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?

RED PLANET

US, 2000, 95 minutes, Colour.
Carrie Anne Moss, Val Kilmer, Tom Sizemore, Terence Stamp, Benjamin Bratt, Simon Baker.
Directed by Antony Hoffman.

Earlier in 2000, Gary Sinise and Tim Robbins and others went on a Mission to Mars, discovered its hostility but then discovered the mystery of life in the universe. In this expedition to Mars, Terence Stamp has the chance to suggest to astronauts and to the audience that there are cosmic issues about God and creation. However, when the crew reach Mars, they find that the vegetation so carefully controlled from earth to prepare for colonisation has been destroyed and the group have to struggle across the surface of the planet to rendezvous with the spaceship and the clock is ticking. Filmed in deserts in Jordan and Australia, the film stars Val Kilmer, Tom Sizemore and Carrie Anne Moss. It is enjoyable in its own way and raises issues.

1. The popularity of films about Mars exploration? The reality of Mars exploration from the year 2000?

2. The re-creation of the spacecraft, the attention to technological detail? The ship itself, vocal command? AMEE and its capacity for view finding, its aggressive nature? The station on Mars, its being destroyed? The technology of making the surface green and life-bearing on Mars? The musical score?

3. The title, Mars as intriguing, distance from Earth, the possibility of colonising it, the need for air and water, for vegetation?

4. The voyage, the various members of the crew introduced, their interactions? The nature of the mission, the explanation of each of their functions?

5. Bowman as commander, a woman commander, her efficiency, her relationship with the other members of the crew, with Gallagher (and the shower sequence, the flashback and the possible kiss)? The solar flare, the radiation danger, her keeping control of the craft? Her decisions? The possibility of repairing the craft, the contact with Houston, in contact with the men on the surface, the dark side of Mars and lack of contact, her urging Gallagher to come back, going out of the craft to save him? Their return to Earth? A serious character and commander?

6. Terence Stamp as the scientist turned philosopher? The conversations with Gallagher about science, philosophy, about the existence of God? Gallagher not believing, remembering his words later? On the surface, his being injured, not knowing that there was air, his decision to remain behind and die, his having seen Mars, his discovery of God?

7. Burchenael and his role as a geneticist, landing, the trek, the relationship with Gallagher? The fights, the disappearance of the technician? The cowardly member, the fights, his disappearance? His injuries, his getting an understanding of the vegetation, the air, the insects discovered in the philosopher's body? His getting the sample? Urging Gallagher to go on? His death?

8. The member of the crew who was in deputy command, the expedition, the journey, his taunting of the young scientist, his being pushed over the cliff?

9. The young scientist, the substitute, looking genial, his growing fears, being taunted, pushing the deputy leader over the cliff, his return, his lies? His escaping with the water, his being killed by AMME?

10. The trek on the surface of Mars, its looking forbidding, the lack of air, the discovery that oxygen was present? The dripping water? The last vegetation, the solving of the mystery of the insects? The possibility of this information being of use for humans to go to Mars? The popularity of this kind of interplanetary action adventure with the scientific background and the touch of religion?

RUNAWAY JURY

US, 2003, 118 minutes, Colour.
John Cusack, Gene Hackman, Dustin Hoffman, Rachel Weisz. Bruce Davison, Bruce Mc Gill, Nick Searcy, Cliff Curtis, Luis Gazman, Jennifer Beales.
Directed by Gary Fleder.

John Grisham usually writes a good yarn, a crime story as well as an attack on aberrations in the American legal system. Runaway Jury is no exception - and is an alarming picture of the lengths to which unscrupulous companies and individuals will go to to influence, manipulate and, if necessary, buy a jury.

The novel focused on the smoking-related cases but it has been changed here to the gun manufacturers. With The Insider in 1999 and, in fact, Grisham's own The Rainmaker, there has been strong film coverage of suits against the tobacco industry. With the recent spate of shootings in schools, offices and restaurants, the film is immediately relevant, a critique of interpretations of the Second Amendment which allows citizens to bear arms. One wonders whether there have been cases against companies making guns for damages for those killed in such massacres.

The film keeps quite close to the novel, John Cusack and Rachel Weisz playing the enigmatic juror and his associate being just as the novel presented them. In casting Gene Hackman as the expert brought in by companies to read juries and help them in their selection to win their case, the film-makers have moved from a clever but obnoxious Danny de Vito style fixer (akin to the role he played in The Rainmaker) and gone for elegant and supremely self-confident domination of all around him. Dustin Hoffman, playing the prosecutor, is lower-key but nonetheless persuasive as the ethical lawyer who is tempted by the manipulators. With such a good cast, as well as interesting performers like Cliff Curtis, Jennifer Beals and Luis Guzman as some of the jurors, it is hard to go wrong.

Director Gary Fleder has a flair for crime thrillers having made Things to Do in Denver When You're Dead, Kiss the Girls and Don't Say a Word.

1. The popularity of John Grisham's novels? The focus on crime, law, the processes? The targets of critique? The adaptation of a novel to the screen?

2. Audience interest in conspiracy theories, especially as regards the law, money, corruption?

3. The title and the expectations of the jury, the members, their behaviour? Decision?

4. The focus on the gun lobby, the quoting of the Second Amendment about citizens bearing arms? The manufacturers, the sales personnel, the smuggling of arms, illegal sales? The semi-automatics available? The wealthy powerbrokers in the industry? Their ability to buy a jury? To hire Fitch? Ruthlessness? The film's comment on the massacre at Gardiner, Illinois, the town taking the industry to the courts, their losing and becoming bankrupt?

