THE GODFATHER, PART II

US, 1974, 190 minutes, Colour.
A1 Pacino, Robert Duvall, Diane Keaton, Robert De Niro, John Cazale, Lee Strasberg, Talia Shire, James Caan.
Directed by Francis Ford Coppola

The Godfather, Part II is a mammoth production, of great interest in its convincing flashbacks to the early 1900s, showing the Sicilian migrants' vendetta back ground and gradual success in New York; also in the contrast of the ,good old days' of family loyalty to the changing times of heartless business deals and political investigation. Acting is excellent, the film convincing, if Jumpy in its vast coverage. But it does not have the intensity of the original - nor its flair. Part II lacks the older Godfather's presence and the horrendous violence and climax of Part I. But the now-familiar Corleone family are repellently fascinating.

1. The value of the film as a sequel? Did the film deserve the awards that it won? Expectations from the original in terms of theme, treatment, scope? The meeting at the opening with Michael as Don?

2. The importance of the technical side of the film: colour, re-creation of Sicily, the New York sequences, the contrast with Nevada in the late 50s, Cuba? The contrast of the times? The contribution of the music and the recognised themes?

3. The importance of the editing, the linking of past and present by facial close-ups? The use of close-ups for reflection? Group sequences and set themes etc.?

4. The effectiveness of the structure: the 1958 to 1960 setting? The transferring to the past? The paralleling
of the rise of Don Vito and the decline of Michael? The theme of decline and fall? The parallels with the Roman empire as spelt out?

5. What did the return to the past add to this film? More appropriate for Part 1? The reasons for Don Vito's success, hold over people, the Sicilian background and expectations of justice, favour and counter-favours? The audience with an impression of Don Vito? With the judgement on him from Part 1?

6. The contribution of the Sicilian sequences: atmosphere, look, the old world, the boss and his ruthlessness, deaths of Don Vito's father, brother, his mother helping him to escape? The atmosphere of vengeance in the town? The suspense of his escape? The transition to New York, the atmosphere of the migrants, the statue of liberty? The customs, language barriers, his name, and his illness?

7. The showing of Vito growing in New York, his work, friendship with Clemenza? Their visit to the theatre and Clemenza's girlfriend? The comedy and the melodrama of the Italian theatre? In New York? Naples, Nama, tears? The impression of Fanuccl? His reputation, protection, power? How were these sequences balanced by the family sequences of Don Vito and his wife and their children at home?

8. The build-up to Fanucci's death? The use of the feast and the New York streets, the tracking sequences, the violence of the shooting and Vito's escape? The effect on his reputation? How was this illustrated by the encounter with Signor Roberto and his hardness, his change of style, clothing, language?

9. The final Sicilian sequence and the arrival of the family, the encounter with the murdering man, the violence of the murder? The farewell and Michael as a baby waving out the window?

10. What had been established by the end of Part 1 with Michael as Don? The memory of the massacres of 1950 and the baptism? Eighty years and development, the moving from New York to Nevada? The more sophisticated organisation? The atmosphere of the times with the police and politics? The disintegration of empire and Michael being left alone at the end and the significance of the flashback to the beginning of the war and his enlisting and not going for his father's birthday? What had he gained, lost?

11. The significance of the Communion setting? The Catholic emphasis, religion as part of the heritage of these families? The sense of family, the sense of the Mafia family? The holiday atmosphere and yet the guard and the protection? The Senator's speech, the choir, the atmosphere of Nevada and the contrast with New York? Connie and Meree, Frank Panatell and his wanting to get to Michael, standing in line, his drunken speech? Kay and her coping? The meal sequence and the confrontation with Frank? The setting of the atmosphere for the film, for characters?

12. The contrast with the Senator and his straight talk in private? His hostility to the Italians, his wanting money~ Politics and corruption? The turning of the table and the sequences with the framing of the murder of the prostitute? His desperation? The transition to Cuba and his presence there? To the Senate committee and his talk praising the Italians? How did this symbolise the relationship of the Mafia business with politics?

13. How well delineated was the character of Frank Panatelli? The link with the past? His difficulties in New York, hostility of Hyman Roth? His drunken speech, the attempt at hitting Michael and the violence in the bedroom? Michael's decision that he be killed, his leading him on to suspect Roth? His not being killed and sudden appearance as the witness? His happy-go-lucky attitude, protection? His behaviour in the investigation with the presence of his brother? The talk with Tom Hagen about the Roman empire and suicide, the pathos of his death in the bath? What comment on Mafia behaviour and loyalty?

14. The domestic side of Michael's life? His pride in Anthony, presents, education etc.? The bond with Kay, and yet her regrets that the business was not legitimatised? Her growing hostility and suspicion, her being imprisoned and not allowed out to shop? The discouragement, the confrontation with Michael, her presence in the Senate investigation? The truth about the abortion? Her visiting the children and the door being slammed in her face? The disintegration of a potentially happy marriage?

