ROAD TO SALINA

France/Italy, 1969, 103 minutes, Colour.
Mimsy Farmer, Robert Walker, Rita Hayworth, Ed. Begley.
Directed by George Lautner.

Road to Salina is certainly not a "must see" film. But it has some interesting aspects. It is a melodramatic story of dual identities, a mother's obsessive love and a murder. It attempts to be very atmospheric with many lingering shots of the countryside (actually filmed in the Canary Islands). Robert Walker fits the strange part of the hero. Mimsy Farmer is irritating in mannerism. Rita Hayworth is more successful as Mara, the mother.

1. Was this meant to be a popular thriller or did the director have more serious intentions? If so, what were they?

2. Was the film well constructed - the flashbacks and their complexity and the ever-growing sense of menace as Jonas and the police chief were driving back to the house?

3. Did the setting contribute much to the film? The camera spent a long time looking at the road, the contours of the hill, the sand, the beaches. Was this important or just meant to be pretty?

4. The sense of the film comes from the interplay of characters - love, obsession, possession, hatred. Was the film interesting? distasteful in its preoccupation with some of the more bizarre aspects of love and affection, the suggestions of incest?

5. Jonas - what kind of man was he? a drifter, an opportunist? Did he have any character? Why did he stay? Did he have any real feeling for Mara? Did he love Billie or was it just a physical, sexual attraction? Why did he not go off with his friends? Why was he absorbed by the personality of Rocky? by Billie? Did he develop any personality through this experience? Billie - what kind of girl was she? Was she likeable? Did Mimsy Farmer's mannerisms spoil her characterisation? Was she playing games with Jonas and Mara? How had her relationship with Rocky affected her? Why did she kill him? Mara - was she mad? Did you like her? feel sorry for her? Did she really think that Jonas was Rocky? Why did she possess him? Did this experience destroy or save her?

8. Warren - what was his role in the film? How did he relate to each of them? How did they react to him? How did he contribute to the solution of the case?

9. Does the film seem better after discussing it or not? Did you discover good points in it or did it seem hollower? Why?

THE ROAD TO HONG KONG

UK, 1962, 91 minutes, Black and white.
Bob Hope, Bing Crosby, Dorothy Lamour, Joan Collins, Robert Morley, Walter Gotell, Felix Aylmer, Peter Sellers,
David Niven, Frank Sinatra, Dean Martin, Jerry Colonna.
Directed by Melvin Frank.

The Road to Hong Kong is an enjoyable piece of Bing Crosby and Bob Hope nonsense. From The Road to Singapore in 1940, the duo with Dorothy Lamour starred in an enjoyable series of comedies which sent up movie traditions and conventions and benefited by the easy work between the two stars, ad-libbing, trying to cheat one another - and of course win Dorothy Lamour. Hope, with his image of the coward, somehow or other always lost.

There was a colour Road film in the early '50s: The Road to Bali. As the stars aged and their careers, especially that of Bing Crosby, went into a decline, there was no call for any more Road films. However, at the beginning of the'60s somebody thought it was a good idea. The film was co-written, produced and directed by the comedy-writing team of Melvin Frank and Norman Panama. They prevailed on Dorothy Lamour to take a guest role - although it was added to as production went along. The heroine for this film was Joan Collins (not looking unlike her appearances in Dynasty twenty years later!).

The film was made in black and white, by United Artists rather than by Paramount, the producers of the series. It was Filmed in London and benefits by an English supporting cast including Felix Aylmer as a Lama, Robert Morley as the arch villain (showing that he might have been very entertaining as an arch villain in a James Bond film). There are guest roles from Peter Sellers reprising his Indian Doctor from The Millionairess, a glimpse of David Niven, Jerry Colonna and Dean Martin and Frank Sinatra appear at the end.

The film takes its cue from the interests of the early '60s, especially the exploration of space, the intentions of sending astronauts to the moon, tears of nuclear bombs. It is all done with the light touch, espionage - in fact, very reminiscent of Dr. No and other Bond films.

