DANTE'S PEAK

US, 1997, 112 minutes, Colour.
Pierce Brosnan, Linda Hamilton.
Directed by Roger Donaldson.

What comes round, comes round, they say. After a twenty year gap, the disaster movie returned, appealing to a new generation and providing spectacular effects. 1996 saw Twister and Daylight. 1997 was the year of volcanoes. Volcano was due to erupt mid-year, but first to blow is Dante's Peak. Once again, the experience is the thing, not the drama.

Widescreen special effects ensure that we feel the threats, the dangers, the vicarious thrills. Stars Pierce Brosnan and Linda Hamilton are strong and resilient. It's what you would expect. Vicarious thrills.

1. Entertaining disaster movie? Memories of B-grade disaster films of the '50s? The A-budget films of the '70s? Perennial popularity?

2. Audience interest in volcanoes? The histories of eruptions and destruction? From Pompeii to Krakatoa? The movie film tradition about volcanoes and destruction? The change in information-gathering, technological know how to combat volcanoes and to help people escape?

3. The North American settings, the Rockies, the forests, the towns at the foot of the mountains? The town of Dante's Peak and its pride, the parade, economic ambitions? A typical American town?

4. The familiar framework of the structure of the film: the introduction to the expert, his personal grief because of volcanoes, his expertise and dedication to his work, the first rumblings?

8. Pierce Brosnan as Harry? The visualising of his past, his skills, the eruption and the danger? His love for Marianne, wanting to rescue her? The driving, the shock and grief of her death? The four years passing? His personal knowledge and scientific skills? Not taking a holiday? The phone call and the answering machine, seeing him doing relentless push-ups? His calling in, the situation at Dante's Peak, being asked for advice? The screenplay setting him up as a hero? His going to the town, quietly arriving, the hotel, the meeting with the mayor, being caught up with her children and their problems, her mother-in-law? His caution about the volcano, his intuition about the danger? Going with Rachel to the tunnel (and its being the final refuge)? Going to see the grandmother - preparing for the need to rescue her and escape from the mountain? Going with the children to the hot springs, the body of the bathers? His evidence and his decisions?

9. The town of Dante's Peak, the award being made, the plans for industrial development, the members of the council, the meetings, questions of economy, the threats to Rachel and her responsibility? The ultimate meetings and Rachel's being vindicated?

9. Rachel in herself, the family abandoned by her husband? The children and their bond with their grandmother? Rachel and the tension? Lauren and her helping her mother go to the award, calling out the name of Karen? The meeting with Harry? Driving him in the car, children and the tension, the tunnel? The grandmother and the explanation of the situation? Rachel and the award, the speech? Her gratitude to Harry for saving the children at the hot springs? Her decision to call the meeting?

10. The background of the town, the people, their jobs, relationships? Preparation for the disaster?

10. Harry and his continued investigations? The meeting and his decision? The phone calls to Paul? Paul and his arrival, the differing views, calling him out of the meeting? Giving him a fortnight? The team coming to the town, the different personalities within the team? Their computers, the robot? Discerning the signs of seismic movement? The trees being burnt, the boiling water? Ultimately the water supply and its being contaminated? The helicopter rides and the dangers? Taking the robot to the summit - and its falling and the worker being injured?

11. The more personal aspects of Harry's time in Dante's Peak? Rachel and her inviting him to the meal? Going to her store? The cups of coffee and her bringing them to the workers?

12. The signs of danger? The meeting and the possibility of people leaving? The disaster plan? The eruptions and the people's response? The hall, the meeting and the panic? The time of day? The cars and the chaos of people trying to leave the town? The contaminated water, the clogged bridges?

13. The film and its special effects for spectacle? For the dangers and the eruption? The lava flow? The fire? The deadly reality of the eruption of a volcano? The collapse of the buildings? The vehicles? The destroyed bridge? The poisoned water?

14. The phone calls to Ruth? Her refusing to answer? The children and their deciding to take the car and go to their grandmother? Rachel wanting to go to the children? The drive across the water (and the cars foolishly following)? Going up the side of the mountain? The car, the rescue, Ruth and her change of heart? Going down the mountainside, the roads, the trees? Getting in the boat, the acid water? The contamination of the oars, the bottom of the boat? Ruth getting into the water and pulling them to the shore? Harry carrying her? Her collapse, her apologies? Her death? The irony of the dog still being alive - and the effect on them all as it came? The driving through the town, the lava pursuing them? Harry and the idea of going to the tunnel and crashing into it?

15. The team and their withdrawing from the town, Paul coming last, on the bridge, the team watching and his being swept away? His having had the chance to apologise to Harry?

16. The group in the tunnel? Harry and his having picked up the signal? The group seeing the flash working? Their going to the rescue? Harry in the meantime leaving the family, his being crushed in the car? The drama of the rescue? The rescue of Rachel and the children? The promise of a holiday?