15. The presentation of Tom as Advocate, yet the diminishing of his influence? Michael hurting him and yet his loyalty, his persuading Frank to kill himself? His role within the family, in the flashback?

16. The contrast with Fredo as weak, unable to control his wife's behaviour at the party, being the weak link and traitor with Hyman Roth's men? His presence in Cuba, his lies, his giving himself away in the nightclub? Michael's hostility yet trying to save him, the expression of hatred and Fredo's outburst against being passed over? His mother's death, his not speaking with Michael? Taking Anthony fishing, the Hail Mary story, his death, especially with the anticipated words of the Hail Mary?

17. Michael and his shrewdness in business? His treatment of the senator, getting advice from Tom Hagen, his visits, his relationship with Roth and sparring verbally with him, visiting Frank in New York and his reminiscing about the old house, visits to Cuba, control? His lies and his motivations, the web in which he involved himself? His presence in the investigation, the lies, the declaration of innocence? The clash with Kay, his growing bitterness? The decision to kill all his enemies? His being left alone, a failure?

18. The significance of Hyman Roth, Jewish gangster, ageing, succeeding, helping his friends, his plans against Michael? The importance of the Cuban sequences and their geniality? His leaving for Israel, and his return, murder?

19. The contribution of Conme and her going away from her children, her going round the world, the significance of her return, looking after Michael, caring for Kay? The presence of Don Vito's wife and her death?

20. Themes of family, intricate business, the laws of family, violence and death?

21. The depiction of violence - how appropriate for the film?

22. Themes of politics, America, migrants, corruption, politics cleaning up against the business, evil? The analogy with the Roman empire?

23. The value of this comprehensive portrait of a 20th century Mafia family?

GREMLINS 2: THE NEW BATCH

US, 1990, 102 minutes, Colour.
Zach Galligan, Phoebe Cates, John Glover, Robert Prosky, Howie Mandell, Christopher Lee.
Directed by Joe Dante.

Gremlins II, the new batch is a delightful sequel. While it lacks the surprise of the original, it capitalises on the freshness, the wit and the horror styles of Gremlins.
While Phoebe Cates and Zac Galligan repeat their original roles, it is the Gremlins who take centre stage. In fact, the humans pale somewhat in the light of the Gremlins. Moreover, John Glover is very good as the potential villain. Robert Prosky stands out as a host of 3am Horror Shows (dressed like a vampire).

While the original was set in the apple pie American town, this film is set in New York City, in a building that more than resembles the Trump tower in New York. In fact, John Glover as Daniel Clamp with his plans for redevelopment seems very much like Donald Trump (though, of course, the end credits say there is no resemblance to anyone alive or dead). The Gremlins, with their puppetry and special effects, are most entertaining, Gismo makes a welcome reappearance - and the other Gremlins are just as horrific as ever. However, the film is a bit less bloodthirsty that the original (a parody on the microwave scene and the blender - but this time there is a
shredding machine).

The voices of the gremlins are interesting: Howie Mandel as Gismo, Tony Randall enjoying himself as a sophisticated talk show host gremlin. There are all kinds of movie buff jokes ranging from Bugs Bunny and Daffy Duck appearing at the opening and at the end, also Porky Pig. There is Rambo, Leonard Maltin doing his usual Entertainment This Week segment and giving an unfavourable review of Gremlins and being strangled by some film; Hulk Hogan, Paul Bartel as a cinema usher, parodies on Gershwin's music, especially Rhapsody in Blue and New York New York. There is a send up of the Phantom of the Opera as well as quotations, visual and verbal from Apocalypse Now, Batman and Laurence Olivier as the dentist in Marathon Man. The film is witty, funny, and a pleasant spoof of horror films (even with the presence of Christopher Lee as a doctor in charge of a laboratory). The film was directed, as was the original, by Joe Dante.

1. A satisfying sequel? The repeat of the original? Serious touches - especially satire on contemporary city developments? The spoof angles?

2. The use of New York City, the city sequences, the credits, Chinatown? The Clamp tower - and its parallel with the Trump tower? The use of the interiors of the building, elevators, offices, basements? Technology? Television? Laboratories?

3. The special effects for the gremlins - Gismo and his niceness, the horrific gremlins and their escapades and destruction?

4. The sequel repeating the basic outline of the original? But a film buffs movie? Bugs Bunny, Daffy Duck and their fighting on the Warner Bros Logo? Porky Pig at the end with Daffy Duck? The scenes from Rambo and Gismo - imitation Rambo? The glimpse of the 50s monster films, of a colourised scene of It's a Wonderful Life? Leonard Maltin repeating his unfavourable review of Gremlins and being strangled? Hulk Hogan threatening the audience? The breakdown of the film within the film? Paul Bartel as the usher? Rhapsody in Blue, New York New York? The quotes from Apocalypse Now, Phantom of the Opera, Batman, Marathon Man and other films? The use of the nature and nudist film? The musical score?

