REVENGE

US, 1989, 124 minutes, Colour.
Kevin Costner, Anthony Quinn, Madeleine Stowe, Tomas Milian, Sally Kirkland, Miguel Ferrer.
Directed by Tony Scott.

Revenge is something of a grim thriller, a star vehicle for Kevin Costner after his success with Bull Durham and Field of Dreams and prior to his Oscar-winning Dances with Wolves as well as Robin Hood and J.F.K. Anthony Quinn enjoys his swaggering through roles as he has in this film. Madeleine Stowe is the female lead - but spends most of her time drugged and in a coma as the men fight over her.

The film has lavish Mexican settings, the atmosphere of the West - although the film starts with jet pilots (reminiscent of director Tony Scott's previous success with Top Gun).

There is a grim, frequently nasty tone about the whole film as the ambiguous central character Cochran, played by Costner, falls in love with Quinn's wife, confronts Quinn after he has abducted her and sent her to a brothel. The title is fully worked out.

1. Impact of this melodrama, the colourful locations, the touch of the American West? The moral ambiguity of the characters?

2. Tony Scott and his career as commercials director, his melodramas like Top Gun, Beverly Hills Cop 2, Days of Thunder? Mexican settings, the colourful presentation of locations? The comparisons of great wealth, the world of squalor? The mood of the film, atmosphere? Musical score?

3. The title and the carrying out of revenge?

4. Cochran, the American hero, flyer, his buddies, the speech on leaving? Going to stay with Mendez? The confrontation with the bodyguard? Seeing himself as a guest, playing tennis, the gift for Mendez? The basis of their friendship? His meeting Miryea, the infatuation? Mendez's ambitions and brutality? The beginning of the affair, going away together unbeknown to Mendez? Mendez knowing it, the burning of the cabin? Miryea's disappearance? The clash with Mendez, Cochran and his search, the Texan and his death, taking his place? Maro and his contacts? The finding of Miryea? The brothel, the brutal interrogation of the madam? The final confrontation with Mendez at his dawn ride? The killing of the bodyguards? Mendez demanding an apology, Cochran giving it? His continued search, Miryea in the convent, her illness, taking her into the sunlight, her death? The effect on Cochran - his future?

5. Anthony Quinn's authoritative style as Mendez, his belief in himself, wealth and ambition, friendship with Cochran? His age, pride in his body, playing tennis, riding? The bodyguards? The guests and their talk, bad manners - and his killing them? His relationship with his wife, her wanting children, his not wanting children? Wanting her to be the ideal beauty? His rages, the anger at the affair, the burning of the cabin? His treatment of Cochran and hostility? Treatment of his wife, drugging her, sending her to the brothel? His rage and ruthlessness? The build-up to the final confrontation with Cochran, being wounded, wanting the apology? His death?

6. Miryea, her background, her marriage to Mendez? Her wanting children, his forbidding it? The infatuation with Cochran, the affair and its passionate nature? Her being taken by her husband, the degradation of the brothel? Drugged, in coma? Her being spirited to the convent? Cochran finding her? Her death?

7. The wealthy and their bodyguards, Cesar and his authority, the ruthlessness of the bodyguards? The destruction of the cabin? Carrying out Mendez's orders? The murder at the dawn ride?

8. Mendez's visitors, political ambitions, money dealings - the sleazy types and their death?

9. The Texan, in the bar, beaten? Befriending Cochran, his death? Maro, the farmer, his finding Miryea? Helping Cochran in his search? His relations? At the brothel, the violence? The confrontation of the bodyguards and the deaths?

10. The world of the brothel, sleaziness and ugliness? Miryea's experience? The madam, the prostitutes, the clients?

11. The basic triangle melodrama, jealousy and revenge - the modern setting, the Mexican western setting and the overtones of the stories of the past?

12. The grim tone, ugliness, amorality, revenge? Insight into love, passion and revenge?

REUNION

UK/France/Germany, 1989, 110 minutes, Colour.
Jason Robards, Sam West, Christian Anholt, Barbara Jefford,
Directed by Jerry Schatzberg.

Reunion (L'Ami Trouvet) is a French, German, British co production. Harold Pinter has adapted the novel by Fred Uhlman. Director is former fashion photographer, Jerry Schatzberg (Puzzle of a Downfall Child, Scarecrow).

The film focuses on Jason Robards as a 70-year-old American businessman who returns to Stuttgart, having left there as a young boy in 1932, in the view of the emergence of Hitler and his antagonism towards the Jews. As Robards begins to remember the past, flashbacks show his friendship with a young nobleman - and the growing friendship as well as the clash of ideology between them. The flashbacks recreate the atmosphere of tension in early '30s Germany.

Stage actor Christen Anholt is the young Jewish boy. Samuel West (Howard's End) is Konradin von Lohenburg. Barbara Jefford makes a guest appearance as Hans' mother.

The film retraces material familiar from memoirs of Germany and the Holocaust, the Brown Shirt sequences are reminiscent of those of Cabaret. The film has an impact at the end when, after so many decades, the central character discovers that his once friend was executed for participation in the plot against Hitler.

