THE RAGE IN PLACID LAKE

Australia, 2003, 90 minutes, Colour.
Ben Lee, Rose Byrne, Garry Mc Donald, Miranda Richardson, Christopher Stollery, Francis Mc Mahon, Nicholas Hammond, Saskia Smith.
Directed by Tony Mc Namara.

This is what many commentators like to call a quirky little Australian comedy. It is humorous, has eccentric characters, eccentric interactions.

The focus is on a young man, Placid Lake, who decides that the important thing for him to do in his life is to be conventional. The film, therefore, is one of the generation gap, insofar as his parents are still living a way-out kind of life, interested in their professions, certainly advocating social protest against all authority. The comedy is in Placid trying to find his way, surfacing his resentment against his parents as well as the parents trying to deal with this seemingly recalcitrant son. The parents are played by Gary Mc Donald, echoes of his Norman Gunston character, and British actress Miranda Richardson. Placid himself is played by Ben Lee. Rose Byrne appears as his love interest and support.

The film is directed and written by first-time director Tony Mc Namara. It appeared in 2003, somewhat after the vogue for quirky comedies and in a year that was not an outstanding one in the Australian film industry. It therefore stood out as a film of better quality than average in this year.

1. Another quirky Australian comedy? It universal appeal?

2. An urban comedy, the family home, the school and the schoolyards, the classrooms, the insurance workplace? The touches of the exotic with reference to Tuvalu and the videos?

3. The title, the psychological dimensions of Placid Lake's anger? The final song and its lyrics (composed and sung by Ben Lee)?

4. The narrative thrust of the film: Placid and his doing the voice-over, trying to understand himself, his parents? The 20th century - and the 60s "let it be" kinds of parents? The later decades, growing ambitions - and the quest for being anonymous and ordinary?

5. The prologue and the family putting Placid in the dress and sending him to school? People bashing him? His mother in Tuvalu, making documentaries? The absences? His father and the group therapy, as a disc jockey? Never angry, very anxious, nice but unreal? Not communicating well to Placid? Their talking about sexuality - and using Placid as a mediator to talk to each other? The film and Placid's expose of them? His mother's lesbian moment? Their not culturally sensitive - especially in Tuvalu, ignorant of languages? Their horror at his getting the insurance job, his mother finding him in the suit in the shed? His final confrontation with them as ineffectual parents? Going with them and attacking the three bullies? Their loving him and a reconciliation, hope for a creative future?

6. Placid, at school, his age, the final year? His long friendship with Gemma and his remembering it, describing her and her IQ? The platonic friendship? The three bullies at school, his continually mocking and challenging them, smart remarks? The talk with the girl about sexual encounters and his charming her and her response? His decision to win the film competition, the Super-Dooper? film and the parody of niceness in a school? Showing his real video and its exposes to family and parents and teachers? The reactions, the bullies chasing him to the roof, throwing him off?

7. Placid in hospital, its effect? His decision when he got better to become ordinary, the haircut, the suit, applying for the insurance job, the interview with Joel? Joel in his niceness and recognising when Placid was putting it over him? The friendship with Joel? The comparisons with Anton and his wanting to be Fast Tracked? Joel putting Placid on the Fast Track? Jane, working with him, her attitude towards sexuality, anonymous? Her admiration then as Placid became more important? The confrontation by Anton with the gun?

8. Gemma, a studious young woman, her IQ, interest in science, the pressures from her father? The platonic relationship with Placid and their discussions? Her expedition, coming to the hospital? Her suspicions about his job? Her wanting to break out - and inviting the young man over (whom Placid had earlier made believe that Gemma liked him to strip and to act as a dog and whom she put outside)? The change in her, going to the university, feeling sick at university, wanting to opt out? Her own decision about her love for chemistry?

9. The three bullies, the types, the military father, being outed - but it not stopping him bashing Placid? Later, with Placid at work, their disbelief? Finally the parents and Placid attacking them?

10. Gemma and her change, Placid and the meeting of executives, his story, Anton and the gun, Joel and his ulcer - and his backing out?

11. The confrontation at home, telling his parents they were terrible parents, their listening to him and responding? Placid and Gemma happily ever after?

12. The qualities of quirky Australian comedies, in terms of eccentric characters, situations, verbal and visual humour? The message that one should be creative and real?

RADIO INSIDE

US, 1994, 95 minutes, Colour.
William Mc Namara, Elizabeth Shue, Dylan Walsh.
Directed by Jeffrey Bell.

Radio Inside is a little-seen drama of personal interactions. It focuses on two brothers, their relationship, their devotion to their dead father, the pressures of the older brother on his younger, a more academic young man who has a spiritual sense. The younger brother comes back after graduating, tries to settle down, becomes infatuated with his brother's girlfriend, takes up a job as a lifeguard although he is skilled at writing commercials. He also has a religious sense, a kind of radio inside, that enables him at times to see his dead father, to answer phone calls, allegedly from Jesus, to meet him in his imagination and get some guidance for his life.