5. The cast, the parallel with Donald Trump - and the message about development? The comment on human preoccupation with things - and things actually turning up? Daniel Clamp and Donald Trump - the building, in itself? The scene for such horrors? The personality of Clamp, his relationship with his secretary and dictating letters, vacuous style? Unscrupulous, visiting his staff, friendship with Billy, the crisis, his concern about his television networks, the city being destroyed and his apocalyptic message, being persuaded that he could save the city and become a hero? The escape hatch, trying to reflect the sun into the building and it raining? Leading the Marine-like attack? Big on the quiet town, merchandising the gremlins? The parallels with Donald Trump and his career? The opening in New York City, Chinatown, the old Chinese man, Clamp's henchmen and their threats, poisoning him? The destruction of the building? The introduction to Gismo, taking the hankie? Watching Rambo on television? His being taken by the twins, under observation in the laboratory, the whistling, Billy finding him and rescuing him, hiding him in the drawer, and its protruding during Clamp's visit? The escape via the paper clips? Getting wet accidentally and more gremlins coming? Hiding, the clash with the gremlins, being imprisoned, falling, tortured, on the toy train line? Training with the slingshot and the paper clips like Rambo, the headpiece? The Rocky like training before going on the warpath? The arrow of destruction? Gismo's cute - and the 'voice of Howie Mandel?

8. Billy and Kate, memories of the first film, wanting to marry, New York roughness and trying to get a taxi, both working for Clamp? The tours of the building and the blah of the spiel? Billy and his office, designing, the question of the trees, Marla and her ambitious style? Clamp's visit, Marla coming on strong, wanting a date, going to the satiric Canadian restaurant with the moose and the mounties? Kissing and the lipstick? Billy's putting Kate Off, the return? Kate trying to save Gismo, taking the wrong gremlin, the cross-eyed one? Creating a mess in the house? The policeman and his wife arriving, the chaos? Going back to the building, the invasion of the gremlins, being caught? Kate imprisoned in the lift, the pursuit, trying to get out? Billy trying to persuade Forrester and his style, their mocking him, the attack? Billy and Kate to the rescue, with the compere? The confrontation of Dr Catheter, the final heroics and the plan to destroy the gremlins? Happy ever after?

9. The policeman and his wife, memories of the first film, the visit, hearing, gremlins, the mess in the apartment, watching on the streets, the attack and the gremlin like a bat clawing him, becoming a gargoyle on the Cathedral? Going in by the escape hatch, his attacking the gremlins, heroism? His wife and her discussions with Marge about recipes?

10. Forrester, his henchmen, the attack on the Chinese, villainous? At work, callous, Billy's pot plant? His own fears, trapped with the female gremlin, her coming on strongly - and his succumbing to her charms at the end for survival?
Marla, the satire on the yuppie and pushy secretary, her cigarettes, criticising Billy, kowtowing to Clamp, arranging the date, the Canadian restaurant, her not knowing the gremlins were there, caught in the giant spider web, Kate rescuing her, her telling the truth to Kate, Clamp's attraction to her, her becoming the promoter and giving the press interview?

12. The laboratory, mutant experiments, the twins, Gismo under observation? The rats? Dr Catheter and his secretary, analysing the tissue. his concern, the experiences, the mess? His bewilderment, the final electrocution? Christopher Lee in the role?

13. The increase of gremlins, their devouring the food, going to the restaurant, affecting the electricity, the elevator, the cocoons in the basement, torturing Gismo and the attack, watching the screen monsters and applauding them, the film burning in the theatre and their mucking around with silhouettes, in the bar, in the laboratory, taking the drugs and going mad? The gremlin with the brain transplant, his voice (Tony Randall), the interview techniques on television? The female gremlin and her sexy approach? The Phantom of the Opera gremlin? Their all assembling in the lobby, the bat becoming a gargoyle? Singing New York New York? Their destruction and their going into ooze?

14. The cinema sequence - and the humour of its screening that the film was breaking down, the usher, Hulk Hogan threatening people, the gremlins making shadows?

15. The television news, the various channels, the cook and her predilection for sherry, the gremlins making the mess? The Leonard Maltin sequence and the satire on Entertainment This Week? The horror host, seeing him in action with the special effects, the 3am time slot, his wanting to be a star and a newsreader, his shrewdness in using the Japanese tourist with the camera to give all the news? The tourist snapping everything, with the camera, helping the host? Getting a promotion?

16. The happy ending - and Clamp reforming? The blend of the horror plot, monsters, comic strip styles, menace, happy endings, cinema buff spoof, the enjoyable blend?

THE GUNRUNNER

US, 1984, 92 minutes, Colour.
Kevin Costner, Sara Botsford.
Directed by Nardo Castillo.

The Gunrunner is a small-budget, complicated thriller which is not particularly gripping. It is a gangster melodrama and relies on audience appreciation of the genre. Made in Canada in 1984, its release was held up until its star, Kevin Costner, had made an impact in such films as The Untouchables, No Way Out, Bull Durham and Field of Dreams.