1. The film as a memoir, a healing experience, a symbol of 20th century experiences of war, destruction and hate?

2. The qualities of Harold Pinter's writing, adaptation of the novel? The framework of Henry Strauss's journey of discovery? The insertion of the various flashbacks, building up a picture of the young boys? A picture of Germany in 1932? The finale and Konradin's execution? The variety of tones of the musical score?

3. The title, the two young men and their friendship, Henry and his voyage of discovery, the truth about Konradin?

4. The introduction to Henry, the American sequences, the successful businessman? The decision to go to Germany? The arrival in Stuttgart, the 55 years, his motivation, meeting people, the clash with the taxi driver and the use of language, the bigotry of the past? The effect on Henry as he searched out locations of his past?

5. The nature of the search, the visit to the school site, to the cemetery? The people that he met - sympathetic, antipathetic? The headmaster and the record of the boys of the past? The memorial of those killed in war? Going to the office, the help from the bureaucrats, the long corridor, the descent in the lift, uncovering the boxes? The discovery of the coin and his putting it in his pocket? The symbols of the coin, the sword, the scissors?

6. The flashbacks: Hans and his age, experience, love for his mother and father, the quality of life at home, his father as a Jewish doctor, veteran of World War I? At school, the classes? Discussions, his success and intelligence? The meeting with Konradin, the offer of friendship, the growing bonds? The clash with the other students, the taunts of being Jewish? The sharing with Konradin, the walks, the books, going camping? The visits? The effect on Hans?

7. Konradin and his arrival, aristocratic background, manner of bearing himself, speaking? At school, the response to Hans's friendship? The shared experiences? His formal style, gradually unbending? The camping, the walks, the books?

8. The theatre episode, his mother's snub? Konradin's explanation of his parents' bigotry? The growing tension between the two? The prospect of the holidays? Konradin and his meeting with Hitler and his sympathetic appreciation of him? The irony of what was to happen to him?

9. Hans' father, his being German, fighting in World War I, decorations? His disbelief as to what was happening? The violence and the deaths around him? The attacks on the Jews? His sympathetic wife?

10. The new semester, the new teacher, the blatant propaganda and interpretation of history? The snide remarks? The boys and their attack on Hans? The fights? The Brown Shirts in the town - and the reaction of Konradin and Hans, the victim? Gertrude and her anti-Semitic tones?

11. The decision that Hans should go to America, his parents sending him, their firmness, the ritual suicide?

12. Each of the young men going his own way, the passing of the 55 years?

13. The drama of the plot to assassinate Hitler, Konradin and his arrest, execution - the jolt for the ending of the film?

14. Henry and his visit to the cousin, the aristocratic woman, her lack of welcome, the memories of the past?

15. Material familiar from other films? Impact for American Jewish audiences? For European audiences? The possibility of healing? The continued relevance of these themes?

RETURN HOME

Australia, 1990, 87 minutes, Colour.
Dennis Coard, Ben Mendelsohn, Frankie J.Holden, Micki Camilleri.
Directed by Ray Argall.

Return Home was written and directed by cinematographer, Ray Argall. Argall won awards for his photography in small-budget films like Plains of Heaven, The Prisoner of St Petersberg. His own film, while small budget, is a piece of Australian naturalism with a serious but affectionate look at ordinary Australians in time of recession. It is also a film of hope. (Some of the characters in this film, especially Frankie J. Holden's Steve, could be likened to A.B. Facey with his philosophy of `A Fortunate Life'.

The film is set in Adelaide, in an ordinary suburban street, service station and auto repair shop, and in ordinary people's homes. The film, made in the streets of Adelaide, gives the audience an authentic feel for people and place. This is contrasted with the high-rise offices of Melbourne and the world of economics and business.

The film is critical of economic rationalism and appeals to the Australian sense of fair play and mateship. It offers these as a counter to economic rationalism in hard times - a focus on people, relationships, affirmation.

The film is particularly well acted by Dennis Coard in the central role, Frankie J. Holden as his brother, Steve, and Ben Mendelssohn giving an excellent variation on his young man theme (presented so well in The Year My Voice Broke, Spotswood, The Big Steal, Nirvana Street Murders). The supporting cast offers the same atmosphere of realism, authenticity.

The film has a strong musical score with contemporary songs offering lyric comment on the action. With the title, the film uses Dvorjak's New World Symphony with its theme of going home. Ray Argall's next film was Eight Ball, the story of the friendship between men, two men of different backgrounds - offered with the same naturalistic and humane touches. Argall won the Best Director award for Return Home in the 1990 Australian Film Institute Awards.

1. A pleasing film? Impact? Ordinary people? The transition from the '80s to the '90s? The theme of a fortunate life?

2. The Melbourne city settings, the impersonal high-rise buildings? Offices? The contrast with Adelaide and its suburbs, the ordinary streets, homes, the beach? The service station? The realism by means of naturalistic photography and acting? The effect on the audience for identification and sympathy with the characters? The musical score, contemporary, classic, the lyrics commenting on the action?

3. The title, an archetypal theme? The place of home? The contrast with the place which is away from home? Overtones of the prodigal son and the return? The need to leave, the need to return? The meaning of home? Dvorjak's musical theme?

4. The opening and the memories of the '70s, the contrast with the '90s? Middle-aged men when they were young, the warmth and glow of the colour, cars, speed, friends? The significance of the past memories? In the Australian urban context?