17. The character of Rachel - the strong woman? The typical children? Ruth and the obstinate mother-in-law? The various personalities of the town - Jean and her curiosity? The owner of the hotel? The comparisons with the geological team?

18. The popularity of the disaster films? The mid-'90s and the rekindling of interest? Human beings and their knowledge, using their wits? The background of danger and fear? Heroism? Natural disasters, human response? The continued challenge?

DANGEROUS PURSUIT

US, 1989, 95 minutes, Colour.
Gregory Harrison, Alexandra Powers, Robert Prosky.
Directed by Sandor Stern.

Dangerous Pursuit is an enjoyable, if routine, American telemovie of the late '80s. It is the story of a young woman who rebels against a very domineering father (Robert Prosky) and a loving but docile mother. She moves to New York to a topless bar and has a sexual encounter with a businessman - accepts money for it (for which she is ashamed afterwards and this has an effect on her willingness or unwillingness to become pregnant).

The client turns out to be a paid assassin (Gregory Harrison). She and her friend leave New York after giving information to the police and go to Portland, Oregon, where she makes a new life. She gets married. Three years later she encounters the assassin again, who is to kill a South American dignitary in Portland. The expected melodramatics ensue, especially as regards her policeman husband to whom she has not told the truth.

The film tries to do something more with its themes, especially in elaborating the tensions between daughter and father and the repercussions on her relationship with her husband.

1. The title, expectations? Fulfilment? Action and melodrama and excitement? Blended with personal and domestic themes?

2. The New York settings, the contrast with Portland, Oregon and ordinary life? Musical score?

3. The plot and its treatment designed for the home audience? Easy entertainment with serious themes?

4. The film as the story of Jo: her anger with her father and his brusqueness with her, not affirming her? Her friendship with Penny? In New York, at the topless bar, the clients, the drugs? Her decision to go with the client and try prostitution? Her wanting to go home, the brutal encounter with the client? Discovering his guns? The news and her realisation that he had assassinated the bishop? Telling the police, Penny's anxiety? Their escaping from New York? The three years passing and her transformation? Appearance, working in the office and liking her work? The continued friendship with Penny? Her marriage to Frank, their relationship, her nightmares, going to the doctor, concerned about pregnancy, his advice to go to the psychiatrist, her being unwilling? The encounter with the assassin? Her anxiety, discussing it with Penny and Penny trying to argue her out of it? Getting the secretary to investigate? Talking with him, following him, finding out what he was Portland for, the possible assassination, Frank and his being on police duty? Their being recognised, the visit of her mother and father, the dinner, her father's rudeness and her anger? The news of Penny's death? The encounter with the killer, his following her? Her telling the truth to Peter, trying to cope with her husband? Eventually telling him? His dismay and her running out? The chase, in the water, the gift of the salamander and her wounding him, her almost being killed and his death? Frank's support? Hope for the future and a relationship based on truth?

5. Penny, loud, friendship in New York, on the game? Leaving New York, the hairdressing work in Oregon? Support of Jo, the friendship, disbelieving? Her death?

6. Frank, the police, friendship with Peter, the tension about the pregnancy, ringing the doctor, questions about the psychiatrist, concern about the nightmares? His not being promoted? The envy of Peter? Jo not being able to tell him the truth? His concern, Jo telling him the truth, his inability to respond? Peter persuading him that Jo loved him and his pursuit of the killer, shooting him?

7. Peter, friendship, rivalry with Frank, getting the promotion, listening to Jo's story, trying to persuade Frank to support her?

8. Bill, alcoholic, the verbally brutal father? His humiliating his daughter? Jo's mother and her support, not wanting to live alone, putting up with Bill? The dinner sequence?

9. The people at the office? The police?

10. The portrait of the assassin: in the topless bar, picking up the girls, his businesslike attitude, the guns, the assassination? Being informed on, pursuing the girls but losing them? The chance encounter in Portland, the officers, no equipment, concealing his tracks, Jo finding out the truth? His recognising Penny, the pursuit? Terrorising Jo, his death?

11. Entertaining action melodrama? Family themes?

DANGEROUS MOONLIGHT

UK, 1941, 89 minutes, Black and white.
Anton Walbrook, Sally Gray, Derrick de Marney, Cecil Parker, Percy Parsons, Kenneth Kent, Guy Middleton, John Laurie, Frederick Valk.
Directed by Brian Desmond Hurst.

Dangerous Moonlight (U.S. title Suicide Squadron) was a popular propaganda film of 1941. It combines romance with a glimpse of European patriotism, the Polish air force in Britain, the battle for Britain and the air force.