The film is set in the '20s, Costner is a gunrunner seeking guns for the Chinese Rebellion. When he returns home, he becomes involved with bootlegging smugglers.

The film was directed by Nardo Castillo and has a supporting cast of local actors who are not internationally known. The film is interesting only as an oddity in Kevin Costner's career.

1. A thriller? Gangster melodrama? Gunrunning internationally? Bootlegging?

2. The production history of the film, its lack of release, reliance on its star's emerging reputation, video release?

3. The Canadian setting, the atmosphere of the '20s, period decor and costumes? The town, its way of life? The wealthy aspects of the town? The background of bootlegging? The musical score?

4. Kevin Costner as Ted, the quality of his performance, screen presence (in the light of his subsequent career)? The arrival, dream, home and his brother? The Chinese Rebellion, the Chinese deals? Contacts? The bar owner? Money? His cousin and the bootlegging? Politics, the family? Action and violence, danger? The kidnapping? The rivalries? The arms, the liquor? A violent world?

5. Portrait of George, brother, women, the bootlegging?

6. The cousin and his power, the abduction?

7. The relevance of the themes of politics and wealth, art? The background to this kind of film? Style, content, Kevin Costner?

GULLIVER'S TRAVELS

US, 1939, 74 minutes, Colour.
Directed by Dave Fleischer.

Gulliver's Travels is a delightful animated version of Jonathan Swift's story - the Lilliput story. There was a '70s version with Richard Harris in the title role.

This film came from Max Fleischer's studios. While it might look similar to Disney movies, it came out soon after Snow White and the Seven Dwarfs and preceded Disney's other feature films. In this sense it was a pioneer work. Fleischer's studios produced the Betty Boop cartoons. (She was to reappear as a guest in Who Framed Roger Rabbit.) It also made the enjoyable feature Hoppity Goes to Town in the early '40s. The songs are enjoyable, the comedy delightful, Swift's point made for the wide audience.

1. Animation in the '30s? This film as a pioneer work? Comparisons with the Disney Studios?

2. The quality of the animation: drawing, figures, layout, style? Colour?

3. The importance of the songs: the nightwatchman and `All's Well'? The kings and their rivalry in `Faithful Forever'? The workers and the `Happy Day' song? Gulliver's soliloquy? The farewell?

4. Jonathan Swift and his famous allegory? The story, the moral? The treatment of the classic?

5. The familiar story? Gulliver, the sailor, the shipwreck, awaking, finding himself tied up, the king, allaying their fears, the meal and the people dancing, the problems of Lilliput, getting his suit and sewing it, his pondering, soliloquy? The battle, his being shot at by the arrows? Taking the ships? Picking up the prince and effecting the reconciliation? Farewell?

6. Lilliput - an allegory for Swift's world? For any time? The happiness, the wedding, the songs, the cake, the fight, the spies? Anger, war over nothing?

7. Glory and the prince, fairytale couple, in love, the marriage, the singing, unhappiness, being brought together, the possibility of the prince's death?

8. The people, ordinary, their fears of Gulliver, tying him up, reaction to his waking up, pleasant, trying to transport him, making him clothes, feeding him?

9. The kings and their style, their bombast, the attacks on each other, pettiness? The bird and its messages? The spies and their evil?

10. The declaration of war, the attack, the ships, Gulliver's intervention?

11. The moral of the story, Gulliver leaving? His effect on Lilliput?

GUILTRIP

Ireland, 1995, 80 minutes, Colour.
Andrew Connolly, Jasmine Russell.
Directed by Gerard Stembridge.

A short Irish feature that packs an emotional wallop, well work seeing, though not an entertaining night out. The action takes place over twenty four hours as an army sergeant leaves his wife and goes to work. But the screenplay plays with time so that we go forward and back during the day, often seeing a sequence early in the day which takes on more significance for what we know comes after. The sergeant is brutal, especially to his loving but fearful wife. By the time the twenty four hours have gone by, we have learnt a great deal about the two of them and have seen a portrait of a seemingly respectable marriage for what it really is.

1. The title - whose trip?

2. The atmosphere of the house, the town and the streets, the cafe, the shops? The real and unreal? The naturalistic style of the film? The musical score - and the Irish tone?

3. The structure of the film: 24 hours in Liam and Tina's life? The narrative, linear and flashbacks? The judging of events in the light of knowing what happened afterwards? The structure and the impact on the depiction of characters?