The film offers the opportunity for Bing and Bob to sing (their credits song in 'Teamwork'). Bob Hope and his comic style endure the best - the one-liners, the slow takes etc. Bing, looking a bit old, is his suave self. Dorothy Lamour enjoys her guest appearance. There are some topical cracks about Khrushchev, President Kennedy, Spartacus, Lloyd Bridges etc.

An entertaining postscript to an enjoyable series. A further gloss on the careers of Crosby and Hope.

THE RIVER RAT

US, 1984, 88 minutes, Colour.
Martha Plimpton, Tommy Lee Jones, Brian Dennehy.
Directed by Tom Rickman.

The River Rat is an interesting and entertaining film, one of those small pieces of Americana that does not do well at the box office but which many audiences would enjoy. While under the aegis of Paramount Pictures, the film was made in association with the Sundance Institute and local help in Kentucky and Tennessee. Photography is very attractive with the locations on the Mississippi. The film is also able to create the atmosphere of Kentucky and Tennessee and the way of life of these outback places in the '80s.

The plot of the film is quite recognisable - an ex-convict is paroled and returns home to meet the daughter he has never seen. The film turns melodramatic when the parole officer turns up and emerges as the villain of the piece. There is quite an amount of action in the second half of the film.

Tommy Lee Jones does well in the central role of the convict. Brian Dennehy, effective in so many films of the '80s, is the villainous parole officer. Martha Plimpton is introduced and is excellent as Jonsy, Billy's daughter.

A piece of Americana but nevertheless a film of attractive human values.

1. The film as a piece of Americana? Interest? Enjoyment? Small budget? humane? Impact tor American audiences? overseas?

2. Production in Tennessee and Kentucky? McCain's inlet, the house, the town, school, the junkyard? The contrast with the river and its breadth, beauty, dangers? The canals and the barges? The city of Memphis? Atmosphere? Special effects - especially with the burning barge?

3. The title and its reference to the boat, ionsy's building the boat and her attachment to it, her father building the boat with her? Billy also as the river rat?

4. The plot with its familiar lines? A blend of the strong and the gentle, the action twists, emotional changes, eventual melodrama?

5. The picture of the South and its lifestyle? Contemporary '80s? Jonesy as the Huckleberry Finn type of the '80s? Her surprising her father with her frank and open questions and talk? The contrast with her wary father? The contrasts with sophisticated style and the rural style?. Relationships between black and white? Criminals and the police?

6. The opening of the film establishing Jonesy as a character: age, growing up, building the boat, tomboy? Her love for her grandmother? Wanting to get the engine from Poley? Friendship with the little black boy Wexell? Going to school, worldly wide? Gawky but knowing? The news about Billy, going to meet him? Her not being shy, her talk, her questions to her father about prison life e.g. brutality, rapes etc.? Her saying she saw things like this on television? His surprise? Fishing, selling at the shop? The building of the boat? Her asking Billy to help her build it? The growing bonds between father and daughter? The story of Joyce and her running away, her being young when she gave birth to Jonesy? The desire to build the boat and go to Memphis? Her hopes, joy? The clashes with Mexell - And her consoling him with his father's death? The visit to Joyce and her seeing her mother, her stepsister? Her understanding the situation? Her tolerance? Her antagonism towards Doc? Her first disbelieving her father? Her wanting Doc to drown in the river? Trusting Billy, the dangers on the river, the danger with the burning barge and the lightning? The cemetery? The ending and her telling the truth? A credible and interesting character?