The film was written by Terence Young (who was later to write and direct many colourful films including Red Sun, The Christmas Tree, Mayerling, Inchon). Direction is by Brian Desmond Hurst, a director of many British dramas of the '40s.

The film, however, is most famous for the introduction of Richard Addinsell's `The Warsaw Concerto,' which is played to effect throughout the film - and has lasted much longer than the film itself. Anton Walbrook is the star, a veteran of such films as The Life and Death of Colonel Blimp, The Red Shoes. Sally Gray is the heroine. There is a supporting cast of regular English character actors. The material is familiar - but it echoes the feeling of 1941. And, of course, there is `The Warsaw Concerto.'

1. British propaganda of 1941? Romance? Music? Impact now? Understanding the war effort?

2. Black and white photography, English sets (even for Warsaw and for the U.S.)? The aerial sequences?

3. The contribution of `The Warsaw Concerto,' for the film, for Stefan's character? As a piece in itself? The use of Chopin's music, especially the Polonaise for patriotic purposes?

4. The character of Stefan: his loss of memory, British concern, pounding the piano, Carol's presence? The concerto and his memories? Meeting Carol in Warsaw, his being a flyer, nine hours in the air, her criticisms, his answers, completing the concerto for her? The missions, to Rumania? In the U.S., the press conference, meeting Carol again, sharing so much with her, meeting her father, the marriage? The successful tours? Mike and his friendship? Going back to Britain, the clash with Carol? His missions, his irritability, especially with Mike? Mike's death, going through his goods? The return to the beginning - and the music reminding him of Carol? Their being reunited?

5. Carol as war correspondent, in Warsaw, meeting Stefan, the concerto, meeting him again in New York, falling in love, the quick marriage, accompanying him on the tours? Dreading his going away, avoiding the issue? The Polonaise and her disdain? The separation? Talking with her father? Going back, the reuniting?

6. Mike and his friendship, attraction towards Carol, loyalty to Stefan, the clash in Britain, his death?

7. The sketch of the music world, New York, concerts in America, morale-boosting for the war?

8. The sketch of the British pilots, their training, work, dangers, fighting? The glimpse of the Polish air force? Their transferring to Britain?

9. Conventional war material, done with feeling and style?

DANCES WITH WOLVES

US, 1990, 180 minutes (Special Edition 233 minutes, Colour).
Kevin Costner, Mary Mc Donnell, Graham Green, Maury Chaykin, Tantoo Cardinal, Robert Pastorelli.
Directed by Kevin Costner.

Dances With Wolves won immediate acclaim as one of the best films of 1990. It is a strong step forward in the career of Kevin Costner (Silverado, Untouchables, No Way Out, Bull Durham, Field of Dreams). He co-produced and directed the film as well as starring in it.

The screenplay was written by Costner's friend Michael Blake from his own novel. It treats material seen in the early '70s in such films as Little Big Man, Soldier Blue. It also goes back to the presentation of Indians sympathetically in the big breakthrough film of 1950, Delmer Daves' Broken Arrow. However, this film is even more grand in its sweep, beautiful in its Panavision South Dakota location photography, running time of 3 hours. An authentic Indian cast plays the Indian roles and much of the dialogue is in the traditional Lakota language.

Costner gives a strong performance as the Civil War soldier who, despairing, wants to die but unwittingly leads an attack. As a hero, he is able to go where he wants and opts for the frontier before it disappears. Isolated in the lonely Dakota outpost, he befriends the Indians and learns their way of life and culture, becomes one with them. The Indians are presented in a sympathetic way, the details of their life presented. It is the military who are presented as the evil ones.

The film is enjoyable in its narrative, humane in its sweep, a significant piece of Americana in the cinema.

1. The acclaim for the film? The work of Kevin Costner and his associates?

2. American history, the Civil War, the frontier and the military, the forts, the Dakota frontiers? The reconstruction of the Indian way of life, language? Culture, battles? The buffalo hunts?

3. The beauty of the photography, the seasons, the landscapes? The staging of the Civil War battles? The musical score?

4. The scope of the screenplay: the United States in the 19th century, the impact of the Civil War; injury, death? The Indians and their way of life, the plains, the buffalo? The frontiers? Change and destruction? Indian dignity, life and language?

5. The portrait of the Indians, humanity, customs? The clash between the Sioux and the Pawnees? The buffalo hunt?

6. The white perspective, white storytelling for a white and mixed audience? Sympathy to the Indians? To the whites? Antagonism towards the whites?

7. Kevin Costner as John Dunbar: the voice-over, his writing the book and his drawings? His background, fighting for the Union, waking up and needing the amputation, his escape? Encountering the soldiers, his mad ride and praying to die, the heroics, applauded by both sides, the charge, the officer and his medical help, sending John to the frontier?

