DEATH IN BRUNSWICK

Australia, 1991, 100 minutes, Colour.
Sam Neil, Zoe Carides, John Clarke, Yvonne Lawley, Nico Lathouris.
Directed by John Ruane

Death in Brunswick was written by its director John Ruane, director of some excellent short Australian features, Queensland, Feathers, the adaptation of Tim Winton's That Eye, the Sky and Dead Letter Office. The screenplay was a collaboration with novelist Boyd Oxlade about his inner Melbourne experiences. The result is an oddball black comedy that will not appeal to every taste, but seems to appeal to the Australian sense of humour, especially the famous cemetery scene.

Sam Neill is Carl, dominated by his mother (an excellent performance by New Zealander Yvonne Lawley), who gets a job in a dirty club kitchen, falls in love with a young Greek waitress (Zoe Carides) and clashes with Brunswick Greeks and Turks, finally having a spot of `dispose of the corpse' trouble (like The Trouble With Harry and Weekend at Bernie's).

The film captures a lot of the flavour of inner-city Melbourne and Brunswick. It is marked by a larrikin style and humour that has its crass touches. Comic writer and performer John Clarke is very good as Dave, Carl's friend. It is quirky local black humour.

1. Acclaim and awards? The Australian and Melbourne flavour? Touching the Australian nerve - and sense of humour? The characters, situations? Spoof and irony?

2. The Melbourne settings, the inner-city suburbs, the streets and houses, the Bombay Club, the church? Authentic atmosphere - yet heightened? The mood, the score, especially with its Greek musical overtones?

3. The title and the echoes of Death in Venice, Mum and her love for Mahler's music? The tragedy and irony in the title?

4. The drawing of the characters as caricatures - and audience response to the heightened characters?

5. Carl as the focus, Sam Neill's screen presence and performance? His living in squalor, getting up, his daily routines? Responsibility and irresponsibility? Middle age, his life so far? Looking for work? His friendship with Dave and June and their support? Dependent on them? Dependent on his mother, her domination, arrival, tidying his house? Getting the job, going to work? The types at the club? The filthy kitchen, not being allowed to drink - and his sneaking drinks? The friendship with Sophie, the bonds with her, bringing the drinks? The contrast with life at home? The dates with Sophie, going out, sharing and talking, going to the pictures? With the kids? The brief affair at home? Antagonising Laurie and his brutality in the club? Working with Mustafa and his stolen goods and drugs?

6. The portrait of Mum, the background of her life, her snobbery, her records, her hold over her son, tidying his house, demands and expectations? Her religious background, prayers, exasperation at Carl?

7. Sophie and her verve, the Greek background, at work, helping Carl, going out, the pictures, the sexual encounter?

8. Yanni and the owners of the club, the rules, the patrons, the strictness, severe on Carl?

9. Mustafa and his goods, the clash with the Greeks, the fight? Laurie and his brutality? Mustafa attacking Carl and the sudden brutality and shock of the death? Carl and his inability to cope, getting help from Dave, the comedy with the corpse, the cemetery sequence? His revenge on Laurie and the others by putting the cockroaches in the pizza?

10. Dave and June and the kids, suburban home, June and her dominating Dave? Manner, dress, way of speaking, the beer? Deadpan humour? The observation of the Australian house? Helping Carl, the body, the cemetery sequence and its laughs? The return home? Dave and June and their trying to help Carl to take on responsibilities?

11. Carl and his job, Sophie breaking the friendship, the pressure from her family? Carl watching and the Turks fire-bombing the club? Laurie and his anger?

12. Carl and Sophie, the Turks? Mustafa's wife and her child, Carl giving the money? The revenge, Carl leading the attackers into the club, the confrontation with Laurie, the brutality of the fight and of his beheading?