7. Billy and his not contacting his family for 13 years, never having seen his daughter? The return, the parole conditions? The sequences with his mother, her grief, her having lost her son, Billy angry with the Elvis record and dashing his mother's mementoes? His awkwardness with Jonesy, surprise at her frankness? His surprise at her swimming nude in the river? His helping her with the boat? The arrival of Doc, the long shots with the clash between the two, his getting rid of the car? Audience judging him - wrongly? The boat trip, the escape? Wexell hiding on board? Seeking out Joyce, his trying to relive the past, catch up with it? The importance of the flashbacks - telling Jonesy the story? Playing games, their being kids and mischievous, their going to the house, finding the old lady and the money, her cats, Whitey shooting her? (The blend of Miss Haversham, in Great Expectations and Huckleberry Finn.) The car ride, the burning car? The later flashback with the truth about the chase to the cemetery, the hiding the money in the coffin? Doc controlling the trip, Jonesy learning to dance from her father at Memphis? The mistrust of the police, of Doc? The clash between the two men? Billy saving him from the river? The cemetery tight? Prison? The satisfying resolution?

8. The portrait of the grandmother, her strength, relationship with her son, hurt at his absence of 13 years and no contact, Joyce's leaving, bringing up Jonesy? The local police and friendliness?

9. Poley and his junkyard, ugliness, greed, curiosity - getting the worst of him and his being murdered by Doc? The Elvis trinket and the identity of the murderer? The irony of the poison ivy?

10. Doc and his background, audience judging him as kindly, his arrival, decent man, the trip on the boat, the clash with Billy, the fight and his going overboard, his not dying? The encounter with Poley and saving him, offering Poley money, killing him and framing Billy? The irony of the poison ivy to identity him? The-chase, finding them in Memphis, kindliness towards Wexell, his almost drowning, Billy saying him, the scene on the shore with the tent and the barge, the growing infection of the ivy? hitch-hiking, the cemetery, the fight? The irony of his being caught? A portrait of southern greed, abuse of justice?

11. The flashbacks and the portrait of the kids, Whitey seeing the adventurers again, Joyce so young? Her testifying against Billy? Joyce later, her men friends, her daughter?

12. An old story but told with freshness and vivid characters? Basic human values?

RIVER OF NO RETURN

US, 1954, 91 minutes, Colour.
Robert Mitchum, Marilyn Monroe, Rory Calhoun, Tommy Rettig.
Directed by Otto Preminger.

River of No Return was one of the first Westerns in Cinemascope. It is colourful, with good action and an appeal for family audiences, with a father saving his son and a dance-hall singer by escaping down river from Indians. Robert Mitchum is sympathetic as the father, and Marilyn Monroe credible as the singer. While not extraordinary, it is a satisfying Western.

1. How enjoyable a Western was this? Why? What conventions of the Western did it use? How well and convincingly?

2. How important was the colour photography and the use of scenery? Did the studio rapids scenes detract from the scope of the film and its use of scenery? The importance of people overwhelmed by nature and the scenery? The title of the film and the emphasis on the river and the Indian meaning of the name?

3. How was the film built around the personalities and styles of Robert Mitchum and Marilyn Monroe? Did the film use Marilyn Monroe well? Did it tend to exploit her?

4. Comment on the use of music and themes. The value of the songs? The lyrics of the songs and their relationship to the character of Kay, the goldfields, silver dollars, the river itself, the romantic attitudes towards the seasons and people's yearnings?

5. How successful was the film as an adventure? The presentation of the goldfields, the threat of the Indians, the use of guns and the absence of guns, the dangers of the river and the rapids, fights with wild animals, hostile trappers, shoot-outs? How gripping was this in the film?

6. What point did the film make about the goldminers, prospectors and farmers? The better attitude towards life and achievement?

7. What did the film have to say about law, right and wrong, justice and the execution of justice? Matt's relentless search for Weston? The question of shooting in the back and the irony of Mark's shooting Weston in the back? How convincing was this theme of frontier justice?