5. Noel at work, his partner and his irresponsibility, the rat-rate, the high-rise offices of Melbourne? His leaving? Noel liking his work but finding it impersonal? His skills and his success? His not wanting to go back, the delay? The return to the office and its effect? His finally leaving and returning home?

6. Noel as the focus of the film, as a middle-aged man, his working in Melbourne, pleasant personality, the failure of his marriage? Age, returning home? South Australia? Meeting Gary, the hazardous ride back to the service station, the loud music, the car and Gary's hooting, the driving - and his memories of the past? Meeting Steve and the bond between the two brothers? Affection, manner of speaking, Australian irony? June and the child, his feeling at home with the family, ordinary, relaxed, playing in the backyard? The visit of Steve and Noel to their father, the memory of the past? The clashes with the father? Hitting him? Noel wandering round, working in the garage and helping out? Noticing the custom at the hairdressers? Aware of the financial problems? The strong bond with Steve, the memories, the clashes - especially with Noel suggesting new ideas for the service station? Talking with Gary, friendship, offering him advice? The sharing of the car, picking up the child at school? Relating to people round about, the past girlfriend from schooldays? His meeting the musician and chatting with him, getting him to sing a song? The gradual relaxing, changing? Acknowledging his past - and the change for the future?

7. Steve and June, the love between them, Steve as husband and father, hardworking, making a living, not greedy? His skills at his work, long hours? The strong, silent but affectionate man? The bonds with Noel and talking with him? At home, affection for June, playing with his child? The decisions about spending money, changing the garage - and his reluctance? Taking on Gary, not affirming him but praising him out of his hearing? His ironic Australian humour? The advice for Wendy? Resisting change, money and machinery? Doing favours for the customers? Knowing Noel well, understanding him? Glad of his return? A future? June, the strong woman, wife and mother, doing the accounts, at ease with people, glad of Noel's help, interested in new ideas and change, her abilities at managing? The child and growing up in this kind of Australian household?

8. The sense of family, the affirmation of the traditional family? The hurts in the older generation? Leaving home, the return? Possibilities of reconciliation? The next generation and greater expressiveness, affection?

9. The portrait of Gary, the brash young man, gawky? Driving home, listening to the music, chatter? Hooting and impatient with people? His skill at his work? Steve not affirming him but yet having him around, praising him? The clash with Wendy, staying at the pubs with the boys? Missing her, taking his time to apologise? Her rejection? His dressing up, going to apologise to her? The visit to the supermarket? The bond between the two and its potential for growth? Meeting Noel, friendship, chatting about his job? About age and apprenticeship, possibility of moving to another job? His impatience at his job and accusing Steve of being a perfectionist? Steve growing to affirm him, the effect of such affirmation on him? The friendship with Noel, talking about 10 years' time and the future? The reconciliation with Wendy? Gary as a younger version of Steve?

10. Wendy, the supermarket meeting, the clash with Gary and trying to tell him the truth? Their relationship, her being hurt, his finally giving the apology and her accepting it? Gary's friend and the break-up with his girlfriend? Not getting together again? Gary and the potential for steadiness?

11. The detail of life, the audience immersed in the life of the family, the service station, in the street?

12. The background of the '80s and '90s, economic rationalism, unemployment, mid-life crises? A humane face on crises?

THE RETURN OF THE MUSKETEERS

UK/France, 1989, 101 minutes, Colour.
Michael York, Oliver Reed, Frank Finlay, C.Thomas Howell, Kim Cattrall, Roy Kinnear, Christopher Lee, Geraldine Chaplin, Philippe Noiret, Richard Chamberlain, Alan Howard, Jean- Pierre Cassel, Billy Connolly, Bill Paterson.
Directed by Richard Lester.

The Return of the Musketeers is based on Alexandre Dumas' novel `20 Years After'. It tells the story of the ageing musketeers, two decades of the Three Musketeers.

The screenplay has once again been written by George McDonald? Fraser (the Flashman series of books) and directed by Richard Lester. They made a success in the early and mid-'70s with The Three Musketeers and The Four Musketeers.

There is something of the same tone about this film - but ageing musketeers are certainly not as dashing as young ones, the farcical elements are played up and become raucous rather than entertaining. Also, the villainess is of the younger generation something of a victim of the musketeers. The screenplay, also, does not seem quite as witty as the originals. In fact, the film was not a commercial success and was released mainly to video.

The four stars as musketeers return, as do Geraldine Chaplin, Christopher Lee and Roy Kinnear. (Faye Dunaway, Raquel Welch and Charlton Heston from the original are deceased!) However, there are good additions to this new film: the younger generation represented by C. Thomas Howell and Kim Cattrall, very lively and enjoying herself as Justine de Winter, daughter of Milady de Winter. There is also an interesting characterisation plus send-up of Cardinal Mazarin by Philippe Noiret. Oliver Cromwell and Charles I make appearances in the persons of Alan Howard and Bill Paterson. Billy Connolly even makes a cameo appearance as King Charles's golf adviser.

The film is lavish, in the style of its predecessors - but, like the musketeers themselves, rather tired. The film is dedicated to Roy Kinnear, who died during production (as is evident from some sequences where his character is photographed from the back with a substitute actor).