13. Carl and his continued reliance on Dave, introducing Sophie to them, the revelation that he was still married? His dilemmas? Wanting to kill his mother? Going to mass, the unfamiliarity of the mass, the church and the vision, Mustafa sitting in the church, the handshake of peace, and forgiving him? Going to see Sophie's father, the house, the physical attack? His mother, making demands on her, discovering about the inheritance? Her collapse, his monologue in the hospital, her being confined to the chair?

14. The wedding - and the happy ending - and a future or not?

15. Greeks and Turks in inner Melbourne, Anglo-Saxons?, customs in Brunswick? The Aussie family with Dave and June?

16. A British reviewer commented that the film imagines a class of Australian males as fortyish adolescents, bullied either by their mothers or their wives, content to wallow in filth, and consistently engaging, despite their burnt-out lifestyles. Correct or not?

DEAD MAN WALKING

US, 1995, 130 minutes, Colour.
Susan Sarandon, Sean Penn, Scott Wilson, Raymond J. Barry, Lee R. Ermey, Robert Prosky.
Directed by Tim Robbins.

Dead Man Walking is based on a best-selling memoir of her work with prisoners, especially on death row, by a Louisiana nun, Sister Helen Prejean, who acted as technical adviser on this film. Susan Sarandon met Helen Prejean in New Orleans during the filming of The Client, read her book. Tim Robbins wrote the screenplay and directed the film.

Sarandon plays Helen Prejean midway between Marmee (Little Women nice integrity) and Regina (The Client forcefulness and shrewdness in fighting for a victim and a cause), with the commitment of the mother in Lorenzo's Oil but in a more self-effacing style.

In fact, it is probably the best portrayal of a contemporary nun on screen in recent decades. (Comparisons can be made with Gosia Dobrowolska and Paul Cox's fine interpretation of a 50s nun in The Nun and the Bandit or Judith Ivey's practical and sensible 80s nun in Robert M. Young's We Are the Children.) Judging from the accuracy of the dialogue, Helen Prejean advised Tim Robbins closely. The sequences with the two nuns at home and with the prison chaplain are just right.

For dramatic purposes, especially since some of the characters portrayed are the victims of crime as well as their grieving and angry parents, two actual convicts on death row in the early 80s have been conflated by Robbins to create Sean Penn's character. He writes to Sister Helen who is living in a small apartment with another nun working with local black families, asking him to visit her. She has never been in a prison and struggles, especially after meeting him and finding him violent, racist and insolent, as to what he wants and how she can minister to him. (Penn is thoroughly persuasive in the role.) She also has to think through her attitudes towards capital punishment.

One of the strengths of the screenplay and Robbins' creation of the Penn character is that, while he remains quite unsympathetic to the end, the intellectual and emotional reasons for and against execution are dramatised fairly. Audiences are drawn to identify with Sister Helen in her compassionate outreach, but they are jolted several times to find that the compassion agenda has blind spots, especially concerning the victims' parents. Raymond J. Barry and R. Lee Ermey give effectively contrasting performances as the two fathers and give the film more depth.

Audiences pro capital punishment will not be persuaded to change their minds but will have to look again at their motives and the consequences of state violence. Audiences anti capital punishment will have their stances reinforced but will have to extend their compassion to those who have been hurt and are driven by a sense of revenge and justice. (It would be a pity if, after the harrowing sequences of the execution, audiences did not note and reflect on the final images of the film with Susan Sarandon and Raymond J. Barry.)

Not that the film does not have its lighter moments - and they are needed. The screenplay tries to help audiences understand the call and life of a nun. The celibacy issue is handled briefly, tellingly but unobtrusively. Helen Prejean's life is given credibility even if it is only for a small number of women.

While the subject matter and treatment fit the image of Susan Sarandon, they are a surprise with regard to Tim Robbins. Audiences are used to his wry, bemused smile which gets him through drama like Shawshank Redemption, romantic fluff like IQ and sardonic comedy like The Player. His own Bob Roberts was a tour-de-force (political tour-de-farce) combination of genres, visual styles and editing flair.