8. How well did the film portray the inter-relationships of the main characters? The small details of their encounters with one another, the way they were filmed, close-ups and posings of father and son etc.? The relationship between father and son, love, admiration, shared work and danger, mark's confrontation of the truth, his awareness of the reality of his father's courage and concern? The relationship between Kay and Mark - his respect for her, liking her? Her liking him and care for him? Love and hostility? Brute force and sexual attraction? Mutual dangers shared? Concern? Brutality contrasting with Matt massaging Kay when she was chilled etc.?

9. Was Harry Weston a conventional villain, convincing? The gambler, desperate for his claim, with a grudge against the world, ditching Kay, the shoot-out with Matt?

10. How typical a Western of the 50's was this? Was it a good Western? Enjoyable? Hollywood style and values? The portrayal of human values, the frontier, white men and Indians, gold and farms, staying alive?

THE RITE

Sweden, 1969, 74 minutes, Black and white.
Ingrid Thulin, Anders Ek, Gunnar Bjornstrand, Erik Hell.
Directed by Ingmar Bergman.

The Rite is a brief, very sombre Ingmar Bergman film of the '70s. It is a stylised piece in nine scenes - mainly in an interrogation room of a judge considering a group of actors and their performance and criticisms of obscenity. This gives Bergman the opportunity to consider the inquisitatorial nature of the law. The judge (eventually reduced to fears and death) is an authoritarian man exercising his power, trying to do it with suavity but nevertheless acting as an insinuating censor. Bergman's criticism of censors is obvious. However, the presentation of the actors' troupe is quite ambiguous. They have their strengths, they definitely have their weaknesses. It is difficult to tell what is reality and what is performance. Ultimately, in their performance The Rite, they don masks and act in the stylised ritual, seemingly religious way. The result is the death of the judge - and publicity for the actors. Bergman himself was later to fall victim to inquisitatorial methods of the Swedish authorities, especially as regards taxation returns. He spent some years in exile in Germany. The film anticipates his criticism of authoritarian government.

The stars are regular Bergman performers, especially Gunnar Bjornstrand and Ingrid Thulin. Not the most accessible nor involving of Bergman's films, yet important in helping to understand him and his themes.

Scene 1 - Interrogation Room.
The judge, his magnifying glass, the photos and documents of the performance; the phone, his letting the actors wait, his nervousness and wiping his brow. His welcome and their meeting, the small talk, their having drinks, refusing them then having them. The lights failing, talk about panic. The Sunday afternoon and weekend activity. Politeness. Discussions about the touring company, whether performance is boring or not. The focus on taxation questions, their Swiss citizenship, the ironic talk about the police record. The judge's apologies, his reference to the speeding fine, the story behind the incident, Thea being drunk, taking her clothes off, her epilepsy. The performance for the industrialists and their donation of the percentage of their fee to charity. Their abuse of the judge when he has to leave the room, their worry about the room being bugged. The stifling heat, no one in the street, the thunder and lightning. Sebastian and Thea and the indications of sexual liaison, their talk about murdering the judge - and the later irony of his death. Drunkenness, arguing.

Scene 2 - A Hotel Room.
Sebastian reading the paper noisily, the argument, expressions of mutual loathing between Thea and Sebastian, comments on bad breath. The death of Sebastian's friend. Thea's wanting to know if his liaison with Marina, the friend's wife. Sensuality, touch, kisses. Sebastian's dream: the road, school having started, his leaving school, his mother's influence. Thea's dream - her choice of horses, a horse talking of art, love and freedom, having an ulcer and a cold. The poem and the reference to Sebastian as a bird (and the later bird masks for the performance). Sexual provocation, the talk. Thea moving to words of prayer 'God have mercy on me, take me to thee before I am destroyed', her weeping. Sebastian flicking matches. setting fire to the sheets, sitting amidst the sheets and whistling. The bell-like music.

Scene 3 - An Interrogation Room.
Sebastian and his illness, the judge asking him about his life, his parentage, divorce. The stabbed victim and the joking death. Love and remorse and the judge's interrogation. His being judged as dirty. His defence. His outburst.