1. An entertaining action melodrama? The popularity of the original films? 20 years after?

2. European locations, the atmosphere of 17th century Paris, the countryside? The palaces? The contrast with Puritan England? Stunts and special effects? The swashbuckling score?

3. The star cast? The original musketeers, original cast? Additions?

4. The voice-over by D'Artagnan? His narrative, perspective on issues?

5. The musketeers 20 years after. D'Artagnan and his waiting at court, not rich, begging jobs from Cardinal Mazarin? Being paid in silver? Trying to enlist the other musketeers? Porthos and his wealth, riding on the horses and shooting, the trio and their playing the music? His wanting to be a baron? Athos, his retirement, old and fat, his young son and his scientific pursuits? Aramis and his being ordained, his lady loves, the attack on his person, warding off foes? The Queen's confessor? The possibility of their working together? Athos refusing, Aramis clashing with D'Artagnan and leaving?

6. The mission: working for Cardinal Mazarin, the duke escaping from prison? The pursuit? The tree, the bridge, the mishaps? Being set on by Athos and Aramis? Their decision to work together?

7. Cardinal Mazarin and his influence, relationship with Queen Anne? With the young Louis XIV? His ruling of France, imprisoning the Duke of Beaufort? The queen and her scattiness, memories of the musketeers, wanting to use them? The news about Oliver Cromwell and the execution of Charles I? A mission for the musketeers?

8. Raoul as the young generation of musketeers, the clash with D'Artagnan, his despising of the musketeers? The clash with Planchet? The irony of his meeting them again? His decision to share in the work of the musketeers? His encounter with the priest, the executioner, the beheading? The swordfight - and the revelation of Justine de Winter? The attraction?

9. Rochefort and his being in the Bastille, released, charged to look after the duke, the escape? His plight? Going to his daughter? Her reception of him? His giving the names of the musketeers? The passport to England? Accompanying his daughter to England?

10. 1649, Charles I and his arrest, and his playing golf? Oliver Cromwell, the Roundheads? The plan to execute Charles I? Justine de Winter as a spy for Cromwell, her return? The musketeers and their mission to Cromwell's England, wanting to save the king? The plan in paying off the builders of the scaffold? Their breaking through the room? Waiting under the scaffold? Raoul and his help? The dripping blood? The king executed and the failure of their mission? The irony of their getting rid of the executioner? Justine stepping in as the executioner of Charles I? Cromwell's visit and his telling her to leave the country? The decision to return? The musketeers and their plan? The ship, the spies, loaded with gunpowder? Both parties on the boat? Porthos wanting a drink and finding the gunpowder? The two leads? The fight, the escape of the musketeers? The explosion?

11. Mazarin in France, the Duke of Beaufort wanting power? The plans to get the king out of the city? The stances of the queen? Justine and her return, the fascination of the king for her, her diplomacy and wiles? Getting him out of the city? The attack of the musketeers? The siege in the castle? The fighting? Justine and her going into the moat?

12. The musketeers and their trying to save the king? Their rewards? Porthos a noble? D'Artagnan and his commission? Aramis and his return, going back with the queen? Becoming a bishop? Athos and his wanting honour - and Mazarin's listening to him, signing the documents, the return to Paris?

13. Justine de Winter as villain - in the tradition of her mother, of her father? Her wanting vengeance against the musketeers, clashes with Athos?

14. Rollicking adventure? Comic touches? Swashbuckling? History, politics? An entertaining combination?

THE RIDDLE OF THE STINSON

Australia, 1987, 100 minutes, Colour.
Jack Thompson, Helen O'Connor, Norman Kaye, Richard Roxburgh, Mark Lee, Susan Lyons, Esben Storm.
Directed by Chris Noonan.

The Riddle of the Stinson is based on a true story which took place in 1937. A Stinson plane from the Airlines of Australia was caught in a storm and crashed in the Green Mountains. Alleged sightings on the northern New South Wales coast meant that the official search centred on the coast and the sea in central New South Wales. Bernard O'Reilly, proprietor of a guest house at Tamborine, had a sense that the plane had crashed in the mountains. He set out, saw a burnt patch amongst the trees and decided that it was either lightning or the plane. He discovered two survivors, led a party back into the bush to bring them out. Bernard O'Reilly wrote the celebrated books 'Green Mountains' and 'Cullenbenbong'.

This telemovie was produced by the Kennedy- Miller company for the bicentenary year. It was written by Tony Morphett and directed by Chris Noonan. It has a strong cast led by Jack Thompson as Bernard O'Reilly. Norman Kaye has a good role as one of the survivors, Binstead. There are interesting supporting performances from Esben Storm as Harry Meissner, the Courier Mail journalist, and Susan Lyons as the celebrated New Zealand aviator, Jean Batten. Dennis Miller and Mark Lee have brief but telling roles as the pilots.

The material is interesting in itself, the locations are beautiful. However, the drama lacks the momentum that it might have - and so is interesting rather than interesting and dramatically exciting.

1. The impact of this telemovie? A part of Queensland history? The evocation of the past, the history of aviation? Bernard O'Reilly and his bush heroism?