1. The film's acclaim, awards?

2. The depth of the film in terms of characters, issues? The foundation of the film with Sister Helen Prejean? Her book and its popularity? Tim Robbins' conflation of characters in order to save reputations but to give an insight into Sister Helen's experience? The contribution of the performances?

3. The atmosphere of Louisiana: the black neighbourhood, the roads and highways, the prisons, the courts, the church? The prison and the re-creation of the execution? The editing and pace? The musical score and its atmosphere? The range of songs, Bruce Springsteen's theme? The choral music? The hymns?

4. The religious dimensions of the film? The 1990s and the Catholic church? The role of nuns, their contemporary style, the range of ministry, a sense of mission, witness to the gospel, the question of the religious habit, different style of community, small community living, prayer? Issues of celibacy? The comparison with the clergy, the chaplain and the church with its regulations? Sacramental ministry? The bishop, his sense of justice, appeal to the governor, the ritual and his conducting the funeral? The credibility of the Catholic church and its fidelity to the gospel, its work in the world in the 1990s?

5. The translation of a biography to film? The rearranging of incidents, updating to the '90s from the '80s, conflating characters? The spirit of the book?

6. The dramatic structure of the film: beginning with the journey of Sister Helen? The memories of her vocation, her family, the ceremony of her reception of the habit? (The home movies indicating a period before the Vatican Council, contrasting with the present?) Sister Helen in the church? Her friend and his giving her the letter from Matthew Poncelet? The puzzle about the letter? Her work, teaching, in the black neighbourhood? Her decision to go to the prison? Her memories inserted throughout the action of the film? Her final dream - with Matthew sitting at the family table? The introduction to Matthew Poncelet: the information given, the glimpses of the crime, the flashbacks to the court proceedings? The gradual information about him? The expansion of the flashbacks about the crime, the execution - and the vivid and realistic memories coming to him? The glimpse of Walter and Hope appearing at the time of his death? The subplot of the parents of the victims: vengeance, Sister Helen's visits, the possibilities of justice and reconciliation?

7. The portrait of Sister Helen Prejean? Susan Sarandon's screen presence and performance? The background of her reception of the habit, her background as a nun, her commitment to her vocation? Her explanation of the vow of celibacy, the nature of intimacy without sexual experience in intimacy? Her loneliness - and her questioning of her life, yet her fidelity? The possibility of being spiritual adviser to Matthew? Her age, experience - and her life in community, with Sister Colleen, going to the Mass with the enthusiastic black music? Seeing her at work? With the children, her poetry - and the smudging of the poem in the magazine? Her driving to the prison, her uncertainties and her not pretending to be certain? The interrogation by the chaplain, his putting her down, her accuracy about the Pope's wanting distinctive garb rather than a habit? Father Farley trying to warn her off? Her meeting of Matthew, the initial reaction, his story from Father Farley, human friendship, her not liking him, yet her wanting to do the right thing? Contacting the lawyer? Watching him on television, the death sentence and the date - and his phone call for help? The television information portrayal of Poncelet? Her presence at the interrogations with the lawyer, her puzzle about his attitudes? Her ability to talk with him, find topics of conversation? The confrontations with him? Her own family's response, the family dinner and discussion? Her decision to visit Matthew's mother, the suspicion, getting her in, her story? Her decision to go to the appeal board?