4. The Irish perspective? The particularly Irish tone of the film?

5. The portrait of Liam, getting up in the morning, his harshness towards Tina, his attack on her lack of warmth? Getting dressed, meticulous, military? His comments on Joan's attitude and his giving her wrong information? His character in himself, the military background, exact, the significance of the log book, the rules, commanding Tina to write them down, examining her on them, getting her to read them back? Seeing him at work, his intimidating people? Petey and Michelle's arrival? His eyeing Michelle? His going to the bar with Petey and Frank? Their wanting to get rid of him? His overhearing them, staying in the toilet and listening? His treatment of Ron, humiliating him, telling him he was ignorant of the military and so should not attack his friends? His watching the interaction of Ron and Michelle? His taking Ron home? His attitude towards him, despising him? Comment on his tears? Leaving Petey and going in the opposite direction, his return, taking the car, watching Michelle and Petey? The young boy and his wanting money, watching Michelle? Offering to drive her home, driving her to the barracks, smuggling her in, the sexual encounter, his impotence? His being humiliated, his anger with her, her laughing at him, his murdering her? His return home as if nothing had happened? The crying child, the anger with Tina, throwing the stones and smashing the windows, frightening her? Dragging her to Joan's place and his demanding that she tell her never to come again? The log book, the rules? Tina and the sandwich? The CD player and the interrogation about the gift, making her give an exact account of the day, his suspecting of her lying? The dancing, the theme music about the most peculiar love? Morning, washing, 24 hours later in the bedroom, offering forgiveness to Tina and beginning the day? The intercutting of past and present for this portrait of Liam? His future with Tina? His future because of the murder?

6. The impact of the audience knowing the future and seeing the past? Character judgments, insights, learning about character, judging?

7. The portrait of Tina - in bed, listening to Liam, afraid, getting up, watching him out the window, seeing him lie to Joan? The baby and her love for the child? Going out with the pram, the meetings with Joan, friendship and clash? The boy and his spying on them, demanding money? Her finally standing up to him? Lunch, the attraction to Ron, hiding from Joan? Returning to the shop, flirting with Ron, the CD player and the deal, Michelle going past and his watching, her stealing the player? The confrontation with the urchin? Her running away? The end of the day, Liam coming home, the experience of his arrival, her fear, the crying baby, locking herself in the bathroom, the stones and the breaking window? His pacifying her? His demands about the day, her giving an account, her lying about the CD player? Wanting to please him with the present? The visit to Joan - before Liam came home and her having to come in the back door and his reprimand about the unlocked door, telling Joan that she did not want her to visit? The log book and the rules? Dancing with him? The next morning, lying in bed with fear? The future of her relationship with Liam? The discovery of the truth?

8. Ron as a genial and over-cheery man? The encounter with Joan and Tina, the radio, the CD player? His manner of talking, the salesman, cheerful, encountering Tina at lunch, chatting and charming her, his naivety? The return to the shop, his explaining the CD players, seeing Michelle? Going to the bar, his cheery attitude towards Frank and Petey, jokingly running them down, rebuked by Liam? His growing more and more bewildered? His being mocked, going to the bar, seeing Michelle, her humiliation of him, his trying to cope with the situation, his breaking down and weeping, going home?

9. Michelle, going to the barracks, Liam seeing her, her provocative manner? Her going out, easygoing, the credibility of her marriage to Ron? Her liking men, the wrong bar, with Petey and Frank? Her relationship to Frank? Talk, the bar, the humiliation of Ron? Liam and his return, seeing Michelle, offering her the lift and explaining that Ron had asked him to? The sexual encounter and her willingness, her laughing at Liam, her death?

10. Petey and Frank, the army, their place in the town, Frank's relationship with his sister? Petey? In the bar, the toilet and discussing how to get rid of Liam, going to the other bar, the encounter with Michelle, the humiliation of Ron? Petey and his going home but leading Liam to Michelle?

11. The urchin, his appearance, his continued reappearances, the surreal aspect of the story? Asking for money, Tina finally confronting him and beating him at his game?

12. Joan, the friendship with Tina, the ghetto blaster, her dislike of Ron, looking for Tina at lunch and Tina's hiding? Tina going to her place in the evening, the final confrontation and her hostility towards Liam?

13. The film's comment on army life, discipline, the barracks, the effect on Liam? The sentry and his lax security?

14. Themes of men and women, marriage, love, tensions? Stereotypes? Expectations? Sex, violence, lies, betrayal, humiliation, vengeance, fear?

GUILTY OR INNOCENT: THE LENNEL GEETER STORY

US, 1987, 95 minutes, Colour.
Dorian Harewood, Dabney Coleman, Hoyt Axton, Paul Winfield.
Directed by Richard T. Heffron.

Guilty or Innocent: The Lennel Geeter Story is a strong telemovie focusing on the false arrest of an engineer, Lennel Geeter, without the police clearing the evidence and, seemingly, motivated by racism. Dorian Harewood is Geeter.

Dabney Coleman has a good role as Ed Sigel, the lawyer appointed to defend Geeter, clashing with him, mistrusted by him, eventually standing by him for a full acquittal.

The setting is Dallas, Texas, and its environs in the early '80s. The film is strong with traces of racism influencing the police and the courts.