Scene 4 - The Confessional.
The judge, the religious statuary in the church, the confessional, the judge thinking he is going to die (and his premonition of his death). Seeing himself as dead, his stench. Pardoned from the others. Questions about mercy. Anguish and relief. The place of God. Night, darkness, his fears. The bell ringing. The memory of his younger days, in bed, the dark and his fears.

Scene 5 - An Interrogation Room.
Hans and his waiting, the two hours' wait. The discussion about Sebastian and his impression. The judge interrogating Hans -his getting on with Sebastian, Sebastian's illness. Questions of guilt, the fine for obscenity - Hans having the money in the bank. The judge upholding the laws, commenting on their being old laws but his need to obey. The publicity because of the fine - the irony of the ending. Discussions about negotiations of contract. The role of the agent. Questions of creativity in their act, the power and control of the group, Hans! assertion that they blended together. Their responsibility for contributions to the act. Cigarettes. The judge and his insinuations about Thea and Fisher. Hans' son and his being in a home for idiots. His not visiting his children. His first wife. His excuses because of travel. His plea to the judge to excuse Thea from interview. Her hypersensitivity, strange outbursts. Hans' ability to calm her. Her desire to please everybody, obsessive. The judge and the letter of the law. Sebastian's ring. Questions about affairs and Hans' tolerance. Artists and their vulnerability. Hans relating to the other two, needing them, their being indispensable. His offer to bribe the judge, writing the large cheque. The judge tearing up the cheque and excusing Hans. The accusations of 'Innocent Act'.

Scene 6 - A Dressing Room.
Thea, her mask, drunk, weeping. Her tantrum. Hans and his prepared speech for the judge for her, his comfort as regards the food, the walks. Sebastian about to leave. Her vision of Sebastian and the nights. 'Without you, I'd kill myself'. Questions of security and insecurity. Her discussions about tiredness and the repetition of the word. Questions of artistry, Sebastian and rehearsals and excuses. Shouting and argument. Accusations of laziness. Hans drinking, Thea and her anguish. Her love for Hans, pity for him. His worry especially because of the relationship of Thea and Sebastian. His limits - especially in humiliation. Discussions of divorce, acting like lunatics. 'Release me, dear God, from this prison' - Hans. Thea and her coat, complaints about the rooms. 'We can never talk'. Thea drunk and nervous.

Scene 7 - The Interrogation Room.
Thea and the judge, his welcome. His suave manner, her smile. Playing to him. Seductive atmosphere - especially about the heat. Her comment on Hans and her sensitivity. The judge, the drinks and his charm. The exit and Thea nervy. The fight and the struggle. The scream, the slap, the sexual attack. Hans' arrival. The hostility of the judge and the phone.

Scene 8 - A Bar.
Hans and Sebastian, their apologies, talking business, cancelling the Far Eastern tour because of war, the United States because of the obscenity trial. Money losses. Sebastian's financial statement. Signing a new contract. Fee cuts or freelancing. Hans and his idea for the future. Questions of payment of Thea's hotel bills etc. The car, the registration. Discussion about sex, the frank language about orgasms. Hans and his reference to love according to 1 Corinthians 13. Hans liking Sebastian before his drinking and laxity. The theme of an inner light driving Sebastian - and it being darkened.

Scene 9 - An Interrogation Room.
The 9th of August. The judge talking onto the tape. Sebastian coming and his change. The arrival for the act. The downpour. Thea and her appreciation of the judge sending her flowers. Her return to help. The urge to carry out a rite - a ritual game, incantation. Memory firing the three for their performance. Themes of humble longing for self-sacrifice. The knife, the bladder full of wine, its being pierced at the bottom, the wine going into a vessel. Lights out, silence, drumbeats. The performance; cloaks off, masks on, the focus on each of the three, the sexual ritual masks - breasts and phallus. The judge and the beginning of his fears, his babbling, proclaiming his life, confessing - forced to be a lawyer, allotted the case, confessions of his vague fears, curiosity, wanting to take part, questions of freedom, not understanding, drives, fear, being laughed at. A judge always afraid, trying to be calm - 'Am I ridiculous, you must decide'. Obedience - his respect for the artists, gibbering about his own life, Sebastian slapping him, the face, the memories, striking his dignity. Weeping, feeling deserted, needing affection. The judge performing - the actors in ritual tableaux. The dark, sunrise, dawn - the drumbeats, the vessel raised, 'God's mask in front of Thea's face', the mask reflected in the bowl of blood, Hans drinking to remove the image. The judge's repetition 'I understand'. The declaration that Dr. Abramsson is now dead.