3. The appeal board and the further information about Poncelet? Sister Helen and her looking at the parents of the victims? Mr Delacroix and his being a Catholic, confronting Helen, her willingness to help, offering the phone number - and his saying that she was arrogant? The Percys and their disdain? The support from the lawyer? Her own support of Mrs Poncelet? Her visit to the Percys, the detail of their story, their love for their daughter, the re-creation of that fatal night, the finding of the bodies? Thinking that she had changed sides? Their reaction to her decision to be Poncelet's spiritual adviser? Ordering her from the house? Matthew and his request for her to be the adviser? Her presence at the vigil on the night of the execution - and her community with her? Her observation of the police and the protesters at the vigil - the pro capital punishment lobby and the victims' parents? The discussion about the details of Matthew's burial, the humorous discussion about the suit and Sister Colleen getting it, the request of the congregation for the grave, their acceptance of this - and the humour about Sister Celestine, the severe celibate, and her lying for eternity beside Matthew? The local people turning hostile against Sister Helen because of Poncelet's racist statements? The few days before the execution, her trying to help? Hearing him on television and his racist attitudes which he spoke of in the prison, his talking of being a terrorist, his pro-Nazi attitudes? The sense of urgency and his change of heart, his foolishness in speaking to the media? His discussion about being a victim and despising victims? The lie detector and its ineffectiveness because of stress? Her continued presence, the talking, discussions about the Bible, the joke about W.C. Fields and the loophole, the quotes from John 8, "And the truth will set you free"? Helen fainting and the support of the hospital staff? Her discussion with the nurse about the lethal injections? Her discussion with the official who tied down the left leg? The discussions about repentance not being just a mere ticket to Heaven? Her trying to depth Matthew's experience and lead him to responsibility? The significance of her going to the group therapy with Mr Delacroix and his talk about his divorce, her previous visit to the home and his explaining his family situation, his wife's different way of coping, the memories of his only son and the end of his family line? The appeal to the governor, the governor and the road hoardings and the television declarations about capital punishment? The appeal to the bishop and his going with the lawyer to the governor's appeal?

9. Helen going to her parents' home, the memories of what she was like when a girl, her mother's comments about her care for all the strays? The dream and Matthew at the table? Her presence with Matthew on his last day? His change of heart, talking more honestly, the truth setting him free, taking responsibility for what he did, his admission of guilt and his confession (and the prison bars serving as a confessional grille?)? Helen and her hearing the confession - but not able to give sacramental absolution? Father Farley and his interview with Helen and his desire that Matthew receive the sacraments? Helen's presence at the visit of the whole family? The asking about the hymn and the non-singing of a hymn (not to excite and give stress to the prisoner before execution)? Her singing of the hymn, her quoting of Isaiah 43 as Matthew walked to his execution? Touching his shoulder and kissing his shoulder? Saying that she would be the face of love as he died and for him to look at her? Her reaching out, her praying?

10. The pathos of the funeral, the family present, the bishop and his conducting of the ceremony? Mr Delacroix and his watching, not knowing why he was there? Helen's discussion, her return to the neighbourhood, the children and the people all welcoming her back? The final sequence of her going into the church, the camera looking in the window, her kneeling in prayer with Mr Delacroix? Each trying to help the other to find some solution?

11. The end of Sister Helen's journey? The learning experience, her uncertainties and mistakes? Her attitude towards capital punishment? The demonising of the criminals? The personalising of the criminals? The understanding of the pain of the relatives of the victims?

12. Matthew and the story of the crime? The ugliness of the crimes? His family background, his mother and her trying to manage with all the sons? Matthew's story about his father giving him his first drink at the hotel with the men, aged 12? His father's death when he was 14? Share-cropper? Racist attitudes? The contact with the criminals, the drinking and the drugs? Aping the older criminal? His gradual revelation of the story, his denial of his responsibility, his lying? The grimness of his taunting the Percys at the trial? His final telling of the truth, the truth setting him free, the visualising and the graphic detail of the murders and rape? The final death vision of his two victims?