The film is a variation on the `wrong man' theme - and is played with strength and conviction, suitable for the wide television audience. Direction is by veteran film and telemovie-maker Richard T. Heffron.

1. The impact of the true story, justice, racism, the truth?

2. The impact of the telemovie for the wide audience? Texas settings, the '80s? The workplace, prisons and court? The musical score?

3. The title, questions about Geeter himself? The possibility of his guilt? Audience emotional identification with him and his experiences?

4. The introduction to Lennel Geeter, conscientious at work, not going out with Tony, relating well to the fellow engineers and the bosses, a religious man, his relationship with his fiancee, his background in Southern Carolina, his parents? The suddenness of the arrest, his treatment? The shock and the implications of his guilt?

5. The arresting officers, their racist attitudes, contempt of Geeter, unwilling to listen, blaming him for various robberies? The resentment? The racist taunts, the charges, their brutality, the interviews? His disbelief?

6. Ed Sigal appointed by the courts, the initial meeting, whether Sigal believed him or not? His later saying he was influenced by racist attitudes? The antagonism and mistrust of Geeter? Discussions about bail, witnesses? The advice Geeter was getting in the jail? Sigal's being hurt by Geeter's antagonism? The calling of the witnesses, the calendar and the case being hastened? Geeter's treatment of him in court? The judge taking a stance? The cross-examination of the witnesses and Sigal's skill, the shock of the verdict? The appeal for probation and its being turned down? The life sentence?

7. Lennel and his experience in prison, his religious beliefs, not trusting anyone? The meeting with Tony - and the question of betrayal? The court sequences, the discussions with Sigal, not taking bail? Phone calls to
his fiancee? His parents? Dismissing the initial lawyer? Not trusting Sigal? In prison, and his teaching the prisoners?

8. The witnesses and their variety of backgrounds, the identification of Geeter, the contradictions in detail? The testimony of the engineers and their being discredited? The cross-examination of the authority of the reliability of eyewitnesses? The speeches and appeals to the jury by DA and Sigal? The verdict?

9. The DA and his wanting a conviction, the antagonism towards Geeter? The range of charges? His assistant and the investigations? The later expose of the poor police work, going down to interview the witnesses but their being at the court, inadequate representations? The later testimony of the arresting officers and their inquiries in South Carolina and their negative interpretations?

10. Sigal and his anger at the sentence, the introduction of the NAACP, the official and the discussions with Sigal? The district attorney of Dallas and his power? The decision to go for the press - the interviews, the questions? The defence for Tony and the inadequacy of the witnesses? The acquittal?

11. The press campaign, the interviews, the district attorney and his assistant and their poor image, the police interrogations? The sheriff from South Carolina and the false links to the other cases?

12. The district attorney, the question of the lie detector (and Geeter's fiancee advising him against it)? The possibility of his going free and a lack of justice being done?

13. The visit to the witness, her affirmation that Geeter was not guilty? The testimony of the woman inviting him to a religious session (and the presumption that she was black)? The engineer coming back from overseas and the testimony about the phone?

14. Geeter going free, his attitudes towards justice (especially in the television special and his claiming that he had experienced no justice)? The support of his fiancee, the wedding? The theme of the wrong man, trapped by justice, having to cope, working through the legal mechanisms?

THE GUARDSMAN

US, 1931, 83 minutes, Black and white.
Alfred Lunt, Lynn Fontanne, Roland Young, Zasu Pitts, Maude Eburne, Herman Bing, Ann Dvorak.
Directed by Sidney Franklin.

The Guardsman is a dated piece of film-making from 1932. It is based on a play by Ferenc Molnar. However, it gives the rare opportunity of seeing celebrated stage greats Lynn Fontanne and Alfred Lunt on the screen. Married in real life, they were important on the American stage in the '20s and '30s.

The film is highly stylised and artificial. It was later redone as a musical, The Chocolate Soldier. Lunt and Fontanne are not particularly striking presences. Roland Young is much more effective as the sly critic. Zasu Pitts has some moment with her dilly-dallying maid.

1. The classic play, transferred to the screen? Opportunity to see celebrated stage stars?

2. The plays of Ferenc Molnar, their artificiality, staginess?

3. The players and their success, the actor and the actress as characters? Elizabeth the queen, the curtain call, the bickering, backstage life, the brittle marriage?

4. The actress and her style, her pomposity, relying on Mama and her maid? Her leading her husband on? The flattery of the guardsman? Her response? Declaring that she had known the impersonation all along? Relationship with the critic?

5. The actor and his style, petulance, bickering with his wife? Friendship with the critic? His decision to pretend to be the guardsman, going out of town, make-up? His performance as the Russian guardsman and its exaggerations? Her declaration that she recognised him, the reconciliation?

6. The critic and his observations?

7. The creditor and the touch of comedy - and his recognising the actor?

8. A stage confection, a vehicle to show the performers on screen?

THE GUARDIAN

US, 1984, 102 minutes, Colour.
Martin Sheen, Louis Gossett Jr, Arthur Hill.
Directed by David Greene.