William Mc Namara usually plays vulnerable young men and does so here (though, at the same time, he played the murderer in Copycat). Elizabeth Shue has great charm in her role as the girlfriend. Dylan Walsh is the older brother.

The film raises some interesting themes - and although the younger brother is described as going to church, there are no scenes of this in the film. Rather, the emphasis is on his own inner spiritual life and values.

1. The style of the film? Content? Relationships? Spiritual dimension?

2. The Florida settings, the town, apartments, swimming pools? The ordinary life, day by day in Florida? The musical score, the songs?

3. The title and its meaning, the credits and the radio? Matt and his inner sense, like a radio attuned to hear and communicate? His seeing his father? His memories? The phone calls from Jesus? Jesus in the commercial? The dinner at the restaurant, the talk with Jesus - but his having telephoned Mike?

4. The character of Matt, seeing him contemplating in the bath, his memories of his childhood, relationship with Mike, the parents? His devotion to his father, the lake, fishing, swimming? The gradual revelation that he was racing with his father, unable to save him from drowning? His feelings of guilt that he let his father drown? His relationship with his brother, coming back home, resisting the pressure for a job? Becoming a lifeguard, his relationship with the children, the white boy and the black boy and their clashes, disciplining them? His training them? His resisting writing copy for the commercials - but doing it as a favour for his brother? At home, alone, his appearance, his father's shirts? The encounters with Natalie, the attraction, accompanying Mike, discussions with her? The dreams and their sexual impact on him? Talking to Jesus about this? Going to the bookshop, accompanying her to the party, the kiss? The effect on him, not wanting to alienate Mike, talking to Natalie and breaking with her? Hurrying to the swimming pool, thinking T.J. had drowned, Mike's glib remarks, his driving, stripping, going into the water with the stones in the haversack, walking along the road, arrested? Mike and his highlighting how Matt took everything to himself, setting himself up as a saviour? The finale with the three of them riding bikes?

5. Mike, six years older than Matt, his relationship with his father, affirmation, but feeling neglected? Busy, seeing him with his staff, the world of commercials? His relationship with Natalie, staying with her, yet offhand, running late, insensitive? Trying to reconcile, their clashes? Not turning up for the party? His realisation of Matt's infatuation, going to the swimming pool, indicating that T.J. had drowned, worried, going to find his brother, the reconciliation - and his humorous remark about the lady cop seeing them? A future?

6. Natalie, in herself, at the bookshop, her work with students, tutoring T.J., his song and reading it to Matt? Her relationship with Mike, the tensions, her anger, breaking the watch, not going to the party? Kissing Matt, her confusion? Her sitting in Matt's imagination as the two brothers talked about the relationship? Going to the swimming pool, her criticism of Mike and what he said? The finale and the three on the bike?

7. The glimpse of the father and mother, the death of the mother, the impact of the father, his love for his children, care for Matt, swimming, drowning? Appearing to his son?

8. Jesus, in Matt's imagination, the phone calls and his knowledge, the references to his mother, the vagrant coming to use the phone and talk to Jesus? In the commercial and its irony? Coming to the restaurant and talking with Matt?

9. T.J. and Leonard, the racial clash, T.J. not being able to swim, pushing others into the water? Matt and his handling of the children? The girls asking him about boredom at the swimming pool? His choice of job and relationship to his father and his father's death?

10. The human themes, the portraits of the brothers, of Natalie? Their interactions, love, betrayal? Parental relationships and children? The religious themes and their being enigmatic and hinted at rather than fully developed?

RECKLESS KELLY

Australia, 1993, 76 minutes, Colour.
Yahoo Serious, Mellora Hardin, Alexei Sayle, Hugo Weaving, Kathleen Freeman, John Pinette, Bob Maza.
Directed by Yahoo Serious.

Reckless Kelly is Yahoo Serious's second film. He spent a great deal of time, money and energy on producing Young Einstein in the mid-80s. It took him several years to produce Reckless Kelly. Again it took him a number of years to produce his third film, Mr Accident.

This is typical Yahoo Serious material, keeping a smile on the face for most of the time. It begins with the supposition that the Kellys had lived in Australia for 40,000 years and had become a huge bank-robbing clan living in their own national park. The film continuously suggests parallels between this Kelly family and Australian Aborigines (a device used by the writers of The Castle to make their points with Australian audiences). The island is an odd place with kangaroos and other fauna wandering around the bar. The Kellys are expert at drinking - and also have a strong video shop in their hotel.