5. The prevalence of massacres in the United States, offices, streets, restaurants, schools? The prologue, the home movies of the party, the parents, the child, the father going to work, the song for his son's birthday, the sudden shootings and the death of himself and his secretary? Information about the perpetrator, the sale of the gun, his killing himself, the reasons for his spree, his being sacked?

6. Celeste Wood as the widow, going to Rohr, the discussion about the case, the possible damages? The setting up of the trial?

7. The introduction to Nicholas Easter, as person, genial with people, his working in the shop, his being photographed? His apartment? Buying the candle in the voodoo shop, the encounter with Marlee, seeing her in the street, their meeting, their discussions, their plans?

8. The introduction to Fitch, his arrival, going into the headquarters, the team, his harsh attitudes, immediately making judgments? Dapper, self-confident?

9. The introduction to Rohr, his sense of justice, a man of the South, his suit and poor clothing - with Fitch laughing at him? Setting the scene, the jury expert, meeting him, pleading his case, pursuing him to the car, hired?

10. The surveillance of the jurors, the photos, at work, the data, the information, their secrets? The team's ability to dig further? The assessment by Fitch and his team, the assessment by Rohr's assistant? Fitch and his giving reasons for the suitability, the psychological make-up, sympathy?

11. The hearings, the judge, each of the jurors being interrogated, Cable and his being the front for the team, the microphone and his being guided as whom to accept or not? The potential juror and the demonstration against guns and his being taken from the court? Fitch's comment on Nick, seeing him as a clown, letting him be a juror?

12. The hearing, the giving of evidence, the interrogation of the witnesses, the gun seller, the gun dealer? The shop? The gun industry paying for trips as bonus complements? The later interrogation of the chief executive, audience having seen him with Fitch, his ruthlessness, with his companions deciding how much money could be put in the pool? Rohr needling him? The techniques of each of the counsellors in interrogation? Their speeches to the jury? How persuasive? How just?

13. The jury itself, Frank wanting to take over, Nick proposing the blind juror as the head? The vote? Frank losing power? Nicholas and his establishing himself as an influence, manipulation? His capacity to listen? Noticing detail? The stopping of the lunch order, his taking over, going to see the judge, their getting a lunch on the judge? His possibility of getting rid of a juror, the drinking, his taking the blame with the judge, the judge seeing the lipstick and dismissing the juror? The further pressure on individual jurors, the woman who had had an abortion, the man with AIDS, Millie and her rogue estate agent husband? In the bar, wanting to talk with the man with AIDS, listening to the woman who had the abortion, listening to Millie? Her attempted suicide? Lonnie and the promotion for his own supermarket? The investigation of the others? Their talk, friendships or not, the dynamics of the jury?

14. Marlee and her phone calls, to Fitch, to Rohr? Her threats, her wanting to sell the jury? Their proving their power by getting rid of the juror, by the sequestering of the jury? Their set-up of the meeting with Fitch, the false Marlee in the restaurant, the surveillance, her telling him to go onto the streetcar, their discussions, her nervousness afterwards? The proposal of the money? Ringing Rohr, his deciding that he would ask his company for the money? Fitch asking the executives for his money?

15. Audience enjoying the power games and threats, Nick and his going home, the man pretending to be fixing his apartment? The return for the computer, finding it on the floor, setting fire? Rohr's assistant seeing this and telling him? Their getting more information about Nick, Cincinnati, his being on juries? Going to the home town, the university professor and the explanation of his background? Pretending to want a house, going to see Marlee's mother, the story of Gaby and Margaret? The massacre, Nick and his response, the deaths, the court case, the motivation for his and Marlee's behaviour?

16. Fitch, supreme self-confidence, the false Marlee? Going on the streetcar, the confrontation with Marlee, his assumed domination of her? Nick coming out of the motel and discussing with him? Their agreement? Rohr deciding against any payment for a jury? Trusting to the processes of justice? Reassuring Celeste Wood? His disappointments in the courtroom, their putting pressure on his main witness and his not appearing?

17. Nick, the confrontations with Frank, Frank and his military service, always talking about it, Nick needling him and his outburst in the jury room about not giving any cent to Mrs Wood? The others listening, his winning them over, telling Fitch that they voted with the heart? The verdict, the high damages?

18. Fitch, in the courtroom, listening, his assistant, Marlee and her warning that there was a robbery going on in their headquarters and their having to close up? His loss, financial, reputation, the fact that he was the adviser in the Gardiner case? Nick and Marlee confronting him?

19. The ending, Nick and Marlee watching the kids in the playground, Rohr watching them and smiling?

20. Themes of the law, the possibility of corruption, buying juries, emotional blackmail? The courts, the law, justice being seen to be done?

ROUNDERS

US, 1998, 122 minutes, Colour.
Matt Damon, Edward Norton, John Turturro, Gretchen Mol, Famke Janssen, John Malkovich, Martin Landau, Michael Rispoli, Josh Mostel.
Directed by John Dahl.

Rounders is a slang American word for gamblers. This is a film about poker and the psychology of the men and women who are addicted to gambling.