8. The portrait of the Civil War, both sides, in the fields, the ordinary men and their inexperience, the officers and their lack of experience, waiting, the heroics, injury, the medics, death?

9. The frontier and the fort, the eccentric commander, talking about myths and knighthood, his drinking, permits, jealousy of Dunbar, his being deranged, his killing himself?

10. Timmons and his wagon, accompanying Dunbar, Dunbar taking the horse, his eccentric behaviour, smelly, vulgar? The customs of the West? The trek, the vistas, the Dakotas? Finding the fort empty, the challenge, setting himself up? Timmons' return, trading, the attack by the Indians, his death and scalping?

11. Dunbar and his voice-over, his writing, drawing, keen observations, preparation of the fort, the water and the dead deer, the empty mines, his sense of duty and roster?

12. The wolf and its watching, White Sox, tame, the encounters with Dunbar, his being present, a mythic guardian figure, feeding the wolf, chasing the wolf and its playfulness, the Indians watching Dunbar and giving him the name Dances With Wolves? The solders killing the wolf - the end of an era, the death of the symbol?

13. The Indians and the raiding party, their antagonism towards the whites? Killing Timmons? The puzzle about Dunbar? The conferences - Kicking Bird and Wind In His Hair and their different points of view? Kicking Bird going to Dunbar and his washing in the water, coming naked and confronting Kicking Bird with the horse?

14. The Indians, the detail of village life, the council, interpreting Dunbar's behaviour, attitude towards the coming of white men? The threat? The confrontation with Dunbar? Watching, his communicating with them? The visits, the friendship with Wind In His Hair, the respect for Kicking Bird? Finding Stands With A Fist and her injury, her dead husband? Her fear, taking her back to the camp? The children, watching Dunbar, the raid and stealing the horse, falling off the horse? Their place in the camp?

15. The Bonds between Dunbar and the Indians, Ten Bears? Dunbar's happiness with the Indians, the loneliness of his return, wanting to go and visit, share? His joining in the buffalo hunt, the magnificent sweep of the buffalo rampaging, his hearing them, going to tell the Indians, joining them in the hunt, the killing of the buffalo for food? The irony of the discovery of the dead and skinned buffalo by the white traders?

16. The clash of the Sioux with the Pawnees, their fights, Dunbar wanting to join, the chief explaining that he must stay, taking care of his family? The battles with the Pawnee, their severity, the pursuit of the warriors and the killings?

17. Dunbar getting his Indian name, becoming part of the village life, his love for Stands With A Fist, wooing her, love, the permission for her to stop mourning, permission to marry, the wedding ceremony?

18. Stands With A Fist, the white woman with the Indians, the flashbacks to her story, little girl, the Indian attack, her being taken by them, growing with them? Her translating for Dunbar? Remembering her English? Communicating with him and helping him communicate with the Indians?

19. Kicking Bird, the holy man, his place in the village authority, his relationship with his wife? Wind In His Hair, the warrior and friendship? The young man who smiled? The children?

20. The capture of Dunbar by the soldiers, their accusations that he had gone Indian, the picture of the soldiers, crass, brutal, crude? Fighting? The interrogations, the soldier trying to steal the feathers, Dunbar's diary and using it for toilet paper? Orders? The treatment of Dunbar, the brutality? The Indians watching, the planum following the soldiers, the difficulties of travel, the raid, the battles, the death of the soldiers, the rescue? Dunbar and his fight with the soldiers, his brutal killing of his guard? His comment that it was just to kill this man?

21. Going back to the village, the threat from the soldiers, going on the move, the wintry season? Dunbar's decision to leave, the preparations, Wind In His Hair on the cliff? The farewell to Kicking Bird? The smiling boy returning the diary? Going with his wife? The wolf dead? The end of the season?

22. Dunbar and his experience of the frontier, looking at the frontier of the West, discovering the frontier of his soul?

23. The postscript, the Sioux Indians, their freedom, their surrender in Nebraska, the end of the plains culture?

24. The scope of the film, content, values, pictorial style? An achievement of 1990?

DAMES

US, 1935, 90 minutes, Black and white.
Joan Blondell, Hugh Herbert, Guy Kibbee, Zasu Pitts, Dick Powell, Ruby Keeler.
Directed by Ray Enright.

Dames is in the tradition of 42nd Street, Footlight Parade, Gold Diggers of 1933. In fact, it was originally designed as Gold Diggers of 1934. It has the regular Warner Bros case for musicals led by Dick Powell, Joan Blondell and Ruby Keeler. It also has their comedians, especially F. Hugh Herbert and Guy Kibbee, Zasu Pitts.

It is the old story of `the show must go on' but pokes fun, especially in the context of 1934 and the Motion Picture Code and the Legion of Decency, at zealots for purity and sends them up.