Aftermath -
The captions that the doctor was summoned and verified the judge's heart attack. The actors summonsed after three months, fined, paying their fine, giving interviews - then going on a holiday and never returning to the country.

RISKY BUSINESS

US, 1983, 94 minutes, Colour.
Tom Cruise, Rebecca de Mornay, Joe Pantoliano, Richard Masur, Curtis Armstrong.
Directed by Paul Brickman.

Risky Business, one of the top-grossing films in the United States in the 1983 summer, is in the trend of 'soft core porn' for teenagers: the Brooke Shields- Christopher Atkins Blue Lagoon in some sense led the way; other films include My Tutor, Zapped, Private School. This film was released at the same time as Class and comparisons were made. While Class focused on adolescents and adults, there were themes of comradeship, success and class distinctions in American society. The elements of these are also in Risky Business - with tongue-in-cheek, almost cynical, comments and jokes at the expense of American know-how, future enterprises and money
making.

However, the plot of Risky Business seems preposterous. While Tom Cruise's Joel is an attractive young man, his transformation from ordinary young man into adolescent pimp is not credible. (Here the film echoes the much more successful Night Shift.)

The film focuses on sex and has a snickering tone which dominates any personal or social comment that might be being made. While the film is technically accomplished and has some humorous touches, its focus on sex and violence in affluent Chicago seem objectionable. It is interesting to note that the young men with their ambitions to get into Princeton and their stag behaviour of card parties etc are presented as not having any girlfriends. Call-girls and prostitution seem the obvious kind of 'service' which is referred to. The whole tone of the film indicates a low tone in American morals - especially as the hero and heroine speculate on where they will be ten years
hence and the hero finally gets into Princeton because of his successful 'business'.

The film indicates Chicago as the place of organised crime and is parodying it.

While the film is geared towards adolescents, it gives a fairly phoney picture and an unrealistic picture, no matter how well intentioned aspects of the realism and the satire may be.

THE RISE AND RISE OF MICHAEL RIMMER

UK, 1970, 92 minutes, Colour.
Peter Cook, Denholm Elliot, Ronald Fraser, Arthur Lowe, Vanessa Howard, Ronnie Corbert. Harold Pinter. John Cleese. Dennis Price. Michael Bates.
Directed by Kevin Billington.

The Rise and Rise of Michael Rimmer is the work of many writers and actors associated with David Frost and his satirical television programmes. This film had many excellent episodes in the witty Frost style; it also has some 'Carry On' vulgarity and nudity. But, by and large, it is fairly well linked and when it is good, which is generally, it is very, very good. Peter Cook uses his rather deadpan style to good effect as the ruthlessly smiling efficiency expert who makes his way to the head of the firm, adviser to parliamentarians, parliamentarian, chancellor of the Exchequer, Prime Minister to absolute dictator. This young man on the make makes no calculated mistakes, although his whole life is calculated.

Into this rather serious and frightening framework, the jokes, satire and parodies are worked. Conservatives as well as Labour men being ready targets. The humour is not uproarious but does keep one smiling most of the time. The film was ready in 1970 with its satire on the methods and accuracy of polls when all the national polls made seriously wrong predictions about Mr. Wilson's success. Peter Cook has no trouble with this kind of part. A number of popular character actors are on hand to make even weak jokes succeed. Ronnie Corbert had a guest appearance for old times' sake and John Cleese (who has a hand in the screenplay) is there. Interesting and entertaining is the performance of Harold Pinter (is he taking off David Frost?) as a television compere. For those who relish British satire, good and telling entertainment.