Matt Damon is the earnest law student who has an ambition to win the poker championship at Las Vegas. We see him obsessed, winning and losing, influenced by his friend, Worm (Edward Norton), who spoils his chances and gets him deeper into debt. He clashes with a Russian expert, John Malkovich with an affected and overdone accent, and is protected by his law professor friend, played with sympathy by Martin Landau. John Turturro also appears as a gambler who is successful but has learnt some wisdom and control in his games.

The film takes place mainly in darkened rooms, tension with games, the confrontations, the players trying to learn the giveaway tics that mark some kind of decision in the game of their opposition. For non-card players and non-gamblers, this can be sometimes confusing. However, the intensity of the game, the ambition to win, the addiction communicates itself very well from the performances.

This is also a man's film, the main rounders being men (with the exception of Famke Janssen). The only other significant woman in the film, Matt Damon's girlfriend played by Gretchen Mol, cannot take the competition between his attention to her and his obsession with the game.

The film was directed by John Dahl who made his name in the 1990s with a series of very strong film noir, Kill Me Again, Red Rock West, The Last Seduction, Unforgettable.

1. The impact of a film about gambling? Gambling professionals, addicts? The re-creation of the narrow and enclosed world of the gamblers? The rooms, the clubs, the contrast with Las Vegas and the championships? The film offering insight into the phenomenon of gambling, the psychology of gambling?

2. The New York settings, the apartments, the law firms, the places for playing poker, lighting and mood, in secret, locked away? The contrast with going on the road? An authentic atmosphere? The musical score?

3. The title, the reference to the professionals? Michael and his being a rounder, the aim and objective of his life? The portrait of the other rounders including Worm, K.G.B., Joey Kinish, Petra? Audience understanding of these characters, empathy, critique?

4. Mike and the voice-over, his descriptions, his self-confessions, his advice? The judge and the importance of his story about vocation and sense of vocation? The impact for Mike, the judge giving the money, Mike's final decision? Joey Kinish and his advice? Mike and his listening to advice, not taking it? The nature of his own vocation to poker and to winning?

5. The voice-over and the explanation of the moves in the poker game, behaviour, bluff, knowledge, giveaway tics and mannerisms?

6. The introduction: Mike and Jo, the need for money, his taking the money where it was hidden in the house, going to the room and confronting K.G.B., aiming to get money to go to Las Vegas? His losing, Jo and her response, hanging on, finally going? Mike and his law studies, his inability to concentrate? The professor and the game, his help? The job during the break, the briefs, his not working at them, ill-prepared for the court case, his failure, Jo leaving him? At a crossroads in life?

7. The poker games themselves, audience knowledge? Within the law or not? Joey Kinish and his trying to stay within the law? The visit to Petra, the discussions with her, her ambitions and staying within control?

8. The arrival of Worm, as a character, his friendship with Mike, his time in prison, his past? His interactions with Mike, friendship? The other side of poker addiction? Participation in the games, the bluffs? His owing money and somebody buying his markers? His need for getting the money, borrowing, being bashed? Mike and his help? The games with the police, his cheating, their finding out, bashing them? Mike and his wanting to separate from Worm?

9. Mike taking the debt, his becoming a different character, more ruthless, the decision to follow his vocation, to borrow the money from the judge, to go to K.G.B., confront him, bluff him, discover his tic in the breaking of the biscuits?

10. The judge, his character, friendship with Mike, support? The job? His story of the vocation? Giving the money? His being repaid, his trust being repaid?

11. Mike and his approach to Joey Kinish, asking for the money? The baths, Joe and his words of wisdom, refusing to lend the money?

12. Going to the creditors, K.G.B. and his control of the creditors? The build-up to the game with K.G.B., K.G.B's personality, mannerisms, obsessions, the bluff, the biscuits, Mike winning?

13. K.G.B. and his reaction, giving the money? A bad loser, admitting his loss, giving the money?

14. The payment, the story of the champion, Mike connecting again with Jo, his going to Las Vegas, the confrontation with the champions, his wanting to win?

15. The tradition of stories of gambling, insights into gamblers, their downfalls and obsessions? The tradition of films about gambling - and their offering moral lessons? How much moralising in this film?

ROOMMATES

US, 1995, 104 minutes, Colour.
Peter Falk, D.B. Sweeney, Julianne Moore, Ellen Burstyn.
Directed by Peter Yates.

Roommates is based on the autobiography by Max Apple, one of the co-writers of this film, Roommates: My Grandfather's Story. The film boasts a very strong cast led by Peter Falk as the grandfather (having to age over 100 years old) with D.B. Sweeney as his doctor grandson. Julianne Moore has a very sympathetic role as the social worker who marries the grandson. Ellen Burstyn is her snobbish mother.

The film is enjoyable, with a touch of sentimentality. However, Peter Falk as the Polish migrant who has grown up and worked as a baker in the United States, has an edge to his performance (even though it is very similar to his role in Neil Simon's The Sunshine Boys). D.B. Sweeney is very serious as the grandson who loves his grandfather who has looked after him since his parents died but finds him exasperating, especially at first in his relationship with Julianne Moore. However, as might be expected, there is ultimate reconciliation though not until after a number of years of semi-estrangement.

The film was directed by Peter Yates, who after a career in England made some significant films in the United States such as Bullitt in the 60s, The Eyewitness in the 70s, The Dresser in the 80s. However, his career was grinding to a halt in the 90s. After this film he made the Michael Caine- Maggie Smith- James Spader comedy Curtain Call.

