes, Colour.
Directed by J. Larry Carroll.

Swordkill is a better-than-average martial arts film. It is highly derivative of Japanese Samurai stories and their Ninja variations. It is also similar to Fred Schepisi's Iceman. A warrior, seemingly killed in the 16th century, is buried in the ice and is revived in the 20th century.

The film has some excellent costume action sequences in its 16th. century setting. They are particularly well done and engage audience attention. However, the re-animation of the warrior in the 20th century, in a hospital with all its technology, in a new world in which he is lost is also quite fascinating. The film plays well on this theme - the warrior confronting 20th century situations which resemble those of the past. He leaves behind him a trail of mayhem - because he is provoked by the scum of the American cities. While this is thematically valid, it also offers the opportunity for all kinds of martial arts stunt work and special effects with gory style.

The film also focuses on the scientists and those involved in trying to track down the identity of the warrior. The scientists, the historians are all presented as professionals - with the blend of sympathy as well
as professional ambition. There is also a romantic background.

While the film is to be seen as an action adventure, it does, in its entertaining way, raise questions of comparisons of culture and the perennial good and bad in human nature.

SWITCHING CHANNELS

US, 1988, 105 minutes, Colour.
Burt Reynolds, Kathleen Turner, Christopher Reeve, Ned Beatty, Henry Gibson.
Directed by Ted Kotcheff.

Switching Channels is another remake of Ben Hecht's and Charles MacArthur's famous play of the early '30s, The Front Page. It was filmed in 1931 with Pat O'Brien, in 1941 by Howard Hawks as His Girl Friday with the roles reversed (Cary Grant and Rosalind Russell). A colourful remake by Billy Wilder in 1975 featured Jack Lemmon and Walter Matthau.

The scene has been adapted to cable television news and it is a film of the late '80s. Once again the roles are reversed. Burt Reynolds has the role of the editor while Kathleen Turner has the role of the reporter. The boob young man fiance (Ralph Bellamy in 1941) is now Christopher Reeve playing a variation on his Clark Kent, Superman role). There is a strong supporting cast with Ned Beatty as a corrupt District Attorney and Henry Gibson as the victimised prisoner.

While the film is fast and furious, it is played for laughs with a touch of farce and frantic mood. Direction is by Ted Kotcheff (Wake in Fright, The Great Chefs of Europe, First Blood).

1. Entertaining film about media, television, the American attitudes towards media and law and order? Zany farce?

2. The original Front Page and its various adaptations? To the'80s and television?

3. The contribution of the stars and their style?

4. The style of the film: farce, heightened humour, spoof, irony?

5. The world of television, cable, news-gathering and presentation, the work of the staff, the owner and his pressures, policies? TV news devouring all the information? The frantic pace? Burt Reynolds as Sullivan: his relationship with Christie, the divorce, the jealousy, his devotion to his work, the clashes between the two, his success? The breaking of the story about Ike? Ridnitz and his corruption? Christie and Blaine and Sullivan's attitudes? Persuading Christie to do the interview, his promises, holding her, buying all the plane tickets? The story of the pardon and the pressures?

6. Kathleen Turner as Christie: career woman, the divorce from Sullivan, the antagonistic relationship? Falling in love with Blaine? The contrast of type? The farewells, sparring with Sullivan? The romance, idyllic, the boat? The opportunities for the interview? Her style, bigger, questions of Ike, the pen? The carrying out of her obligations to Sullivan? Going to get the plane, the tickets gone, the train? Going to the station, seeing Ike and following him? Her pursuit, hiding him in the copier? Consulting Sully, the lawyer who defended Ike? Ridnitz and his siege, the shooting, telling the truth on the television camera? The governor? Blaine and the putting off of the wedding in the end and his separation? Her future with Sully? The honeymoon dash and the volcano?

7. Sullivan and the scoop, trying to buy the copier, the confrontation with Ridnitz, the guns, getting him to talk the truth on television, Blaine's leaving, his wisecracks, remarriage?

8. Blaine and his background, wealth, the boat, the variation on the Clark Kent style by Christopher Reeve, his suffering from vertigo and the send-up, the discussions about the copier, his relationship with Christie, getting her to the plane, to the train? His long-suffering? The final separation and his declaration about her unsuitability?

9. Ike as the victim, the background, the interview, the little man persecuted, the build-up to his execution, the death sequence, the chair, the explosion and his escape, pursued by Christie, being hid in the copier, the difficulties about his injuries in the copier, the lawyer and her devotion to him, his final concern about the warden? The lawyer and her support, hurtling herself over the balcony? Being interviewed by the media?

10. Ridnitz and his bullying, corruption, wanting to be governor, his campaign, using the media, using the warden? The question of the pardon? The advancing of the time? The television crews at the execution, his pulling the switch? Leading the charge to find Ike, the farcical nature of the investigation, his interviews, the shooting at the photocopier? Telling everything on TV? His downfall?

11. The warden and the pressures by Ridnitz? The end and his confession? The governor and his arrival, pardoning everyone except Ridnitz?

12. The world of the reporters, the City Desk room, the interviews, their fighting, as vultures at the execution, everything timed for television? Exhausting the power supply? Chasing Ike, the interview with the lawyer, the criticisms of the media?

13. The film successful as comedy, human drama, spoof of the media? Focusing on issues?