Hugo Weaving snarls as an English baronet who is thwarted by Ned Kelly. He plans to sell off their island - to Japanese who will tow it to Tokyo harbour. Ned Kelly decides to go to America to rob banks - having been warned by an American bank assistant whom he encountered during a robbery. He becomes an actor by accident and asks the young woman to give up her Shakespeare auditions to work with him on film as the Christian Cowboy. He makes enough money to return to Australia and for a confrontation with business-suited gunmen.

There are a lot of puns, comments on Hollywood movies, comments on gun culture. It is quite undemanding - but done in the quirky Australian comedy style.

1. The appeal of Yahoo Serious as a screen personality, nice and ingenuous? Parody with the gentle touch?

2. The ideas behind Reckless Kelly: the tradition of Ned Kelly and robbing banks, outlaws against the government? The parallel with Aborigines - and with Bob Maza's presence to reinforce this? The Kelly clan, the joke about their documents for their identification? The hotel, the flora and fauna, the drinking, the beer cans, the videos? The guns? American films? American money? The confrontation with the banks and the suited oppressors of ordinary Australians?

3. The re-creation of the island, its look, the animals? The jokes? Its being towed away from Australia? The Sydney sequences, the robbing of the bank, the chases? Ned Kelly riding through the desert, the harbour bridge, into the city? The contrast with Los Angeles, the streets, the cinemas, the buildings, film-making? The musical score and songs?

4. The title, the focus on Ned Kelly and the persona of Yahoo Serious? His place in the clan, his leadership, the best bank robber, his armour, pulling bullets out of himself? The invention of the garbage can and the homage to Ned Kelly? The bank robberies and the style, giving the money to the poor? The confrontation with the banks, losing the island? His decision to go to America, his attempt to rob a bank, interrupting the film-making? His skill as an actor, the humorous scenes of the film and the confrontations? The religious dimension - his being a minister, falling in love with the nun? His return, the hero, the confrontation and saving the island? As a character, as a humorous cartoon-type character?

5. Hugo Weaving as the cartoon villain, snarling, the banks, hiring the henchmen from England? The plan to destroy the island, sell it to the Japanese, commanding the killing of Ned Kelly? The phone calls with his henchmen? The final helicopter arrival, the shoot-out, his being defeated? (And his trying to destroy the Americans by freezing the assets of the film company?)

6. Robin Banks and her reading Shakespeare during the robbery, her overhearing Sir John and his plots, sending the fax to the Kellys? On the plane, the Shakespeare auditions, coming to Los Angeles, performing as the nun, falling in love with Reckless, participating in the final confrontation?

7. Dan Kelly, the Aborigine, the elder, his support of Reckless?

8. Major Wimp and his English background, Nazi style, disguises, trying to kill Reckless, going to Los Angeles, bribing the fans, the attempt at the airport on his life. In at the end?

9. Sir John, scheming, ruthless, the banks, Major Wimp, the telephone calls, the confrontations?

10. Sam Delance, the director, fat and eating at home, his direction, the films, the bank freezing the money? His mother doing the ironing, giving good advice?

11. The verbal jokes, the visual - the corny, the slightly crass, the Australian humour?

RETURN TO PARADISE

US, 1998, 107 minutes, Colour.
Vince Vaughan, Anne Heche, Joachim Phoenix, David Conrad.
Directed by Joseph Ruben.

Return to Paradise deals with American tourists and their use of drugs and accusations against dealing. In Thailand and Malaysia in the 1970s and 80s, the law was very strict. There was capital punishment for serious drug offences. This continued in the 90s. There were a number of films and mini-series about real cases in these countries. A number of films also continued with fictional stories, perhaps as warnings for the American public, about the reality of use of drugs in these countries - and Americans taking for granted the use of marijuana, especially, for recreational use.

The film shows three young men in the 80s, enjoying a break from the United States. They have marijuana for their personal use. One of them is an ardent greenie and tries to persuade another to follow him in that career. Vince Vaughan is a happy-go-lucky American student. Joachim Phoenix is the environmentally concerned young man. David Conrad is the third member of the party. After several years, two of the men are visited by a lawyer, played by Anne Heche. She tells them that Lewis has been in prison for three years on drug charges. He is to get the death penalty unless they return to Malaysia and confess to possession and serve three years each. His death sentence will then be revoked.

The film raises the moral dilemma about whether people are prepared to go to prison in order to save a friend from the death penalty. Much of the film has its New York setting where the two men, professing their friendship for Lewis, argue the pros and cons of losing three to six years of their lives. It is also revealed that the lawyer is Lewis's older sister. When they do return to Malaysia in order to give themselves up, the court case is complicated because of harsh articles in the American press. The judge in the court takes a very dim view of this criticism of his country. (The ambitious journalist is played by Jada Pinkett Smith.)