1. A story of the generations in the United States? The migrants and the subsequent generations? Family loyalties and love? Tensions?

2. The opening in the 60s, Columbus, Ohio, Pittsburgh, Pennsylvania? Authentic settings? The passage of the decades? The musical score?

3. The title, the relationship between grandfather and grandson, when the boy was little and being looked after, at the university when the grandfather moved in, ultimately the doctor with his grandfather and the grandchildren? The overtones of the title and roommates?

4. The overview by Michael, his father and Vietnam, his mother's death and the grief? The rest of the family not able to take him in? His grandfather taking him? The bonds between Michael and Rocky, their shared experience? Michael's perspective when he grew up, becoming a doctor? Wanting to go to Pittsburgh, to do his internship, his taking his grandfather with him? The tensions in Pittsburgh? The further passing of time, Michael's marriage, the children, the antagonism from Rocky? The death of Beth? The grandfather wanting to do his best, Judith and her wanting the children? Peace being made and the final years before Rocky's death?


5. Peter Falk's performance as Rocky, the explanation of his migrating in the 19th century, given his name at Ellis Island, settling with his parents, becoming a baker? His love for his wife? His son's death? His caring for Michael, sharing things together? His continuing his work? His pride in Michael being a doctor? Michael and his living with him, bringing him in as a roommate to the university? Rocky and his instant disapproval of Beth, dislike of her, her visits, playing gin rummy, his accommodating to her? When Michael did not propose his engineering the proposal? His pride in his grandchildren? His staying away, Beth's death? Judith's interventions? Rocky and his schemes to save the children, taking them to their mother's grave? The confrontation with Michael in the cemetery? His final years, his death and the reconciliation in the hospital? (The Oscar-nominated make-up for Peter Falk's age?)

6. The character of Michael, the effect of his being an orphan, as a boy with his grandfather? His other relations, the gatherings? His work as a doctor, his decisions in the operating room? His bedside manner and Beth's criticism? Their meeting, his being attracted to her, improving his manner, meeting her mother, saving Beth from having dinner with her mother? Their time together, dancing, going back to the room, Rocky's disapproval? The meal, the antagonism with Rocky? His decision to take the internship, his not proposing to Beth, Rocky and his intervention? The wedding? The years passing, the children? His happy life? His concern about his grandfather, the years away, seeing him spoiling the television cooking show? Bringing him to his house? The death? His looking after the children, Michael and his going to pieces, his drinking, crashing the car? His seeming neglect of his children? Judith and her wanting to take them on a holiday, her threat of intervention? Pulling himself together? Rocky's death?

7. Beth, her bedside manner, help with the patient, criticism of Michael, their going out, the attraction, her mother? The fights with Rocky, her winning him over? Her children, her happy life, her death? Her mother and her snobbery, remarrying? Wealth? Wanting to take the children, seeing Michael drunk, threatening to take them to court?

8. A portrait of a family?

ROSENSTRASSE

Germany, 2003, 136 minutes, Colour.
Katja Riemann, Maria Schrader, Jurgen Vogel, Martin Feifel.
Directed by Margarethe von Trotta.

Rosenstrasse is a film about the Holocaust. However, instead of giving a broad scope about events in Germany during the 1940s, it focuses attention on a few characters and a special event: the rounding up of Jewish men and women and keeping them for a week in a former social office in Rosenstrasse, with the vigil outside of the wives and relatives of those interned.

The film also works well with an opening in New York at the beginning of the 21st century, a woman mourning her husband and becoming very strict Orthodox in her practice, her children not understanding. When the daughter is given an indication by an unknown cousin, she goes to Berlin to seek out a woman he knew her mother. The film then focuses on this woman, an aristocrat married to a Jewish man, her being disowned by her family, her husband being interned, her work to get him free. She also encounters a young Jewish orphan whose mother is inside but who does not come out, taking the girl into her own home and caring for her.

The film recreates the period well, especially the events on Rosenstrasse. However, it gives glimpses of life in the ordinary offices, in the high command, with the aristocrats and their comfortable way of life, of the high social life of members of the ministry and their entourage as well as the poverty and deprivation. The film also creates an interesting contrast with Berlin in the early 2000s as well as New York.

The performances are excellent, especially Katja Reimann as the woman who married the Jewish husband. The supporting cast is excellent and the film is both emotional and thought-provoking.

1. The emotional impact of the film? Intellectual impact? The use of classic film styles? Sixty years after the events?

2. The significance of the treatment of past and present, their interconnection? Of the Holocaust and Nazism? Memories? For Germans, for Jewish people, the succeeding generations as the events recede?

3. The structure of the film: the New York opening, the memories of Ruth, going back to Lena? The build-up of the 1940s episodes with the audience knowing what had happened before Hannah discovered it? The older Lena and her explaining things, their being visualised? The discovery about what finally happened? The quality of the intercutting, the build-up to the resolution?

4. Modern New York, the buildings, lifestyle? Berlin and its changes, the 21st century, buildings and streets, apartments? Rosenstrasse and the enormous changes?

5. Berlin 1943, Rosenstrasse itself? The offices for the Nazis, the social world of the Nazis, wealth and luxury? The flashback to the 30s, music, the possibility of a happy world? The home of the rich family, the contrast with the poor home for Lena? The vigil, the ordinary offices with the typists? The re-creation of the visual aspects of the period, its atmosphere and moods?