2. The use of forest locations, the atmosphere of Tamborine Mountains in 1937? The beauty and the ruggedness of the Australian bush? Flora and fauna? The musical score and its country and western style, plaintive evocations? Contemporary songs?

3. The title and the focus on the planes, the crash, the puzzle about the crash, the search, Bernard O'Reilly and his discovering the survivors and solving the riddle of the Stinson?

4. The focus on Australian aviation in the '30s: the Stinson planes, number of passengers, the number of flights, amenities, technology? Reliability? the aerodromes? The ordinary running of the air service? The initial flight introducing us to characters and styles of flight? The pilots and their skills, their attitudes, their facing. difficulties? The decision for changing routes? Lack of radio control? The crash in inaccessible territory? The mounting of the search? Sightings and information given from people? The Queenslanders believing the official information and not giving information of what they saw? The changes in aviation since the '30s?

5. The focus on Bernard O'Reilly in the Green Mountains, a bushman, a dreamer? The guest house and the guests and the entertainment? Viola and her running of the guest house, the work, the helping of the guests? The relations and their helping? The daughter and her relationship with her father? Details of life at the guest house, the dance? The radio announcement about the crash? O'Reilly and his hunches, his enquiring of his associates and friends, the building up of the information, his decision to go out, his bush skills, the discovery of the burnt trees, the discovery of the survivors, his ingenuity, getting the group to go in, organising the group? His relationship with his wife, tensions? Their love for each other? The final newsreel praise of O'Reilly and his leaving the cinema? His modesty? His plea that that was what any decent and ordinary Australian would do?

6. The pilots and their skills, as personalities, the arrangement with Jean Batten, the birthday celebration on the plane, the decisions and the crash? Their not surviving?

7. The range of passengers, their backgrounds, interaction with each other? The humour of the Dale Carnegie techniques and their wearing thin? On the plane, the turbulence, the drink, apprehensiveness?

8. The transition to the crash? The film captioning each day and announcing it with date? The final times?

9. Binstead and his background, two names, money? Proud and his being late for the plane? The Englishman and his being scared? Their surviving? Proud's leg and the leeches, the irony that they saved him from gangrene? The Englishman and his pretending to see the house to save Proud, his going to search, his lack of bushcraft, his falling down the waterfall, O'Reilly's discovery of his death? The Englishman and his injury, lying in the bush, being found, Binstead willing him to live, his tears that O'Reilly would not return? The operation? Binstead and his seriousness, his ingenuity in the bush, testing out the berries, the coo-ee for the birds? His supporting Proud? His cheerfulness in the rescue? The final talking to Proud about the money? Surviving?

10. Harry Meissner and his interest, photographs, lack of bushcraft, going in, his reporting to Australians?

11. The place of The Riddle of the Stinson in Australian stories? Bernard O'Reilly and the Green Mountains? Commemorated fifty years later?

THE RIDDLE OF THE STINSON

Australia, 1987, 100 minutes, Colour.
Jack Thompson, Helen O'Connor, Norman Kaye, Richard Roxburgh, Mark Lee, Susan Lyons, Esben Storm.
Directed by Chris Noonan.

The Riddle of the Stinson is based on a true story which took place in 1937. A Stinson plane from the Airlines of Australia was caught in a storm and crashed in the Green Mountains. Alleged sightings on the northern New South Wales coast meant that the official search centred on the coast and the sea in central New South Wales. Bernard O'Reilly, proprietor of a guest house at Tamborine, had a sense that the plane had crashed in the mountains. He set out, saw a burnt patch amongst the trees and decided that it was either lightning or the plane. He discovered two survivors, led a party back into the bush to bring them out. Bernard O'Reilly wrote the celebrated books 'Green Mountains' and 'Cullenbenbong'.

This telemovie was produced by the Kennedy-Miller? company for the bicentenary year. It was written by Tony Morphett and directed by Chris Noonan. It has a strong cast led by Jack Thompson as Bernard O'Reilly. Norman Kaye has a good role as one of the survivors, Binstead. There are interesting supporting performances from Esben Storm as Harry Meissner, the Courier Mail journalist, and Susan Lyons as the celebrated New Zealand aviator, Jean Batten. Dennis Miller and Mark Lee have brief but telling roles as the pilots.

The material is interesting in itself, the locations are beautiful. However, the drama lacks the momentum that it might have - and so is interesting rather than interesting and dramatically exciting.

1. The impact of this telemovie? A part of Queensland history? The evocation of the past, the history of aviation? Bernard O'Reilly and his bush heroism?

2. The use of forest locations, the atmosphere of Tamborine Mountains in 1937? The beauty and the ruggedness of the Australian bush? Flora and fauna? The musical score and its country and western style, plaintive evocations? Contemporary songs?

3. The title and the focus on the planes, the crash, the puzzle about the crash, the search, Bernard O'Reilly and his discovering the survivors and solving the riddle of the Stinson?

4. The focus on Australian aviation in the '30s: the Stinson planes, number of passengers, the number of flights, amenities, technology? Reliability? the aerodromes? The ordinary running of the air service? The initial flight introducing us to characters and styles of flight? The pilots and their skills, their attitudes, their facing. difficulties? The decision for changing routes? Lack of radio control? The crash in inaccessible territory? The mounting of the search? Sightings and information given from people? The Queenslanders believing the official information and not giving information of what they saw? The changes in aviation since the '30s?