The film is a sobering look at the idyllic holidays that are often advertised in countries like Malaysia and Thailand, the naivety of American tourists and the consequences for a different cultural attitude towards drugs. The film was directed by Joseph Ruben, director of a range of genre films from The Stepfather, Dreamscape, Sleeping With The Enemy.

1. The impact of the film as drama, naïve Americans on an idyllic holiday, the reality of drug offences and an anti-drug culture in Asian countries?

2. The Asian settings, the beauty of Malaysia, the villages, the cities, the rivers? The contrast with New York City? The musical score?

3. The title, the implication of paradise for the first visit, the implication of hell for the return visit?

4. The setting up of the characters, Sheriff and his happy-go-lucky style, his holiday in Malaysia, his studies, the prospect of his return to the US? Tony, the holiday, his seriousness? Lewis, the wanderer, his interest in environmental issues, his planning to stay in Malaysia? Their time together, the relationships, the drugs, a time of general hilarity and holiday? The bike ride and the crash - and the irony of the later accusation about drugs?

5. Beth and her arrival in New York, the lawyer, her plea, her background? Her visit with Sheriff, the meals, trying to offer him money, trying to persuade him? Their friendship, their clashes, Sheriff not wanting to be bought off? Finding out that Lewis was Beth's brother? The visit with Tony, trying to persuade him, his fiancee? The meal together, the fiancee and her anger? The relationship with Sheriff, his rejection of going back to Malaysia? Her return, her being in the court, her joy when the men arrived? The discussions with M.J. Major, journalists, the stories, her wanting to get an exclusive? Beth trying to persuade M.J. Major not to publish, telling her of the reality of the reaction in Malaysia? Her fears being justified, the judge's anger at the articles?

6. Sheriff, the return to America, driving limousines, his customers, way of life? His visit to his father and his father reprimanding him? Not wanting him to go back? The meeting with Beth, his wresting with his conscience, the discussions, his wavering, the issue of the money and his refusal? His return to his house with Beth, their night together? The discussions with Tony, his fiancee, the dinner, the fiancee walking out? His decision not to go? His wavering, discussions, the decision to go? On the plane, his visiting Lewis in prison, trying to understand him, giving support, trying to evaluate his mental state? In the court, giving himself up, the plea to the judge?

7. Tony, his holiday with the men, the return, his success, intended marriage? Beth, his immediate reaction, not wanting to go, the discussions with his fiancee? His decision to go, the return to Malaysia, in the court? His return?

8. Lewis, the three years in prison, the effect, the conditions, the cold and the blanket, the food, the dirt, the squalor? Being glad to see Sheriff? His condemnation, the judge's outburst? The preparations for the execution, his fear, going to his death?

9. Beth, appreciating Sheriff and Tony's return, her distress at the newspaper article, the comments of the judge, her attempts to make a plea in court and her being silenced? Her brother's death?

10. The judge, the law in Malaysia, his comment on American culture and its presuppositions, the right of America to criticise Malaysia or not? Malaysian standards? The nature of the prisons, the quality of life in the prisons?

11. The ultimate effect on Sheriff, the experience, Lewis's death, his own future? Beth's future?

12. Films like this as entertainment - but as cultural warnings for Americans abroad?

RUSTLER'S RHAPSODY

US, 1985, 84 minutes, Colour.
Tom Berenger, Marilu Henner, G.W. Bailey, Andy Griffith, Fernando Rey.
Directed by Hugh Wilson.

Rustler's Rhapsody is a pleasant small film. It is a spoof of the Gene Audry- Roy Rogers western musical of the '30s, '40s and '50s.

The film was made by Hugh Wilson, director of the original Police Academy success. Tom Berenger is pleasant as Rex O'Herlihan, the Singing Cowboy. He receives engaging support from Andy Griffith, Marilu Henner, Fernando Rey.

The plot is slight, is stretched to make a feature film - but is entertaining for those who appreciate what is being sent up. (Rex O'Herlihan is very similar to Woody Allen's creation Tom Baxter in The Purple Rose of Cairo.)

1. An entertaining comedy, western, spoof?

2. The memories of the old movies, the black and white opening, the studios, the loss of popularity of the singing cowboys, an updating? The use of the old conventions, the modern treatment? Homage and satire?

3. Gene Autry and Roy Rogers and the popularity of their films? Rex O'Herlihan in this tradition? Squeaky-clean image, real, his clothes, behaviour, way of speaking? Good and evil? Audience expectations of him as hero? Confrontation of the villains? The encounter with the women - and temptation? His songs? Sidekick? The embodiment of the Hollywood image?

4. Rex in action: tough but gentlemanly, the range wars, the encounter in the town, the saloon.. the sidekick and his loyalty, the visit with the various colonels, the encounter with the goodtime girl, the contrast with the colonel's daughter, the build-up to the climax and shoot-out?