6. The title, the focus on the single week of February 1943?
7. Ruth as the centre of the story, Lena as the focus? The relationship between the two, Lena and her generosity, Ruth and her dependence? The break between the two, half a century of no contact? Grief on both parts?

8. The opening with Ruth, the death of her husband, grieving, going back to strict Orthodox practices? Hannah's angry reaction, especially about the exclusion of Luis from the ceremonies? Ruth's son and his criticisms? Ruth, the friends coming, the vigil, her rudeness? The ceremonies, Rachel's arrival, her asking Ruth to forgive? Rachel giving the clue, the story of her mother, the jealousy of the two girls, coming to America? Ruth being unforgiving? Hannah listening to Rachel's story, the photo?

9. Hannah and her decision to go to Berlin, the comparative ease with which she found Lena, visiting Lena's apartment, taping her? The nine-year-old Lena, going back over her life, her talk, hospitality, her saying the floodgates of memories opened, the 30s when she was young, accompanying Fabian on the piano, with Arthur, the joy and the prospects of touring, music? Her decision to marry, phoning Fabian? The transition to the 40s, the vigil at Rosenstrasse, her visiting the officials, her not being able to do anything, the insults to her by the officials for marrying a Jew? The social and her dressing up, the night with the minister for Fabian's sake? Her reflection on it 60 years afterwards? The photos in her room, Fabian's survival? The photos of Ruth, her grief?

10. Lena in herself, her aristocratic father, her kindly mother, his disowning her? Her going to his house to plead the cause and his turning his back on her? Her relationship with Arthur, his dizzy life, cocaine, with Lizzie? His being in the battle of Stalingrad, losing his leg, her imploring his help, his going to his friends and their turning their back on him, arranging the social, bringing food to Rosenstrasse? The happy marriage, Fabian taken away?

11. Fabian, working in the factory, suddenly arrested, the young girl and trying to encourage her, the tickets? Going to the room, the passing of the days, the discussion with the old man, playing chess, unable to send messages to the family? The officials and their brutality, wanting silence?

12. The men and the uncertainty of what was happening? The women, Ruth's mother being taken inside? The sick man, the men trying to look out the windows, the kindly guard in the street outside? His giving news to the women that their relatives were inside?

13. The scenes of the vigil, the growing number of women, their discussions, their loved ones, their anxiety? Ruth and her presence? The scenes of her searching for her mother, her befriending Lena, Lena's compassion? Taking Ruth home, giving her a life? The soldiers on guard, the terrorising of the women by the jeeps going past and returning, holding the women at gunpoint? The men at the window? Their finally being let out, the drama of the men meeting their loved ones? Ruth waiting for her mother and her not coming? Going home with Fabian and Lena?

14. The aftermath of the episodes, of the war, Lena and Fabian and their life in Berlin? Ruth, her aunt claiming her, her antagonism towards her cousin? Their going to America? Her cutting all links? The revelation from Lena about Ruth's father, that he was not a Jew, that he abandoned his wife? Ruth not knowing this? Yet her bitterness and the expectation that non-Jewish husbands would abandon their wives? And her demanding Luis to leave because she feared that for Hannah?

15. The contrast with the social life of the wealthy in Berlin, the minister and his lascivious looks, the women, Lizzie singing the song, the background of the films of the time, Lena dressing, playing the piano, allowing herself to be used for her husband's sake? The contrast with life in her father's house, the effect of the war, Arthur coming back from Stalingrad without a leg?

16. Hannah and the effect of interviews with Lena, her bitterness towards Luis on the phone, her apologies, her return? Ruth and her change of heart, understanding her past, the film ending with the celebration of a wedding, Jewish and non-Jewish, the possibility of new life in the 21st century?

RAJA

France/Morocco, 2003, 112 minutes, Colour.
Pascal Greggory, Najat Benssallem.
Directed by Jacques Doillon.

Jacques Doillon is an award-winning director, with such films of intense emotion as Ponette, the story of a little girl grieving over the death of her mother.

In a collaboration with Morocco, Doillon has gone to Marrakesh to focus on the story of a young woman. She is an orphan, does casual work with friends, is being kept by Youssef, a thief, while she sometimes takes on prostitution to contribute money. When she goes to work in the garden of a rich Frenchman, he watches her, she becomes infatuated, becomes ambitious, flirts. However, she also wants to protect herself. The film follows the progress (or lack of progress) in the seduction/courtship by the Frenchman of Raja. There are further complication with the two old women who do the housekeeping and who are against Raja.

The film is very French in its perceptions, in its presentation of passion, in its analyses of emotions.

1. Impact of the film? A glimpse at life in Marrakesh? Life in Morocco? The role of men, the role of women? The European tradition, the French? The cultural interaction? The universal values of love?

2. The Moroccan settings: the countryside, the desert, the inner city, the wealthy homes? Musical score?

3. The perception of women? In an Islamic society? North African society? The orphan, her friends, the initial game and the bet for kissing? Going to work? Being reprimanded by the men? Dominated by the men? Yet, their spirit of independence, clothes, talk about sexuality? The issue of prostitution? The men and the making of the decisions, arranging the marriages, intervening diplomatically or undiplomatically?