The Guardian is a strong telemovie which focuses on American urban violence and the consequences for ordinary citizens in apartment blocks. The setting for this story is New York City.

The screenplay was written by Richard Levinson and William Link, prominent television producers and writers (Rehearsal for Murder, and the interesting focus on violence in the media, The Storyteller).

Martin Sheen stars as a television director, an ordinary citizen with his family, menaced by junkies and thieves. Louis Gossett Jnr (just after his stern role in An Officer and a Gentleman) is the ruthless security man who becomes the people's guardian. Arthur Hill is a doctor who speaks for ordinary people.

The material is familiar: the threats to citizens in their homes, the junkies and the thieves in the New York streets, the citizens afraid but not knowing what to do, the ruthless guardian who employs tactics that make him similar to the criminals. There is an ambiguous ending as the guardian rescues the Sheen character who has seen the danger in the situation.

1. Interesting telemovie? Contemporary situations? Violence in the American cities? For the home audience? The writing of Levinson and Link and their television background?

2. The authentic city locations, apartment blocks, Queens and the ugliness of New York streets? Musical score?

3. The atmosphere of fear, violence, threats? The audience identifying with the characters?

4. The violent attacks, the two thugs in the apartment building, getting in, the gun at the apartment, their fears, being chased, shootings? The junkies, the thieves? The gang in Queens attacking Charlie?

5. Individuals and their families, the apartment blocks, fears, dangers, meetings, the voicing of difficulties, angers? Administration unable to help? The need for security?

6. Charlie, his family, love for his son, his wife, the home sequences, television directing, discussions about security guardians? The meeting, voicing his opinions? the encounter with John, support of him, discussions about his weapons, John's ready answers, Charlie's suspicions? Not wanting John to be with his son, the photos? His making inquiries of John, of the police? His calling the meeting, wanting John dismissed, seeing him as mentally and emotionally disturbed? His anger with John, the phone call, the taxi to Queens, the attack by the gang, his fear and whimpering, rescued by John? John taking him home, his going to work, John opening the door and Charlie thanking him? The sketch of his wife, the son and his friendship with John?

7. John, his appearance and style? Background? Talking to the apartment-dwellers, the explanations of security, highlighting their breaches of security? His weapons, the strong attacks on the delivery boy? Rudi and his injuries? Charlie's complaints? His having answers to every question? His control over the tenants, appearing in their apartments? Ida in the park? His relationship with Charlie's son? Not coming to the meeting? The tenants in support of him? His strong rescuing of Charlie? Keeping his position? Control of everyone? Was he mentally disturbed?

8. Dr Julian and his wife, their opinions, the cynical touch, support of John, defending him at the end? The other members of the apartment block? Their fears, the couple attacked at the beginning? At the meetings, their clashes with Charlie and his ideas?

9. The threats in the modern city: junkies and the need for money for drugs, thieves, black and Hispanic gangs? Impotence of the police? Atmosphere of fear? Need for justice?

10. The ambiguity of the characterisations - neither black nor white, John as guardian and as menace and controller?

GET OVER IT

US, 2001, 86 minutes, Colour.
Kirsten Dunst, Ben Foster, Swoozie Kurtz, Ed Begley Jnr.
Directed by Tom O'Haver.

A high school movie where the insignificant hero has been living with the girl of his dreams who them dumps him (of course, for the smuggest, most egotistical pain on campus). What he doesn't realise is that the girl who he should be really dreaming about and who helps him out on his desperate quest to win back his girl loves him.

Plot-wise it is fairly predictable. It is the unpredictable treatment that makes this of more interest than most.

First, Ed Begley Jr and Swoozie Kurtz play our hero's parents. They host a TV show on sexual relationships and are so open-minded that they are not phased by anything their son does. On the contrary, everything is affirmed and becomes a positive learning experience. Second, there is Martin Short as a self-absorbed, would-be composer and director who is putting on his own musical version of A Midsummer Night's Dream. The screenplay is indebted to Shakespeare for quite a few lines, but not for Short's attempts at a Baz Luhrmann musical Shakespeare. Third, there is Kirsten Dunst as the nice girl, just as she was in Bring it On and Crazy/Beautiful.

1. Entertaining youth comedy? School, relationships, love, parents, rivalries?

2. The town setting, homes, the school, a realistic atmosphere?

3. The musical score and the range of songs, the opening song and its being dramatised by Vitamin C? The songs in The Midsummer Night's Dream and the banal lyrics? Kelly's song and the success of the play? The grand finale with the songs and dances?

4. The title and its reference to Berk? His being lovelorn with Alison, doing everything for her, the ultimate disillusionment, friendship with Kelly, transformation into love for Kelly?