5. The focus on Bernard O'Reilly in the Green Mountains, a bushman, a dreamer? The guest house and the guests and the entertainment? Viola and her running of the guest house, the work, the helping of the guests? The relations and their helping? The daughter and her relationship with her father? Details of life at the guest house, the dance? The radio announcement about the crash? O'Reilly and his hunches, his enquiring of his associates and friends, the building up of the information, his decision to go out, his bush skills, the discovery of the burnt trees, the discovery of the survivors, his ingenuity, getting the group to go in, organising the group? His relationship with his wife, tensions? Their love for each other? The final newsreel praise of O'Reilly and his leaving the cinema? His modesty? His plea that that was what any decent and ordinary Australian would do?

6. The pilots and their skills, as personalities, the arrangement with Jean Batten, the birthday celebration on the plane, the decisions and the crash? Their not surviving?

7. The range of passengers, their backgrounds, interaction with each other? The humour of the Dale Carnegie techniques and their wearing thin? On the plane, the turbulence, the drink, apprehensiveness?

8. The transition to the crash? The film captioning each day and announcing it with date? The final times?

9. Binstead and his background, two names, money? Proud and his being late for the plane? The Englishman and his being scared? Their surviving? Proud's leg and the leeches, the irony that they saved him from gangrene? The Englishman and his pretending to see the house to save Proud, his going to search, his lack of bushcraft, his falling down the waterfall, O'Reilly's discovery of his death? The Englishman and his injury, lying in the bush, being found, Binstead willing him to live, his tears that O'Reilly would not return? The operation? Binstead and his seriousness, his ingenuity in the bush, testing out the berries, the coo-ee for the birds? His supporting Proud? His cheerfulness in the rescue? The final talking to Proud about the money? Surviving?

10. Harry Meissner and his interest, photographs, lack of bushcraft, going in, his reporting to Australians?

11. The place of The Riddle of the Stinson in Australian stories? Bernard O'Reilly and the Green Mountains? Commemorated fifty years later?

REMEMBER ME

Australia, 1985, 100 minutes, Colour.
Wendy Hughes, Richard Moir, Robert Grubb, Sandy Gore, Carol Raye, Peter Gwynne, Bob Ellis.
Directed by Lex Marinos.

Remember Me is a psychological thriller written by Anne Brooksbank. She has written a number of films and telemovies including Archer, Handle With Care. The story was based on an idea by her husband, writer Bob Ellis.

It was originally intended as a project for director Paul Cox with the title Should Auld Acquaintance ... ?

The film is well-crafted, finely photographed by Yuri Sokol, who works on Paul Cox's films. There is an evocative score by Sharon Calcraft. However, the film, with its conventional thriller aspects, is sustained by the performance of Wendy Hughes. Richard Moir offers a sense of menace. (They had worked together in An Indecent Obsession which was also directed by the present director Lex Marinos.) Remember Me is familiar material, might have been more exciting and depthing than it is - but works quite well as a psychological thriller.

1. The impact of the thriller? Psychological exploration - with the touch of soap opera?

2. The use of Sydney, its environment? special effects? The moody score?

3. Authentic atmosphere? The title, comparisons with the suggestions of the original title?

4. The portrait of Jenny: at home in the suburbs, her relationship with the children, with her husband, the flat tyre, her work with Mrs Carter (and the later visit of Mrs Carter and her relations, the legal and social situations, Mrs Carter's death)? Her relationship with her co-worker? An ordinary day, the phone call, Howard's intervention in her life again, going to the gardens, the meal, beginning an affair with him? Her dreams and the memory of the hanging? Her estrangement from her husband? Not able to tell him the truth? The encounters with Howard, going to the art exhibition and seeing him? Writing him letters? The friendship with Adele and advice from her? Her decisions? The going on the holiday, the punt, Howard's appearances and disappearances? Becoming edgy and losing her control? With her parents, Barbara's arrival to work with her husband, the truth about the hanged man? Her becoming more and more terrified? Howard hiding, pretending to hang? Taking her, his mad plan for her? His death? The end and the resumption of life?

5. Howard, the background of the marriage, his cleverness, madness, relationship with Jenny's father, the asylum? His phone call, reappearance, with his birds, the affair, the meal and sharing with Jenny, his saying that he would go out of her life, the letters, haunting her, hanging, his plan to get her committed? His death?

6. Geoff and his work, relationship with Jenny, being bewildered, with the children, on the holiday? Barbara?

7. Jenny's parents, pleasant, the edge, the role that her father had in her marriage, Howard's madness, his death?

8. The worker and her advice and friendship for Jenny? Adele and her help, supplying the information about Howard?

9. Jenny at work, the importance of the sequences with Mrs. Carter, her fears and phobias,(paralleling Jenny’s)? Her family?

10. How psychologically credible was the film? Romantic thriller? Exploration of madness?

RELATIVES

Australia, 1985, 95 minutes, Colour.
Michael Aitkins, Jeanie Drynan, Ray Barrett, Alyson Best, Brett Climo, Norman Kaye, Bill Kaye, Rowena Wallace.
Directed by Antony J. Bowman.