1. Was this good political satire?

2. What aspects of modern man does Michael Rimmer stand for?

3. How frightening in its implications was the rise of Michael Rimmer?

4. Advertisements spoke of Rimmer as 'Mephistopheles'. How accurate an image is this?

5. Why did Rimmer succeed. even though he was hated? Why were his opponents so ineffectual?

6. How much point was there behind the satire on advertising agencies and polls and their accuracy?

7. What image did the film give of the Public Relations work for politicians? How accurate was it and how much was satirical?

8. How was the Prime Minister's visit to the U.S. President a good piece of satire on the pretensions of government?

9. How did the film satirise the British public, especially towards the end of the film?

10. How was Michael Rimmer a fascist and how did he fallaciously use democracy to attain his power?

11. Was the film light-hearted satire or was it pessimistic and cynical?

RIO LOBO

US, 1970, 114 minutes, Colour.
John Wayne, Jennifer O'Neill, Jack Elam.
Directed by Howard Hawks.

Rio Lobo is a typical John Wayne Western with the conventional ingredients, so one knows what to expect. It was directed by (and is the last film to date of) veteran director Howard Hawks, who directed Wayne in such classics as Red River, Rio Bravo and El Dorado.

1. How typical a Western plot did the film have? Does this matter?

2. Was the plot plausible and well handled to keep interest and excite attention? How?

3. Was John Wayne a sympathetic hero? What values did he stand for? As a person? As a man? As a soldier? As an American? Did he have any bad qualities?

4. How was Civil War feeling and its aftermath treated in the film?

5. How excitingly filmed were some sequences - e.g. the train, hijacking?

6. How humorous was the film? What was being laughed at? Was John Wayne being lightly mocked? Did this change the tone of the film as a Western?

7. What did the other principal characters add to the film - Shasta, a typical heroine; Phillips, as a ranchman, trigger-happy; Tuscarora, a 'son' figure; Cordona, a noble ally; Kitcham, the villain?

8. Was the final resolution plausible, acceptable?

9. How violent was the film? Unnecessarily so?

10. Was this a 'realistic' picture of the West or a 'Hollywood-glossy' picture? Why?

RIGHT OF WAY

US, 1983, 106 minutes, Colour.
James Stewart, Bette Davis, Melinda Dillon.
Directed by George Schaefer.

Right of Way is a significant telemovie. It teams James Stewart and Bette Davis for the first time in their respective careers. As its subject it tackles the right of the elderly to terminate their own lives. As such it is an emotional and controversial film. The stars perform with their usual dignity, especially Stewart - which makes the film even more controversial because of Stewart's capacity for persuasiveness. Cassie Yates has the role of the daughter who
opposes her parents' plans. The film acts as a parable for important questions about matters of life and death. The film is based on a play by Richard Less.

1. The impact of the telemovie? Its topic, presentation, controversy?

2. American atmosphere, suburbia? The musical score for atmosphere? The teaming of the two stars and the quality of their playing together?

3. The atmosphere familiar to television viewers from soap operas? Ordinary suburbia transcending soap opera material? The use of conventions to establish husband and wife, family life, the happiness of the years? Terminal illness? The response of family, especially daughter? The questions of law? Social workers?

4. The significance of the plot for contemporary questions about the right to life and the right to death? How fairly was the situation dramatised? From moral point of view, from emotional point of view? Standards and values gauging the right to make such a decision. the way that such a decision is made? Society's rights? The role of the law?