While the material is familiar, the significant part of Dames is the choreography by Busby Berkeley. There are elaborate treatments of `I Only Have Eyes For You' as well as the theme song `Dames'. They are some of Busby Berkeley's best. Direction is by Ray Enright.

1. Enjoyable popular 1930s musical? The artificiality of `the show must go on'? The send-up of the characters? The songs and dances? Popular material for the Depression?

2. Warner Bros production, black and white photography? New York atmosphere? Homes, streets, Central Park, ferries? The theatre?

3. The musical numbers, the popularity of the principal songs? Busby Berkeley's visual images, geometry, the beautiful girls, designs?

4. Uncle Ezra and his eccentricity, demanding to see Horace? The Purity League? The inheritance for Horace? The comedy between the two men? The punctual secretary? The trip to New York, the sleeping bodyguard, the difficulty for Horace in finding Mabel in his cabin? Uncle Ezra deciding to stay with the family? His hiccups, the remedy? the serious attitude towards morals, his association, their meetings, their plan to boycott the theatre?

5. Jimmy and Barbara, in love, Jimmy and his swift talk, asking Ezra for the money? The romance between the two? Mabel and her complaints, the producer who almost swindled them? The contact with Horace, persuading him to put up the money? His anxieties and wanting to cover up?

6. The show, the rehearsals, Barbara and her jealousy of Mabel and Jimmy? Her audition? The preparations for the show?

7. The preparations for the demonstration? The family coming to the theatre? The thugs ready to riot? Uncle Ezra and his elixir and its being alcoholic? Its effect on him?

8. The show going on, Mabel and her songs, Barbara and her songs? The elaborate staging? The Busby Berkeley effects? The appreciation of Horace and his wife, of Uncle Ezra?

9. The riot, their being in jail, Matilda coming to get them out, Uncle Ezra saying he had never had so much fun? The spoof on the moral right?

10. Popular themes of the '30s? the influence of this kind of musical on later generations?

DAISY KENYON

US, 1947, 99 minutes, Black and white.
Joan Crawford, Henry Fonda, Dana Andrews, Ruth Warrick, Martha Stewart, Peggy Ann Garner.
Directed by Otto Preminger.

Daisy Kenyon is soap opera, '40s style. It receives lavish treatment with its star cast led by a glamorous Joan Crawford with the solidity of Dana Andrews and Henry Fonda. It was also directed by Otto Preminger, who had moved into films in the mid-'40s with such successes as Laura and the controversial Forever Amber.

The film is in the 20th Century Fox style of the late '40s, a so-called `woman's picture' which still retains its interest because of the star presence and the style of film-making.

1. Entertaining romantic melodrama? Of the '40s? Soap opera of the period?

2. Black and white photography, glossy style, David Raksin's score, the power of the stars?

3. The moral stances of the '40s, relationships, fidelity, divorce? Moral themes? Moral focus?

4. Joan Crawford as Daisy Kenyon, her strong screen presence, seeing her at work, her relationships? Friendships? The relationship with Dan? His marriage? Out with him, kept waiting? The encounter with Peter, the meeting, the warm memories, the accident, the attraction? Her dilemma?

5. Daisy in herself, able to see Dan and his life more clearly, the build-up to the break, the job, friendship with Peter, the marriage? Growing, chance and the encounters with David? The contacts with Lucille, the phone calls and the consequences? The three meeting and facing the situation? Peter puzzled and her concern about him? The build-up to the court case, the break-up, the issue of the children? Daisy alone? The drive, the crash, seeing more clearly? Her future?

6. Dana Andrews as Dan, his work and career, his relationship with Daisy, visiting her, the expectations? His reputation, the law? His relationship with Lucille, the children? In-laws? Going out, covering up? The encounter with Peter and the taxi? The Washington appointment, the Japanese job, the pressure of his father-in-law, turning it down? The reconciliation with Daisy? The importance of his relationship with Lucille, her treatment of the children - background of child abuse? At home, the phone call, the clash? Meeting Daisy? The court case? His giving in, the divorce, the ending and his future?

7. Henry Fonda as Peter, the war experience, the meeting, liking Daisy, the background of his past, relationships, the making of boats? The outings with Daisy, in love with her? Marriage, the growth in love between them? His attitude towards the divorce, disappointment, respect for Daisy, his strategy and winning out?

8. The portrait of Lucille, the quality of her relationship with Dan, the spoilt marriage, her treatment of the children, bashing and child abuse? Her father and his dominance? The phone calls, overhearing? Hysterics? Behaviour in court?

9. The father-in-law, his expectations, the law?

10. Daisy and her friends, their support, their testimony in court?

11. The popular ingredients for a romance? Issues of fidelity and infidelity? Broken marriages? Child abuse? Careers? The treatment of these themes, '40s style?