Relatives was originally intended as a telemovie, However, the response to the characterisation, the black Australian comedy meant that it gained some theatrical release. The film is reminiscent of Robert Altman's A Wedding. A group of relatives gather for a celebration, interact with comedy, with pathos and with tragedy.

The film gathers a great number of Australia's character actors and actresses. They each give very good performances - but the screenplay does not give them all fine and humorous things to do. However, this is an offbeat look at Australian families, traditions, hypocrisies - and is therefore welcome as an addition to an Australian comedy.

1 The Australian flavour of the film? Universal appeal? The focus on a family and its traditions, the range of characters, humour and tensions?

2. The telemovie style: the introduction of characters, the quick situations to highlight character? The importance of editing and cross-cutting? The contribution of Norman Kaye's score and performance?

3. The focus on human nature, men and women, old and young, parents and children - Australian style?

4. The title and the focus on family: relationships, love, rebellion, betrayal, members taken for granted?

5. The basic situation: the tradition of the homestead, the family and its many years there? The grandfather as the pioneer? The differences, the changes, the family holding onto the property, the son having to manage the homestead, the marriage break-up because of it, the next generation unwilling to manage it, the need for selling the farm, grief, the new man and his wanting to invest in the homestead? The credibility of the situation? The range of responses by the audience depending on such traditions and experience?

6. Bill Kerr as Grandpa: his place in the old people's home, his 80th. birthday, the preparation for the trip, the comedy of the trip, the children's reaction - not like home, the smell, his getting out on the side of the road, his deafness? His being welcomed, the presents? His relationship to each member of the family? His crustiness? Alex? The scotch in the fruit salad? His reaction to the opening of the presents, his shrewdness? The truth about the selling of the homestead? His final wandering around the property, the pathos of his death and its situation?

7. Ray Barrett portraying the loving son, the manager of the homestead, the experience of losing his wife, his relationship to his children and their estrangement? The difficulties, not telling the rest of the family, his distance from some affection? Problems? The relationship to Claire and his love of her? His not understanding Ross? Having to cope? His relationship to his father? His sister's complaint about the sale? Alf and the new situation for ownership, the management of the farm?

8. Ed as the typical parson, playing his music, his eccentric manner, the car, his style, the pink handkerchief, his soft manner, the drink? His work in the parish? Chaplain to the P. & 0. cruise? His being seen as an old duffer? Relating to people? His crying about the future?

9. Joan and her pompous style, talk, Alf and her relationship with him? her spoiling of Stanley? The flat tyre and the changing of the tyre? The present and the jack-in-the-box? Her manner of talking, snobbery, treating foreigners with disdain? Stanley's fall and her over-reaction? Her overhearing the information about the sale of the homestead? Her anger at her brother? Her not knowing her husband - especially in his affair? Her future? Stanley and the fight, the horse, the gun? The fun poked at Joan?

10. Claire and her visit to Europe, relationship with Alex, bringing him to the family, bringing in the outsider, her relationship, the sexual encounter? Overhearing Alf and Catherine? Their laughing? The experience with Stanley and the children? The bonds between the two? Alex and his European background, his own biases, the reaction of the family, Ross bringing him to the celebration, the welcome? His future?

11. Ross and the modern generation, his car, offhand manner, the earphones and the music, the dropout, no future, not wanting to manage the homestead, his bonds with his father?

12. Nancy and Peter and their children, the typical Australian family, going to get Grandpa, the hazards of the trip, Peter, his work and his discussions about the law, offering free help, a low-key man? Nancy as mother, fussing about the children, biases, nice? Their enjoyment of the outing, coping with the difficulties? The children and their fighting, rivalry, Stanley, the horse, the gun, the camera?

13. Alf as the henpecked husband, low-key, ignoring his wife, his own self-indulgence, Catherine and the affair and the mockery of middle-age sexuality, his wealth, his wanting to invest in the property?

14. Catherine and her quiet manner, the sexual innuendo, leaving the meal, the liaison with Alf, the sexuality and laughter, her external decorum? Herb and his late arrival, the cricket, the male chauvinist, loud manner?

15. The film's framework with the focusing on the characters, the trips to the homestead, the different cars, reactions, arrival? The greetings, the presents, drinks and games, the comedy of the meal, the aftermath?

16. The serious theme of families, inheritances, traditions, the changing times? Selfishness, generosity? The range of behaviour and reactions?

ROOM TO MOVE

Australia, 1985, 50 minutes, Colour.
Nicole Kidman, Terence Donovan.
Directed by John Duigan.

Room to Move is one of the Winners series, a group of eight children's movies sponsored by the Australian Children's Television Council. The film was written and directed by John Duigan (Mouth to Mouth, Winter of Our Dreams, Far East, One Night Stand). It is the most naturalistic of the series, focusing on a teenage girl in Sydney's suburban Matraville, her skill at sports, her friendship with an outsider, her interest in jazz ballet, her decision about her future. The film is interesting in its presentation of suburban life, homes, school. Nicole Kidman is very good in the central role as Carol, as is Alyssa as her punk-friend. There is a strong supporting cast led by Terence Donovan as her father.

1. The impact of the Winners series? Television for children? The focus on success and achievement - on a personal level?