4. The character of Raja: her explanation of her background, her not having family, her reliance on her friends? Her relationship with Youssef, going to the airport and meeting the men for prostitution, giving him the money? The attraction of Fred? Her flirting, her doing the work? Her boasting, planning a marriage? Yet her reserve in the relationship with Fred? Coming on, flirting, withdrawing? Her bewildering him? At home with Youssef, giving him the money? The growing intimacy, her working in the household, working with the women? Fred and his proposal, her rejection? His bringing the women from the club home? Her varying moods? The build-up to Fred and his diplomacy about Youssef and herself in the house, with the brother? Her moving backwards and forwards? Her finally staying with Youssef, coming to Fred in the night, his disappointment? His coming to her home, her rejection? The issues of money and gifts? Her leaving him?

5. Fred, wealthy, France, his girlfriend in Paris? Indolent, watching the women, attracted to Raja? His continually being around them, not understanding what they said? Giving Raja gifts? Talking about seduction? Her flirting, his attentions? The detail of their interactions in the house? His jealousy of Youssef? With the brother, the discussions about marriage? Giving Youssef and Raja the house, coming in the night? His anger, rejection? His reliance on the two older women, their advice? Their not translating words properly? Misleading him? His exasperation, self-pity, emotional cripple? His final pursuit of Raja, watching her pick up the man, with her friend, the confrontation with Youssef? His going away - and weeping?

6. The men, Youssef, a thief, reliant on Raja yet dominating her? In the house, his bewilderment, leaving? Taking the money for the wedding from Fred at the bank? The brother, his sense of duty, arranging the marriage?

7. The women, the young women and their openness, their friendship, talk? The prostitutes at the club, Fred's visit, the madam, the young girls? Coming to the house, Raja having to give the swimming suit, their swimming in the pool? The older women, their devotion to Fred, advising him, antagonism towards Raja?

8. A portrait of mad love, obsession, misunderstanding? The role of language and mistranslation? Frustrated love? The future for Raja, for Fred?

THE RETURN

Russia, 2003, 105 minutes, Colour.
Directed by Andrej Zvjagintsev.

The Return is the first film by the director and won several awards At the Venice Film Festival, 2003, including the SIGNIS prize. Comments were made about how the film related to the tradition of Tarkovski. In fact, the film draws on classic cinema traditions from Russian cinema, a great deal of introspection, some mysticism, a focus on the Russian soul. The photography is both beautiful and bleak, a journey in the Russian countryside, side roads, lakes, finally, an island.

The film was also a powerful road movie, tense and symbolic where two boys, one who is devoted to his father, the other stubborn and resentful, travel with their father who has been absent from the family for twelve years. The tensions along the road make demands on the father who disciplines his children. The older boy tries to please. The younger boy is very angry. The film explores the demands of trust, the difficulties in communication, forgiveness and grief. There are overtones of biblical commentary (the photo of the father contained in the Bible, the relationship between fathers and sons, the sacrifice of Isaac). There are also symbolic echoes of the journey of the dead on the River Styx.

Water is used as a symbol throughout the film, opening with an underwater scene which in fact is the end of the film, the boys in the town jumping into the water, there is a lot of rain, voyages on water, storms. Another dimension is height where the young boy is afraid to jump - while his father, trying to rescue him from a tower falls to his death.

The film is a multi-layered look at relationships, set firmly in a Russian context and mood, but with enough universal values to interest world viewers.

1. The quality of the film? In the Russian tradition? Meditative, introspective, mystical? Pessimistic or optimistic? Salvation or not?

2. The town, the water, the road, the cafes, the road stops and the bridges, the island? The sequences on the water, calm and storm? The musical score?

3. The mythical overtones from Greek mythology? The references from the Bible?

4. The title, the focus on the father? His simply turning up, his relationship with his wife, travelling with the sons? His dying and their realising the loss of their father?

5. The structure of the film with the seven days of the week and the accumulation of the facts, the journey, the emotional impact?

6. The underwater opening and its resume at the end? The father sinking in the boat, with the box which is never opened?

7. The boys on the tower, their diving, Ivan and his fears, refusing to jump, their taunts? His staying for hours, his mother coming to get him? The irony of the heights and his later going up the tower, his father coming after him, the rotten wood and his losing his balance and falling from the height?

8. The two brothers, their relationship, at home, the older and his leadership, the younger and his being taunted? Their relationship with their mother? The presence of their father, looking in the bedroom, mystified? Going to the attic, finding the Bible, finding the photograph of themselves with him? The mother's explanation that he simply arrived?

9. The meal, the boys' reaction, the discipline, the grandmother and her care?

10. The father and his decision to take the boys with him? The preparations, the joy, the prospect of fishing and being with their father? Yet the mysterious nature of who he was, their talking in the bedroom, wondering whether he was really their father?

11. The days of the week of the journey, in the car, stopping for meals? The father and his discipline, manners, requiring proper behaviour from the boys? Their reaction? Ivan and his refusing to eat in the restaurant, his father giving him a time limit, his refusal? His later moodiness in the car and wanting to eat and the father refusing?

12. The fishing, learning, sharing the experience? Later on the island, the father giving them an hour's limit, their catching a big fish, their staying four hours, the reprimand? The watch and the older boy keeping the watch after his father's death?

13. Ivan, his age, experience, stubbornness, resentments? His father putting him out of the car, his standing on the bridge, the rain and the father returning? The effect of all of this on them? Going camping? His training them for survival in the woods?