DAISIES IN DECEMBER

UK, 1995, 95 minutes, Colour.
Jean Simmons, Joss Ackland, Muriel Pavlow.
Directed by Mark Haber.

Daisies in December is a pleasing British telemovie. It is a star vehicle for Joss Ackland and for Jean Simmons. He portrays a curmudgeonly stockbroker who is retired, put by his family in a hotel for the Christmas period as they go off to ski. He is angry, has previously had an accident in which he lost his house in a fire, resents people, doesn't want to mix, pretends to be deaf - until he meets and is attracted towards Jean Simmons. She is a widow who is suffering from cancer. The film shows the transformation in him, the holiday for her and her enjoying his company. As he realises his love for her, he proposes a voyage during the Christmas period which she, conscious of her illness, has to reject.

The film is predictable in many ways but has strong dialogue, and is given a sometimes quite acerbic edge by the two stars which stops it falling into mere sentimentality. The south coast of Britain offers attractive scenery (and fine weather for December) and some views of Mount St Michael. There are echoes of British mythology, King Arthur and Tristan and Isolde.

1. The title? Romantic? Flowers in the wrong season? The symbol for the elderly and their falling in love and blooming?

2. The locations, the hotel, its interiors, exteriors? The town, the coast, the beaches? Mount St Michael? Attractive scenery for this kind of story? The musical score - especially Vaughan Williams?

3. The credibility of the plot, people in their 60s and 70s, their treatment by their family, their loneliness, holidays together, the jollity of the organisers of such hotels for meals and activities? Shyness, reserve, not wanting to mix? People meeting one another, attracted, sharing, falling in love? Age and its disabilities and illness? Prospects of death?

4. The portrait of Gerald? A curmudgeonly man? Not wanting to be at the hotel, growling all the time, wanting to be unhappy? His relationship with his son, liking his two grandchildren, his daughter-in-law? The fuss he made on arrival? His rudeness to the assistant, to the person at the desk? His going for the walk, getting lost? Meeting Derek the taxi driver? Not knowing the name of his hotel, driving around? Coming back to the hotel, his grudgingly accepting the sandwiches? Going to the table, the women chatting, his pretending to be deaf?

5. Pushing into Katherine and his apology? Her absence from the breakfast table? His meeting her, chatting with her, her coming to the table, his having to pretend not to be deaf? His hearing the music in her room? His bluntness in chat, his attraction towards her, sharing stories? Their going for walks, his telling his life story? His decision to go on the tour to Mount St Michael? Discussions in the bus, his formality, suits, ties? Her mellowing him? Her turn at Mount St Michael and his consideration? Their watching Brief Encounter together - her being ill, his falling asleep? His discovery about the medicine, asking the nurse, his angry response? The collage of their shared experience - and his talking on the phone and his double messages about staying at the hotel?

6. His agreement to give a talk on the stock exchange? Katherine's decision to leave early, his offering her the tickets for the cruise, her having to think, her consciousness of her illness, her refusal? The formality of her leaving, going with her nephew to the talk? The ambiguity of his response to the question about risks? Her departure - and her return? His commitment to her, no matter what, love? Their future?

7. The portrait of Katherine, in herself, memories of her husband, her illness and treatment? Her reading, music, conversation? Gerald's indignation at the man from the table making a play for her - and her provocative responses? His being scandalised? Her enjoyment of his company, going to dinner, making him dance, his holding her? Brief Encounter and her being unwell? Resting together, the intimacy?

8. The staff at the hotel, their fussiness, gradually being seen as humane? Derek the cab driver - and his ironic comments about Gerald being lost, taking them for drives, booking the restaurant?

9. The other members of the table, the two elderly women, their chatter, shouting, playing games - and Gerald having to do the charade of Gone With The Wind? Katherine warning that he might come to like this kind of relaxation? The questions at the discussion about the stockbroking and the stock exchange?

10. The son, trying to do right by his father, remembering the fire (and the flashback nightmare for Gerald)? His explanations of the fire to Katherine? The grandchildren and their love for their grandfather?

11. A romantic drama? Niceness - but without sentimentality? Characters and edge? A story that audiences could identify with?

DAD

US, 1989, 118 minutes, Colour.
Jack Lemmon, Ted Danson, Olympia Dukakis, Kevin Spacey, Ethan Hawke, Kathy Baker, J.T.Walsh.
Directed by Gary David Goldberg.

Dad was written and directed by Gary David Goldberg, writer and director for many years of Family Ties. It is based on a novel by celebrated writer William Wharton (Birdy). The film is a tour de force for Jack Lemmon portraying a 78-year-old man. He is well supported by Ted Danson as his son. Olympia Dukakis gives a variation on her mother and wife performance (Moonstruck, Look Who's Talking) and Kathy Baker and Kevin Spacey are very good as the daughter and son-in-law. Ethan Hawk (Dead Poets Society) is Danson's son.