2. Sydney locations, Matraville, homes, school, sports fields, hamburger places, theatre? The naturalistic style?

3. The title and its focus on Carol and her decision-making? Possibilities?

4. Suburban family life, mother and father, sister, meals, homework, discussions? School, classes, sport? Jazz ballet? The hamburger place, 'The Armpit'? Musical score to back this atmosphere?

5. The portrait of Carol: the early morning training, details of home life, her presence in class, study? Her training at school, achievement in races? Her father and his athletics background, books and videos, his own career, hopes for his daughter? The support of her mother? Tangles with her sister? Friendship with Angela, her sympathy for Angela's treatment at school? The discovery of the jazz ballet? The opening of her horizons? Going to The Armpit with Angela, meeting her friends? The dance with the owner? The-outing to the theatre, the pretence, the sympathetic dancer? The encounter with the police? Angela's father and his help? The snide remarks of the teacher in class, Angela's crisis, her leaving to go and help her? Her not doing sufficient training? Coming second in the important race? The choice to do jazz ballet as well as enjoy athletics? The support of her family? Portrait of a winner?

6. Comparisons with Angela: her appearance in class, punk style and the kids' criticisms, the school administration and their attitudes? Friendship with Carol? Home life, father and drinking, friends, television watching? Noise? music? Ridicule of the kids,-the loner? Carol giving her a lift? Studying with her, the visit to Carol's family? Her work at The Armpit? The jazz ballet and her skills, Carol's admiration? Their going to the theatre, pretending to be related to the dancer? Their enjoyment of the show? The police picking them up and bringing them home? Angela's crisis, her mother? Her being ridiculed at school, leaving the class? Carol's support? Her supporting Carol in her running? Friendship?

7. Father and his talent, video, books, training, watching his daughter, demanding her full-time training? Disappointment? Watching her come second? Agreeing to her decision?

8. The sketch of her mother, sister and her arguing with her, friendship and love?

9. Angela's father, the break-up of the marriage, the absent mother? His going for jobs? Friends, drinking, television? Concern about Angela?

10. The teachers: sympathetic, Mrs MacCready? and her attacks on Angela, the coach, the discussion about the need for effort, the scouts from the Sports Institute?

11. The sketch of kids at school, friendships, cruelty?

12. The theme of Australian sport, training, dedication, achievement? The idolising of sport? The need for room to move?

13. Dance and its place in Australian culture? Dance and sport and their effort? Achievement?

14. Themes of tolerance, understanding, friendship, choices, room to move?

ROYCE

US, 1994, 93 minutes, Colour.
James Belushi, Miguel Ferrer, Peter Boyle, Chelsea Field.
Directed by Rod Holcomb.

Royce is partly serious, mostly comic, a spoof of the James Bond films. James Belushi would not be an immediate choice for a top and successful secret agent. We see him in Bosnia at the opening of the film, daringly (but probably too easily) rescuing hostages. When his company is disbanded by a senator focusing on budget cuts, a colleague organises the ex-members of the group to kidnap his son, get information about a train journey with nuclear warheads and plan to abduct these and sell them. Miguel Ferrer is quite callously sinister as the leader of this renegade group.

However, Belushi (looking like Bill Murray and speaking comic asides like Murray) is sent to combat them, almost single-handed, and get back the senator's son.

A combination of wisecracks, action which is serious and action which is comic, the film anticipates such nuclear films as The Peacemaker and The Sum of All Fears.

1. Popular spoof of James Bond films? Popularity of the Bond films, the Bond character - and enjoyment of the send-up?

2. Bosnia, Washington, Ukraine - the atmosphere of eastern Europe in the early 90s? The cold war over, renegade KGB cashing in on selling warheads? The peace arrangements between the US and the USSR, the reaction of the old brigade in both countries?

3. The action sequences, chases, explosions, fights? Successful on the action level?

4. The film on the comic level, Belushi's appearance, weight, action, success, failures, his shrewdness, his being captured? His saving the day?

5. The character of Royce, unable to commit to his wife, yet their friendship and her coming to bail him out of jail? His flirtatious attitude in the Bond manner? His being rejected? Playing chess with the boy? His relationship to Huggins, his work, success? His seemingly doing things easily, telling everyone he was a secret agent? His being approached by Gribbin, his refusal, the official being shot dead at his door instead of himself? His friend being killed? His going to Huggins after being released from jail on suspicion of murder and Huggins disowning him? His going to the Ukraine, the woman agent and her later betrayal? Overhearing information, getting captured, with the senator's boy? His commitment to the senator? On the train, the nuclear warheads, his fight with Gribbin, Danny and his shrewd thinking? The final achievement, giving back his son to the senator and giving the son a lecture on love for the father?

6. Gribbin, the renegades, their action in the cold war, lacking moral perspective but merely the love of action? His control, killing his opponents? The abduction of the son, shooting the wife? Going to the Ukraine, the plans, his ruthlessness? The deal with the Russians? The achievement of his plot, the helicopter, Royce putting the explosive in his pocket? The portrait of renegade agents?

7. Huggins, genial, heading up Washington office? The procedures, following the rules - especially at the end over the phone and Royce not listening? The Senate, the budget cuts, the senator retiring for family reasons, not being arrested?

8. A combination of entertaining action and entertaining light heartedness?