5. The colonels and the land barons, the railwaymen? Deals, callous treatment, enmities? The colonel and the love of his daughter? Cruelty, sneering, violence? The henchmen?

6. The humorous portrait of the western sidekick - the drunk, exaggerated loyalty, help, Rex not wanting him because it is inevitable that according to the conventions he will be killed?

7. The contrast between the good girl and the bad girl - surface behaviour, reality?

8. The action on the railway, in the town, the wars, the questions of land, the opening up of the rail? Familiar material - to laugh at and with?

RUSSKIES

US, 1987, 98 minutes, Colour.
Joaquin (Leaf) Phoenix, Peter Billingsley, Whip Hubley.
Directed by Rick Rosenthal.

Russkies is a film designed for family audiences, especially those with boys about 12. This is an '80s version of Norman Jewison's The Russians Are Coming of 1966. Three very gung-ho lads find a Russian on the shore at Key West, Florida.. While prepared to take him prisoner, they-)are gradually won over by his humanity and eventually want to take him by boat to Cuba so that he can escape from the U.S. In the meantime he has shared the 4th. of July with them, met some of their family, been tied up with an industrial espionage plot with other Russians.

The film might be seen as an example of detente and Glasnost of the mid'80s, a change of atmosphere from many films of the Reagan era e.g. Iron Eagle (also with a boy) and Chuck Norris and Sylvester Stallone films. There is a joke at the expense of Chuck Norris during the film.

The movie is tongue-in-cheek, full of sentiment - a nice message film, fairly predictable, yet persuasive for a young audience. Whip Hubley is quite engaging as Mischa the Russian. The boys are played with a mixture of innocence and precocity. (Joaquin Phoenix grew up to be a star actor.) Direction is by Rick Rosenthal (Bad Boys seen advertised during the film - and Halloween II).

1. An enjoyable film? Audience intended? Age? Americans? World wide?

2. Florida, Key West, the U.S. and the 4th. of July? The military base? American lifestyle? Seen through Russian eyes? The musical score and the songs?

3. The title and its attitude? America and the '80s, the Cold War, the Reagan era? Films of the period? American detente, Russian Glasnost, the accord between Reagan and Gorbachev and this film in its atmosphere?

4. The kids and their gung-ho attitudes, the poster of Arnold Schwarzenegger (and the slogan 'Let's party')? Comic books, Captain Slammer, the fights, the violence, 'awesome'? Their headquarters, their activities? Where did they get their attitudes? Ingrained, warmongering, dangerous?

5. The Russians and their mission, the storm, Mischa and the raft, the order, the overturning, Mischa landing, the boys finding the book, his hiding? Their industrial espionage plan? Their contact and his leaving? The two men later visiting him? His being arrested?

6. The boys and their interactions, friendship, at home, Adam with his parents, Jason with his father, Danny and the parents breaking up, his sister? Their macho world, the boat? Finding Mischa, their attitudes, telling their parents about the Russian invasion? The sister's offhand remark about Chuck Norris? Adam on guard, Mischa's trustworthiness, the toilet, card-playing? Jason and his suspicions? Danny and his continuing suspicions? The vodka, the taped interview? Its later use?

7. The boys mellowing, the 4th. of July, the collage of Mischa's clothes, getting the sister to mend the collarbone, the romantic interlude? The gung-ho Corporal and the fish, Misha putting it back into the water, the fight? Their enjoying of the day at the carnival? The encounter between Danny's father and Mischa, the talk about Hungarian Revolution and Russian soldiers? The plan to get Mischa to Cuba? The boat, the detail, the buying? Getting the sister in on the
act? The boat leaving?

8. The sketch of each boy? Danny and his loneliness because of the parents' divorce? Adam and his family and the games with the boys? Jason's bond with his father? The parents' concern about their children?

9. Mischa, an attractive Russian sailor, radio operator, not knowing the plan, the encounter with the boys, honourable, looking at American, longing for home, forced into violence, saving Danny, being saved by Danny's father? The farewells?

10. The reappearance of the Russians, their tough attitudes, the humour of their American disguise with the golf clubs, forcing Mischa to go to the base, the alarm, the boats and the chase? Their being attacked at the end by their Captain?

11. The Sergeant and the image of the ugly American, with the fish, fighting Mischa, the meeting in the lane and the bashing, his gung-ho attitude in the pursuit, holding the gun? Being persuaded to lower it? In deep trouble?

12. The parents, the officers, the military background, the divorced couple? Their style, serious? Phoning each other? The boat chase? Danny's father diving in? The confrontation on the boat?

13. The situation - plausible, comic? Silly yet dangerous? The shooting? Danny and the Captain Slammer machine? His being shot down? The rescues, the confrontation, the reconciliation ending?