14. The journey to the island, the motor going out, their rowing, the storm, arriving on the island hooded? Their being on the island, enjoying it, having to go?

15. The mystery of the father's occupation, their speculation whether he was a gangster, the box and not knowing what was in it, his phone calls and his not revealing what his work was?

16. Outside the restaurant, the father watching on while on the phone, the gang attacking the boys, the fight, the father getting in the car and pursuing the boy, his wanting to eat, urging his sons to hit the boy and their refusal?

17. The climbing of the tower, Ivan and his resentment, the older boy chasing him? The father, climbing the tower, falling to his death? The impact of the death on the boys? Their carrying the body, feeling lost, putting it on the boat? Rowing, getting to shore? The boat getting loose, the boat sinking? Their calling out "father" just as he was sinking?

18. The aftermath, their experience of knowing their father, his death? The camera going underwater to the submerged boat?

19. A portrait of family relationships, the long-absent father, the mother and her acceptance of her fate, the boys without a father and their growing up, the effect, the strange experience of their father, his inarticulate love, his severity and discipline? What might have happened had he lived? The aftermath for them and the memories of their father - and the photo from which he disappeared?

RAISING VICTOR VARGAS

US, 2002, 88 minutes, Colour.
Victor Rasuk, Judy Marte, Alta Gracia Gusman, Silvestre Rasuk.
Directed by Peter Sollett.

Give this small-budget, independent New York film a few minutes. It begins with the vain 16-year old Victor thinking that he is the macho gift to women, that this is how he ought to be. The rest of this short film is about who Victor really is under the poses and the bravado. And the film and the characters grow on you so that at the end you have a real feel for them, for their situations and struggles. It is a film of considerable humanity.

Writer-director Peter Sollett set his film in his own Brooklyn area but transferred it to Lower Manhattan after he met possible cast members. He chose amateurs who wanted to work hard in the film and let them improvise much of the dialogue. It works very well. Besides Victor, there is his younger brother, Nino, and his couch potato little sister, Vicki. They are being raised by their grandmother who migrated long ago from the Dominican Republic. Victor is infatuated with Judy and their up and down relationship is the centre of the film. There is Julie's tubby younger brother who wants to be friends with Vicki and there are the peer friends.

There is nothing particularly new in the film. What is pleasing is the way that it is made and communicates. Brothers Victor and Silvestre Rasuk are very good as the brothers as is Altagracia Guzman as the grandmother with her old world values, her exasperation at her grandchildren (even trying to send them away through local social services) but loving them just the same.

1. The first film of the writer-director? Its impact? Small budget, style, content?

2. The use of Lower Eastside New York locations, the streets, homes, ordinary life there? The musical score, songs?

3. The Hispanic atmosphere, the Dominican Republic background of the characters, English and Hispanic overtones, the history of the people from the Dominican Republic, their religious background, customs, moral perspective?

4. The amateur actors, their skills, improvisation?

5. The opening with Victor and Donna, the focus on Victor, his self-centredness, macho, age, experience? Victor as he thought he ought to be? His friendship with Harold, going to the swimming pool, focusing on Judy, Carlos and his arranging the introduction to Judy? Victor's talk, bravado? His discussions with Judy, taking her home, the drink, sitting on the bed, showing her his room? The lipstick on the glass? His discussions with Nino, asking about girls, his advice? The continued clashes with Vicki? The importance of his relationship with his grandmother, her looking after them, the photos on the mantelpiece? The initial anger with Vicki about telling everyone about his being with Donna, throwing the phone out the window? His grandmother bringing it back, her anger?

6. Victor at home, his sharing the room with Nino and Vicki, his curtain for privacy? The discussions with Nino, Nino playing the piano? His discussions with Harold and finding out about his relationship with Melanie?

7. The grandmother, her character, principles, looking after the children, raising them, providing a home for them, listening to Nino play the piano? Her seeing Carlos and her immediate reaction? Nino and the masturbation, her being upset? Their having to pack, going to social welfare, her explanation of the situation? Social welfare not being able to do anything? Their having to go back home, her being upset?

8. The effect of this on the children, their apology, decision to try? The meal, Victor inviting Judy? Judy making good impression, the lipstick on the glass, grandmother and her finding the other glass and confronting her? Judy leaving?

9. Victor and his following Judy despite his grandmother's warning, the apology, in the glasshouse, just being himself with her? Their discussions, being comfortable with each other, being real?

10. Judy at home, her relationship with Carlos, the reasons for her saying she had a boyfriend, trying to protect herself? The discussions with Melanie about her relationship?

11. Harold and Melanie, the discussions, the relationship, being comfortable with each other, taking things off, the sexual encounter, telling their friends?

12. Vicki, fat, watching TV, eating? Carlos and his friendship, talking, her reserve? Giving her the phone number? The grandmother ousting him? The grandmother locking the phone, Victor persuading her to unlock it, Vicki ringing Carlos?

13. The portrait of young characters, older characters? Seen in their context?

14. The insight into Victor, a boy, transition to manhood, bravado, macho expectations, the image that he wanted to project, coming to terms with who he really was?

THE RAZOR'S EDGE

US, 1984, 123 minutes, Colour.
Bill Murray, Teresa Russell, Catherine Hicks, Denholm Elliott, James Keach, Peter Vaughan, Faith Brook, Andre Maranne.
Directed by John Byrum.