The film focuses on old age (memories of On Golden Pond). It also focuses on generation relationships and terminal illness (variations on Terms of Endearment). The comparisons are helpful. The first part of Dad highlights old age, family relationships, difficulties and illness. In the second half, as Dad gets his new lease of life, the film seems to go somewhat whacky. So do the characters - in an attempt to rediscover the meaning of life, vitality and joy. While the impact of the first part remains, the second part perhaps strives too hard for its effect, is too cute, perhaps too American. However, Dad is an emotional experience dramatising its issues.

1. Themes of family, ageing? Truth and love? Illness and death? American sensibility? Universal sensibility?

2. California settings, Los Angeles, the lifestyle, the homes, supermarkets etc? The musical score, the range of songs?

3. The title and its tone? Jake as father, John as son and father? John and his own son? Family, relationships, reconciliation?

4. The work of the writer-director, the background of television, one-liners, situations and humour? The complex plot, the illnesses? Emotions? Realism and zaniness?

5. Audiences identifying with the characters, situations? An emotional way of experience and learning?

6. John, his work, busy, the meeting, Henny calling, arrival home, Mario and the information, his mother's response, seeing his father helpless? Setting the scene? Seeing the situation through his eyes, his decisions?

7. Bette and Jake: Jake and his memories of the farm, the irony that they were his fantasy? Waking up, Bette helping him in every detail? His age, breakfast, the market, arguing about the pork chops, Bette's collapse? In hospital, concealing the truth, something wrong with her insides? His fear of cancer? Their age, their relationship, their fears, lack of doing things? Stopping their activities of the past?

8. John and his father, John's absences, seeing them together, talking, turning off the television, helping with the pyjamas, sleeping in the room, the breakfast, the lists, getting the jobs done, Jake and his response, cleaning the house, the laundry, shopping, sprucing up? The visit to his wife? Going to the bingo (and the talk about the deaths of friends)? The effect on Jake, on John?

9. Annie as loving, supporting her father? Love for Mario? Mario as a friendly character? Bette mocking his comments? Her return home at the party, all together?

10. Billy and his background, study, his mother, the parents' separation? Not seeing his father much? In Mexico, his arrival, love for his grandparents, concern? His appearance, earring etc? John's reaction?

11. The blood in the toilet bowl, to hospital, Dr Santana and his treatment, tough, telling Jake about the cancer, Jake's fears, the operation, going into coma? John, his anger? The visits to the hospital, the vigils? Carrying his father out of the hospital, trying to look after him, the fears, especially with Jake under the bed and John searching the house? The administrator and his apology? Dr Chad, his diagnosis, change in Jake? John moving into the hospital? Billy and the vigils? Jake waking up, the staff applauding?

12. Jake and his return to life, more lively, buying the clothes, the fashion parade with all the strange clothes? Visiting the neighbours, the Asian children, cake to neighbours? The Japanese meal and everybody having to participate? Playing golf? Bette's angry outburst at the Japanese meal? `

13. Jake, living in his fantasy, imagining an ideal life, in comparison with his work? His talking with John? The theme of workers and bosses? John and his trying to cope with Bette's anger, trying to persuade her to go along with the fantasy? The psychologist and the information of how to handle the situation?

14. The importance of the new lease of life on Jake, recovering his past, the possibilities of life? Bette and her bossiness, her fears, reluctant to break through?

15. The importance of the talk between John and Billy, Billy's direct questions, the making of money? John and his having to review his life, his options? Wanting them to give advice to each other? To be forgiving? The reconciliation?

16. The information about Jake's cancer, having to go to hospital, his ability to face the situation, face the possibility of death? In hospital, talking, resting? The family visiting? His memories, the farewell? John and his devotion to his father, the embrace, lying down on the bed beside his father?

17. The funeral, Bette and the support of her neighbours? Being able to cope? The group loyalty? Billy and John in the greenhouse, their farewell to their father?

18. Emotional response to the film, the characters, the situations? Learning by emotional identification?

DISTANCE

Japan, 2001, 132 minutes, Colour.
Directed by Kore- Eda Hirokazu.

Distance is from the director who made the striking film Afterlife, where a number of characters sit in a waiting room for Heaven and are asked to choose a significant moment of their life to take with them into eternity. Themes of death and eternity are strong in this film. However, it is treated in a very leisurely way, a long time building up the first half of the film where four characters (presented in their everyday life in Japan, in the workplace, at school, at home, in the street, with dates) is played out. The four then travel together to the scene of the poisoning of the water supply of Tokyo where over 100 people died and 8000 became ill. It transpires that a relative of each of these characters was responsible for the massacre. The relatives all died when the massacre took place.