5. The background of Midsummer Night's Dream: the plot being a variation on the Shakespeare play? The school putting on the play? The Shakespeare text? The humorous references to Shakespeare and his writing? The teacher and his composing the original songs using Shakespeare, modernising, making it banal? The performance of the play? The fantasies and the using of the play's settings, costumes, characters especially the fairies flying in and out and sprinkling dust? The grand finale? Berk and his eyes finally being opened?

6. The fantasy touches the dreams, the imagination, the teacher and his visualising his fears and successes?

7. The narration by Berk: his infatuation with Alison when they were children, meeting her again, the relationship, the breaking up? His love, his disappointment? His playing in the basketball and Felix and Denis as his friends? The coach? His friendship with Kelly, Felix's supervision? The decision about the play, the audition and his singing, Kelly helping him? His getting a part? The rehearsals? His relationship with his parents, their television show, their being ultimately affirming, never criticising, placing absolute trust in him no matter what: the break up, being caught in the sex club, the party in the house and the destruction of the house? The growing friendship with Kelly and her coaching him? The villain and his clashes with Berk, the rivalry with Alison, Berk's catching him at the party? His being suggested as Lysander? The rehearsals, the performance and their clashes? The song by Kelly and Berk opening his eyes, realising his love for her? Saying goodbye to Alison, the happy ending?

8. Kelly, her vigour and attractiveness, supporting of Berk, the friendship, coaching him, the dance, the songs, the acting? Their discussions and her listening to him? His not realising that she loved him? The kiss, Felix's reaction? The audition and her success, the teacher picking on her? Wanting to include her song? Substituting it, singing it, opening Berk's eyes? The happy ending?

9. Alison, relationship with Berk, the break up, her friends, school, attracted towards the singer from England, their romance, his misbehaving at the party, her disillusionment, going back to Berk, the final rejection? Her performance as Hermia in the play?

10. Felix and Denis, their friendship, Felix protective of his sister? His organising the party in Berk's home? Denis and his support? Going into the play, song and dance? Felix substituting the music?

11. The various people in the school: the boys, the girls, basketball, dining hall, auditions, rehearsals for the play, the performance of the play?

12. The performance, the songs, the acting, the audience applause, the two with the special effects and the villain bribing them, his suffering from the explosion?

13. The teacher and Martin Short's comic style, his vanity, putting people down, his fears and his imaginings, composing the songs, the rehearsals? The performance and his fears, his happiness?

14. The parody of the trusting parents: on television, their sex advice, perfectly understanding of their son, no matter what he did, cleaning up the house after the party, romantically enjoying the play?

15. The popularity of this kind of youth and high school film? Themes of relationships, self image? The use of Shakespeare as background?

THE GREAT MAN VOTES

US, 1939, 72 minutes, Black and white.
John Barrymore, Virginia Weidler, Peter Holden, William Demarest, Donald Mac Bride.
Directed by Garson Kanin.

The Great Man Votes is considered a small classic. Written by John Twist and directed by playwright-novelist Garson Kanin (who directed Tom, Dick and Harry and Bachelor Mother at this time), it is also a star vehicle for an ageing John Barrymore whose performance ranges from marked idiosyncratic in his old style to plain with feeling. He is supported well by Peter Holden and Virginia Weidler as the children. William Demarest, Elizabeth Risdon appear in the supporting cast.

It is any American city 1923, the focus on a brilliant but alcoholic father and his neglect of his children who are devoted to him. He is taken up by the corrupt politicians in order to get the party re-elected. The film shows the crisis of conscience for the Barrymore character - the great man.

1. Entertaining comedy drama? Piece of Americana?

2. Black and white photography, the American city of the '20s? Poverty, wealth? Political background of the city? Musical score?

3. The title, Gregory Vance as a great man? The significance of his voting and the local politics? His being used? His own crisis of conscience and self-assertion?

4. John Barrymore as Gregory Vance, style of acting, part ham, part genuine performance? Drinking? Orating? With the workers, with his children, their devotion to him, his concern about them? The threat of the Children's Foundation to take them away? The discussions with the teacher, clashes, friendship - and her admiration? The children with his in-laws? The clash with them? The memory of their mother? The local politicians, Mc Carthy and his pressure, promises to Vance? His using his new positions as a vantage point to keep his children? The realisation of the truth? His speech to the people? His own integrity?

5. The sketch of the children, young, loving their father, memories of their mother, with their grandparents? Self-reliance? Not wanting to go away? Joan and her adult sense of management? Knowing the truth about their father and dealing with it?

6. The in-laws, their dismissal of Vance, wanting to look after the children? The confrontation and his victory over them?

7. The Children's Foundation Society and the representative, admiration for Vance, turning in support of him?

8. The political situation, big business, the party machine, elections, districts, votes? The decision to sack Vance, reinstate him, give him significant positions? Use him? The characters of the politicians, the numbers men? The wheeler-dealers? Vance seeing through it, the people supporting him, his speech and his change of heart? Confronting the corrupt politicians?

9. A pleasant piece of '30s Americana - from another world?