This is the second version of Somerset Maugham's film about an American search for the meaning of life, the razor's edge. The 1946 version, directed by Edmund Goulding, starred Tyrone Power in the central role with support from John Payne as his friend and Gene Tierney as Isobel with Anne Baxter in her Oscar-winning performance as Sophie. Clifton Webb was Elliott Templeton.

In this version, the central role is taken unexpectedly by Bill Murray. The performance was intended to break through Murray's comedy persona in films such as Stripes, Ghostbusters. However, it was not until the 90s that this actually happened. He gave strong performances in Groundhog Day and then, more seriously, in Ed Wood, Cradle Will Rock and, especially, Lost in Translation. He does not seem at ease in the role - reacting often rather than acting. This is somewhat strange as he co-wrote the screenplay with director John Byrum. Byrum is best known for such films as Inserts and Heartbeat. Denholm Elliott has the Clifton Webb role while Teresa Russell is in the Anne Baxter role. Catherine Hicks is the Gene Tierney character.

The film recreates the United States before America entered into World War One, the ambulance brigade and the traumatic effect on the young Americans going to help in the trenches in France. The repercussions of this experience on the central character are that he wants to live his life to the full, is not interested in riches, goes to France to work as a labourer, is advised to read Indian Hindu literature and visit a monastery in the mountains of India. He returns, almost a secular saint, but tragedy still stalks him.

The film is ambitious - but is slow moving and does not have the power that it might have.

1. Somerset Maugham's story? Its popularity? Previous film version? The search for the meaning of life, in the American context?

2. The re-creation of the US, Illinois 1916? The battlefields of France and the trenches, action? Life in Paris for the rich in the 20s, for the poor? America and wealth, the Depression? India and the mountain temples? Paris during the 30s, wealth and squalor? The range of experience presented and recreated? The musical score?

3. The title, the monk explaining the difficulties of walking through life and trying to retain spiritual meaning, walking on a razor's edge?

4. US 1916, life in Lake Forest, the fundraiser for the ambulance? People, ordinary, aristocratic, snobbish? The friendship between Gray and Larry, Isobel and Sophie and Bob? Growing up together, their ambitions, relationships? The decision of Gray and Larry to go to France? Bob remaining with Sophie? Elliott Templeton and his visit and the atmosphere of the old world in Illinois? Isobel's mother and her aristocratic ways? Larry and his meeting Isobel, her being in the kissing stand, the discussion about his going overseas, postponing the wedding? Gray and his being ready to go? Sophie, her love for Larry, pregnancy, with Bob? Making demands on him?

5. The war in France, Piedmont and his being in charge, the vehicles, the two Harvard men and their flash car and his destroying it? Larry's reaction to Piedmont and shooting the vehicle? The hard work, the trenches, in the line of fire, the suffering?

6. The return to America after the war, traumatic experience, Larry needing time? The effect on Gray? Meeting Sophie again? Larry's decision to go back to Paris, his explanation to Isobel that he wanted to seek the meaning of life? Elliott Templeton and his promising to arrange things, his voice-over and the irony of his lavish plans with the reality of Larry in the ship, his work? The visit of Isobel and her mother? Staying with Elliott, his wealth, his servant, George? Larry and his visits? His wanting to put off the marriage, his reading, his apartment, letting down the tray for his food? Isobel and her visit, staying, seeing the squalor, running away, back to America? Larry's anger?

7. Larry and his continued work, in the coalmines, rescuing the old man, discussions with him, the Upinishads? His going to Indiana, the trek, the owner of the boats thinking he was wealthy, taking him to the mountains, his trek to the peaks? His reading, his contemplation, asceticism? His discussions with the monk? His decision to return, the theme of the razor's edge?

8. The return to Paris, continuing to work in the fish markets? The chance encounter with Elliott and George? The information that Isobel was in Paris?

9. Isobel and her return to the United States, Gray's proposal, the wedding - and Sophie looking on? Sophie and the accident, the death of her husband and child, the nun and her giving spiritual comfort, Sophie's railing against her? The passing of the years, Isobel and her daughters, the death of Gray's father, difficult financial problems, the Depression and their loss of money, their going to France? Gray and his depression?

10. Larry coming, going upstairs to see Gray, the hypnotic effect of healing him? Happiness? Meeting Sophie, the reality of her situation? Larry and his hoping to save her, her not drinking, the drugs? The clash with the owner of the restaurant? Her being a prostitute in Paris? The plans for the marriage, Larry announcing it? Isobel's reaction, wanting to buy the dress, taking Sophie home, attacking her verbally, saying she would fail Larry? Sophie and her confronting Isobel with her emotions and feelings towards Larry? Leaving her with the drink? Sophie going back to the club, with the owner, Larry trying to persuade her to come, the fight and his being thrown out, having to identify her body and her throat being cut?

11. His confrontation of Isobel, blaming her for Sophie's death? Trying to get her to accept this? Elliott dying, George and his hint about the invitations, Larry pretending - and Elliott's elegant declining of the invitation because of his previous appointment with his Lord? His death, the effect on Isobel?

12. Larry and his future, continuing to search?

13. The credibility of the film and its themes, audiences identifying with the spiritual quest? The inadequacy of organised religion? The spiritual search, the interior search? Returning to ordinary life and being a redeemer within this life?