14. The message: detente, enemies in name but human friendliness, attractiveness? The stupidity of hostility? Sentiment?

THE RUSSIANS ARE COMING, THE RUSSIANS ARE COMING

US, 1966, 126 minutes, Colour.
Carl Reiner, Alan Arkin, Brian Keith, Eva Marie Saint, John Philip Law, Jonathan Winters, Paul Ford.
Directed by Norman Jewison.

The Russians Are Coming, The Russians Are Coming, was very popular in the mid-60's in the aftermath of the nuclear scares of the early 60's. Alan Arkin received an Oscar nomination. Although the theme and treatment seem somewhat dated, the humour and satire are enjoyable as well as a telling comment on international relations. Director Norman Jewison went on to make such successes as In The Heat of the Night, Fiddler on the Roof, Jesus Christ Superstar and Rollerball.

1. The significance and tone of the title, indications of comedy and satire? How were these fulfilled?

2. This satire in the mid-60's, does it have impact now? Comment on the atmosphere of Russian- American relations and suspicions, The moralising about cold war attitudes, and the humanising of these attitudes? How successful is laughter a way of coping with the tensions?

3. The use of colour, Panavision? The creation of the atmosphere of the island? The land in the sea? The towns with their streets and houses, people at their work, an isolated community living close together? The importance of this atmosphere for the themes of the film?

4. Comment on the situation itself as real and/or fictitious? As symbolic for cold war conventions?

5. The portrayal of the Americans? How humorous and satirical, how realistic? Typical Americans - especially the Whittacker family, detail of each person, style of life, their ordinary American attitudes being questioned? Their co-operation with the Russians? The message behind the presentation of the Whittackers?

6. Contrast with the Russians? How typical, realistic? Americans expectations of Russians? The captain and his decisions? Portrayal of the men and their life on the ship? Their plight and situation in landing in America and their handling of this situation?

7. Rozanov - as a hero for the film. an ordinary man, a nice Russian? The qualities of his character, his sense of duty, his kindness. helping the Americans to learn, the message behind this particular portrayal? Alan Arkin's skill in a comic performance, with humanity?

8. Kolchin - the young and romantic Russian. the ordinary romantic human being?

9. How much did the film make of the characters of the town, in terms of characterisation. comedy, satire, response to the Russians? Mattocks and his handling of the police and the situation? Jonas and his reaction? The postmistress, telephone operators, older people?

10. The atmosphere of sudden panic based on insufficient fact? Repercussion on people and their feelings?

11. The satire on Hawkins and his patriotism? The foolishness of jingoistic patriotism? Its getting in the way? The hard repercussions of foolishness?

12. The importance of humour. e.g. with the postmistress, drink. farcical elements? The qualities of the film as comedy. satire? The whole invasion and the crisis?

13. How much can be learnt and appreciated through this comedy?

RUSSIAN ROULETTE

US, 1975, 90 minutes, Colour.
George Segal, Christina Raines, Denholm Elliott, Gordon Jackson, Richard Romanus, Louise Fletcher.
Directed by Lou Lombardo.

For good entertainment, a thriller is welcome. This short political adventure keeps interest and generates excitement. A complex plot involving plots by the CIA, KGB and the Royal Mounted (in cars) Police surrounds the Canadian visit of Kosygin. It is James Bond stuff, but made to look plausible by George Segal's aura of ordinariness. No mean feat, because most of the action, especially the spectacular roof-top and helicopter climax defies belief. Directed by Robert Altman's editor. Lou Lombardo, people like Gordon Jackson, Denholm Elliot, Christina Raines and Louise Fletcher appear and, with Segal, give the film more style and value than it probably had on paper.

1. How good a thriller was this? How successful in appeal, interest, entertainment? Its principal qualities as a thriller?

2. The significance of the title and the emphasis on roulette? Tone and themes? The original novel was called 'Kosygin Is Coming'.

3. The film's focus an Shaver? George Segal's performance and style? The type in the Mounted Police? The presentation of the modern Canadian Mounted Police? The background of his suspension and insulting his superiors? His being used as a pawn, the consequent violence making him a victim, his response to the challenge making him a hero? His encounters with Petapiece? Their discussions and manoeuvring? The invitation to unorthodox methods and his following them? What strengths of character emerged? Where? His weaknesses?

4. The film's detailed presentation of his involvement in the case? His tracking Henke? Tailing him? The involvement in the deaths and their effect on him?

5. The way in which he was captured by Ragulia? The significance of his escape and his enterprise? This leading to heroics? From reality to comic book heroics?