5. Bette Davis and James Stewart establishing their characters? Teddy and Mini Dwyer as characters audiences could identify with? The ease of their life together. their strengths. weaknesses, warmth and love? Their reminiscences and the details of their life? How well did the film portray so many years of marriage? The situation of terminal illness? Mini's attitudes and strengths? Teddy and his regard for his wife?

6. The daughter and her relationship with her parents, visits? Love. discussions, arguments? Her going against their wishes? What right did she have? The audience siding with her - or against her?

7. The legal aspects and the characters representing the issues? Social workers and their visit? Their attitude towards life. communicating this to the elderly couple? How persuasively? Neighbours? Parallel old couples?

8. The impact of terminal illness? The prospects of illness and suffering. hospital treatment? ordinary means to preserve life, extraordinary means? The quality of life for a person undergoing treatment in hospital. waiting for the end? mini's views, Teddy's views?

9. The film showing the shrewdness of the couple in outwitting their adversaries? The emotional sympathy for them in this fight?

10. How important is this kind of telemovie for the wide audience? To acknowledge the realities of the question - in fact as well as in theory? What final judgment did the screenplay make? What did it leave the audience with?

RIDING THE EDGE

US, 1990, 100 minutes, Colour.
Rafael Sbarges, Catherine Mary Stewart, Peter Haskell.
Directed by James Fargo.

Riding the Edge is a pacy, if far-fetched (we hope), action thriller. Filmed in Israel, it has North African settings, American and international technological development, international terrorism. The film is reminiscent of the gung-ho attitude of the teenager in Iron Eagle, where he takes a plane to rescue his father. A suburban Californian young man here goes into the North African country and,-:almost single-handed, rescues his scientist father - even to the destruction of a large dam.

Rafael Sbarges is the hero, riding his bike, defying everyone to do his own thing and the right thing. Catharine Mary Stewart is, as usual, a strong heroine. The film was directed by James Fargo, one-time Clint Eastwood protege, The Enforcer, Caravans.

1. Enjoyable action thriller, espionage, technology, terrorism, American gung-ho?

2. The Israeli locations for African settings, spectacular? Stunt work, the bikes, the battles? Special effects? The score?

3. The title, bikes, skills, riding? Danger?

4. The Introduction: Raycor and its technology, solar energy, success with their work, John and his status? The personnel? The attack, the killings, the kidnapping? Kroll and his anger, the ransom?

5. The F.B.I. and the police? Stradling and the firm, the cooperation of Matt Gand the film establishing his bike skill with the daring ride with the young men)? The decision to go to help his father, his mother's attitude? The police? To Africa, the plan, following it? To the market-place, the man collecting, the explosions, the set-up, the helicopter, the dead bodies? Matt defiant against the police?

6. Matt and his character, the decision to go, in the desert, getting the gas, making the phone call? The encounter with Maggie (after the embassy)? The bike and the tripwire, Maggie and the jeep, going with her, on the ferry, the knife attack and the fight, rescuing the Berber, the Berbers and their help, the night, the attack? Ammunition? The phone calls from the wires, enlisting his-sister's aid? The rendezvous in the tomb, Stradling's presence, his death? The escape through the city? The)bike, going to the dam with the Berber boy? The plan, its execution, the danger, the rescue of the father, the waters of the dam, the helicopter? Maggie and the police? Gung-ho and pigheaded American hero?

7. Maggie, the tourist, the jeep, talking with Matt, following him, the ride with the jeep, sharing, the night, the tomb, the chase in the city, her martial arts? The truth? The helicopter, the reconciliation?

8. Mussa and the police, his leads, using Matt, the tactics, breaking contact, the end?

9. Stradling and his urging Matt to go, his change of heart about the industrial espionage, the pressures on him, the confrontation in the tomb, shot and arrested?

10. The Berbers, Africa, their help, their camp, ammunition, the young boy,.-his being shot, his blowing the dam?

Kroll as the villain, the East European and international mercenary? Ruthless? Henchmen?

11. Technology, solar systems, international power with such energy, use of mercenaries and terrorism, the police?