Their car is stolen - and they meet a young man whom they recognise as having been part of the cult. He takes them to one of their houses and throughout the night he explains what the situation was like, how he was part of the cult but changed his mind at the time of the killings. He is able to enlighten each of the characters about their relationship with their sister/husband/other relation. The film is also punctuated by memories of each of the characters interacting with their relative. The aim of the director is to explore the aftermath of such massacres as the Ohm massacre with the gas in the Tokyo Underground. Characters are presented, it is not an exploration of right or wrong; it is an exploration of what might have been.

DYING YOUNG

US, 1991, 111 minutes, Colour.
Julia Roberts, Campbell Scott, Vincent D'Onofrio, Colleen Dewhurst, Ellen Burstyn, David Selby.
Directed by Joel Schumacher.

Dying Young is a film of the early '90s - but is reminiscent of the dramas of sentiment and romances of the past. The film is designed as a star vehicle for Julia Roberts, who had reached great popularity with Steel Magnolias, most especially with Pretty Woman as well as Flatliners and Sleeping With The Enemy. Her co-star is Campbell Scott, son of George C. Scott and Colleen Dewhurst (who appears with him in the film). Scott had appeared in Long-Time? Companion and The Sheltering Sky. Ellen Burstyn also appears as Julia Roberts' mother.

The film was directed by Joel Schumacher, whose credits include St Elmo's Fire, Cousin and Flatliners. It takes up interest in the contemporary theme of illness and death (with echoes of the experience of AIDS and so many people dying younger in the '80s and '90s.)

The film is designed for the wide audience, for emotional response, for sharing in the experience of death and illness as well as romance.

1. Impact of the film as drama, romance? Serious issues? The stars?

2. The San Francisco locations, ordinary Oakland, wealthy Nob Hill? The holiday at Mendocino? Songs, the musical score and the romantic theme?

3. The title, theme and expectations?

4. Julia Roberts as Hilary, the vivacity of her screen presence? Shopping with her friend, the discovery of her boyfriend and her disillusionment, throwing back the keys? With her mother? Reflecting on her life, relationships, mistakes? Seeing the advertisement, the red dress? The interview with Vic's father, his rejection of her? Malachi pursuing her? The discussion with Vic, the conditions, the nature of the job? Her acceptance, moving into the house?

5. The effect on her, companionship for Vic, the chemotherapy, going to the hospital, watching the children with cancer? Vic's illness and turns, the vomiting? Her helping, her fears? Feeling unable to cope and wanting to leave? Vic's talking with her, her decision to stay? Sharing his experience? The contrast between the two, her lack of education? His thesis, the art and the pictures, the explanation of the artists and their themes? His growing to rely on her, lying on the bed during the night? Going to the meal, the wealthy fashionableness, the contrast with the exuberance of the disco? Their return to the house?

6. The portrait of Vic: his life, age, the photos of his healthy life, the ten-year illness? The death of his mother, the dominance of his father? The chemotherapy? The interviews for the nurses, his decision to hire Hilary? With her, the explanations, the seriousness of his illness and treatment, the vomiting, the noise, his bad turns? His isolation? His wanting to finish his thesis, explanation of the paintings? Going out with Hilary, the effect?

7. His decision to go away, interrupt the chemotherapy? His story of Hilary and her going? Going to Mendocino(?), the jerking with the driving? The house, the neighbour? Settling in, shopping for the health foods? The healthy holiday? Going out? Growing in love, the sexual encounter, passion? The walking and the effect on each?

8. Gordon and the people in the town, the story of his losing his hair, coming to fix the windows? The social background of the town?

9. Vic, his health, growing his hair, trying to live normally? The deterioration, his lies, taking the morphine? The visit to Estelle and the friendship? The attraction of the maze, his going into the maze, the collapse? His anger with Hilary? Going being invited to the Christmas party? The background of the Jeopardy quiz, his quickness, his taunting with their knowledge of soap operas? His bad behaviour and collapse?

10. The effect on Hilary, the relationship with Vic, believing that he was getting well? The discovery of the morphine? His bad behaviour? Ringing his father?

11. His father and his love for his son, business journeys, telephone messages? Reaction to Hilary? Coming to see him, pleading with his son about his health?

12. Hilary, talking with Estelle, Estelle giving her advice?

13. The party, going with Gordon, the dancing? Pursuing Vic, talking with him? Going back to the house, his packing, her explanation of her devotion and love? Her resolution?

14. Hilary and her declaration that if he were to get well, she would support him; if he were to die, she would hold his hand and he would see her as he died? Their leaving together - satisfactory resolution for the film, for the themes of illness, for death?

15. A satisfying blend of issues, romance and feeling?