6. What kind of picture was presented of the Mounted Police? The Mounted Police and their traditions, coping with the modern world of politics, international espionage? The intricacies of the C.I.A. and the K.G.B. and their plots? The C.I.A. and the identities of their agents? The K.G.B. using Henke and blaming the C.I.A. for the assassination? The significance of a K.G.B. plot being worked out in Canada? The ugliness of this aspect of international politics?

7. How attractive a heroine was Bogna? Her relationship to Shaver? Sharing his work? Helping him with files? Encountering Hardison and his death? Sharing Shaver's imprisonment and the escape?

8. The presentation of the Mounted Police bosses? Their manoeuvrings and their ambitions? The risk of death,, e.g. Hardison? Petapiece and his alcoholic cover? The way that he was used? How strong a characterisation?

9. The contribution of Hardison and the meaning of his death?

10. The film's emphasis on Ragulia and his arrival? His outwitting Shaver., and in return being outwitted? The significance and presentation of his death on the bridge?

11. Audience response to the Russians. especially Vostik? His plan involving Henke? Henke used as a pawn?

12. The importance of the local detail of Canada, the mountains and the resorts, the houses and the forests. the bridges, cars and roads, buildings and helicopters?

13. The melodrama of Shaver's escape? With the car, enlisting the help of the old lady and her willingness? A sense of reality and unreality?

14. How well did the film build up for suspense with the motorcade? The shifting emphasis from the police to the motorcade to Shaver? The helicopter with Henke and the sense of menace? The plausibility of Shaver's heroism an the top of the building? How far-fetched? How exciting as the audience watched it?

15. The film's comment on espionage, the using of individuals and people? Power struggles and violence? officials saving face?

16. The blend of human interest and technical flair.

LA RUPTURE

France/Italy/Belgium, 1970, 125 minutes, Colour.
Jean- Pierre Cassel, Stephane Audran, Annie Cordy, Michel Bouquet, Michel Duchaussoy.
Directed by Claude Chabrol.

La Rupture (The Break) is one of several thrillers written and directed by noted French director Claude Chabrol. After a successful career in the 60s as one of the new wave of French directors, he moved to a series of intense thrillers about murder and guilt and identification with guilt and responsibility. Most of them featured his wife Stephane Audran. They include such films as The Unfaithful Wife, Just Before Nightfall and Blood Wedding. Usually they are slowly paced and meticulous in their structure. This film is rather more violent and swiftly paced than the others. Once again Stephane Audran gives an excellent performance - as an innocent victim. Michel Bouquet gives as excellent performance also as a menacing and arrogantly powerful businessman. Jean- Pierre Cassel has the unenviable role as the betrayer. A good actor and comedian, he is not as forceful in this role as perhaps is needed. The film has a Belgian setting and reflects the styles and preoccupations of the late 60s, especially in the use of drugs. While La Rupture is interesting in itself, it is best seen in connection with Chabrol's other thrillers of this period.

1. The impact of the film as thriller, human drama? Its place in the work of Claude Chabrol?

2. The significance of the title, its tone, its references to the characters, to marriage? To the ability to cope, to break down?

3. The Belgian setting and the French touch? The urban setting and its atmosphere, streets, houses, airports etc.? Colour photography, the score? The importance of special effects especially with the drug and hallucination background?

4. The dramatic impact of the opening and its speed and establishing of a mood? The thews of the film? Charles and his drug-taking, breakdown, brutality? Helene and her love for her husband, for her child? The child and the violence received and the dangers for its life? Clash, the help of the neighbours. the rush towards the hospital and the speeding vehicle during the credits? How well did the film continue with these themes and pacing?

5. How attractive a character was Helene? Her relationship with her husband, love for her child, seeing her trying to cope in the hospital? The doctor and his kindness? Her establishing herself in the boarding house and relating to the people there? The menace of her father-in-law and his taunts about her past, about her relationship with her husband, his trying to break the marriage? Her response to such pressures and being torn between the divorce, her love for her husband. her worry about her child? Her response to Paul Thomas and her becoming the victim? Her defiance and coping with all difficulties? Her integrity? How convincing a character?

6. The clash of Helene with her father-in-law - a man versus a woman, the differing backgrounds, class, wealth, integrity, means, dishonesty? The dramatics of the film in this clash?

7. The portrait of Monsieur Regnier - his appearance. manner and walk? His arrogance? Seeing him at home, his relationship with his wife, his control of his son and refusal to admit the truth? His concern for his grandchild and Helene's refusal to move him from the hospital? His employment of Paul Thomas, his complicity in the plotting? The final clash with Helene and her confrontation of him in the house? His finally being defeated? A picture of arrogant power and presumption? The contrast with the portrait of his wife. her supporting her husband, the guests in the house during Helene's intrusion. her overhearing the love between husband and wife and her final compassion?

8. The picture of the boarding house and its style? Monsieur and madam Pinelli? The wife and her puritanical outlook and her running of the household? The husband and his drinking, irresponsibility? His being duped by Paul Thomas? Madame Pinelli being duped by the promise of new residence? Elise and her presence in the house, retarded? Her bond with Helene? Her being abused by Paul Thomas and his girlfriend? Her part in the plot against Helene? The actor and his dramatics, the doctor and his kindness and busyness, the three old women and their playing cards, comments, considered as the three Fates? A portrait of Belgian society in the microcosm of the boarding house?

9. Helene and her ability to cope, her tiredness, her charm with people, her integrity despite the criticism and the rumours? Her friendship with Paul Thomas and his seeming kindness? Her gradual realisation of the plot? Her reaction, the defiance, the experience at the airport, visiting her father-in-law's home and confronting him, her bond with her husband? The significance of her being drugged, pushing herself to remain calm for the custody situation, the encounter with the man with the balloons? Her winning in the end?

10. The portrait of Paul Thomas and his being an exploiter, his motivation, charming manner, ingratiating himself in the house, his lies to Helene? His arrogant assumptions that he would win? His work with Monsieur Regnier? Spying, spreading the rumours, the viciousness of the sexual innuendo, his own relationships with Sonia and their sensuality? Involving her in the plan and her callousness? The abuse of Elise with the pornographic films and the sexual encounter? His breaking down when the plan went awry, the confrontation with Charles and killing him, withdrawing? How convincing an evil character?

11. Sonia and her complicity, seeing her generally nude, her sensuality, irresponsibility, her enjoying the phone call in tricking Helene, her participation in the abuse of Elise?

12. Elise and her being abused, yet her not being tricked by
the false identity of Helene?

13. The build-up to the airport sequence, Helene and her coping with the situation?

14. Charles and Helene and their encounter, the love between them, the truth and Charles' wanting to go to the court, his death?

15. The drug sequences and hallucinations? How well portrayed, the impact at this stage of the film?

16. Themes of violence, abuse? Human beings being victimised?

17. Themes of interrelationships, power, love? Husband and wife and mutual support? Care for children of precarious marriages? Integrity?

RUNNING SCARED

US, 1986, 102 minutes, Colour.
Gregory Hines, Billy Crystal, Steve Bauer, Darlene Flugel, Jimmy Smits, Joe Pantoliano, Dan Hedaya.
Directed by Peter Hyams.

Running Scared is one of the many police films of the '80s, one of the many buddy police partner films. It has a Chicago setting, offers the world of drug deals and violent criminals. There is nothing particularly new about the screenplay - the success of the film depends on the two stars, comedian-dancer Gregory Hines (Cotton Club, Tap) and comedian Billy Crystal (Throw Momma From The Train). They work well together, are unorthodox undercover police, make mistakes, are tempted to give up, but come back in order to do their duty. Jimmy Smits is the villain.

The film uses the city of Chicago well, especially a spectacular chase along the L railway line and a climax with gymnastics in an office building.

An indication of the popular kind of film of the '80s - directed by Peter Hyams, director of a wide range of genre films including 2010, Capricornia One and another police buddy film of the '70s, Busting. (He also acts as his own director of photography.)

1. Popular police story? Police buddies? Drugs? Violence, justice?

2. The photography of Chicago, the use of the streets, the railway, buildings? Authentic atmosphere? Florida? Musical score?

3. The title, the buddies, criminals, danger?

4. The presentation of Danny and Ray, on the street, playing basketball with the kids, the hold-up, the chase of Gonzales? Getting themselves involved, chasing Snake and arresting him? Interrogations? Deals? His leading them to Gonzales, the turnaround and the undercover police having to blow their cover? The hold-up by kids in the street and the pursuit? Seeing them in action, with their chief? The difficulty with the leads for drug lines? Off the job, in Florida, enjoying their holiday? The decision to leave the force and stay in Florida? Their return, the confrontation with Gonzales? His taking Anna? The siege in the building, the heroics and gymnastics? Confronting Gonzales? Their successful achievement? Unorthodox manner, styles? The personality of each, black and white, comic touches, pathos? Ray and his relationship with women? Danny and his estrangement from Anna? Meeting her, her being taken, rescuing her? Pals at the end?

5. Gonzales as the typical criminal, drug-runner, wanting to be a Hispanic Godfather? The undercover police, Snake? Shoot-outs, threats, deals? Taking Anna? The shoot-out?

6. Anna, estrangement from Danny, talking with him, at the funeral (and the acid comments of his aunt? Her plan to get married, her being taken?

7. Snake, the small-time gangster, being taken, brazen attitudes, in handcuffs, turning the tables on the police?

7. The police authorities, criminals, a precinct at work, undercover agents, leads, infiltrating gangs? Drugs, importation from South America (and the priest and the nun)? A mirroring of police work of the 80s?