13. Sean Penn's performance as Matthew Poncelet? Hearing him read the letter, his motivation in writing the letter, Helen's visit, his reaction to her being a nun, his interrogation - and later trying to flirt with her? His dismissal of Father Farley as too obviously religious? Being able to talk, behind the bars, handcuffed, lighting the cigarettes? His concern about his family and his mother? The growing friendship with Helen, his ability and inability to trust? His explanations to the lawyer? The point made about his being poor, only the poor on death row, unlucky in getting an inexperienced lawyer, whereas the other criminal had a more experienced lawyer? The build-up to the appeal, the reasons given for the turning down of the appeal? Testimony given to the board? The governor and his political agenda about cracking down on crime? The discovery that Matthew was racist, despising people as victims? Admiration for Hitler, talk about terrorism? His response to the Bible, gradually discovering and being able to discuss the death of Jesus? Being over-literal, thinking repentance was a ticket to Heaven? The measurement for the coffin, his request for the lie detector? The days closing in, his getting weaker? The trust in Helen and his confession, the emotional impact on the audience of the confession and his accepting responsibility? The family visit, talking to his mother and brothers? The transition to the silences? Wanting to wear his boots? The final meal, the final phone call? Getting ready, shaved, not being able to wear the boots? Seeing Helen as the face of love? Her touch, her kiss, the truth? His being laid out, standing before the witnesses as if he were a crucifix? His speech of apology to the parents, his speech against murder of any kind including his own and that of the state killing criminals?

14. The portrait of the lawyer, his friendship with Helen, his generosity, working with his team, the hard work of the team and the volunteers (and the father taking his son to the dentist)? Discussions with Matthew? Support of Helen? Going to the governor?

15. The nuns, Colleen and her work with Helen, sharing the apartment, supporting her? Their religious order and the giving of the grave? Present at the vigil outside the prison?

16. The glimpse of the officers, Helen asking them about their jobs, about the emotional impact of executing prisoners? Their own feelings - yet their sense of duty?

17. Mrs Poncelet and her hard life, her experience with her kids, the children being persecuted at school? The discussion with Helen and her gratitude to her? Her tears at the appeal board? The final visit, not being allowed to touch her son? The glimpse of the brothers?

18. Mr Delacroix and his grief, present at the hearing with his wife, accusing Helen of arrogance? His wife leaving him, Helen's visit to his home, his explanation of his life, the love for his son, the house and the experience in the house? Going to the group for therapy and telling them that his wife was divorcing him? At the execution, witnessing the funeral, not knowing why he had come, agreeing that he and Helen could help each other - and the final glimpse of a possible reconciliation as they prayed in the church?

19. The Percys and their anger, at the appeal board, despising of Helen, their sympathy during the visit, the emotional explanation of what had happened? Their turning on Helen? The anger of Mr Percy even at the execution?

20. The glimpse of the teenagers as persons, their experience, hopes, achievements, in the lovers lane, set upon by the criminals, the ugliness and torture of their ordeal?

21. Father Farley, his role as chaplain, the letter of the law, his talking down to Sister Helen? Allowing her, however, to do her work? His explanation about the criminals, their being conmen? Wanting a sacramental reconciliation - no more, no less?

22. The sympathetic bishop? The face of the church? His going with the group to the governor? Agreeing to conduct the funeral?

23. The issues of capital punishment, the film's stances, presenting the pros and cons? The focus on persons and not demonising the criminals? The sympathy for the victims? Sense of justice? The difference between justice and revenge?

24. Themes of redemption, the gospel message, the role of Jesus, by taking responsibility for actions - and that being the truth that sets people free?

DEAD POETS SOCIETY

US, 1989, 128 minutes, Colour.
Robin Williams, Robert Sean Leonard, Ethan Hawke, Kurtwood Smith, Josh Charles.
Directed by Peter Weir.

Dead Poets Society is a Peter Weir film. It takes up education themes that he explored in Picnic At Hanging Rock. It also has the mystique of adolescents and their growing up, also a theme from Picnic. However, Weir is able to dramatise the American context of 1959 - and make it interesting and relevant to world-wide audiences.

Robin Williams is subdued as the creative English teacher, John Keating. It is a Williams performance (Mork and Mindy, Moscow on the Hudson, Popeye, Good Morning Vietnam) - but it has a depth of understanding and compassion. The performances by the boys are very good, especially that of Robert Sean Leonard (My Best Friend is a Vampire) who has to sustain the tragic side of the film.

Photographed in Delaware, the film shows the strict way of life at an all-boys preparatory school in the late '50s, the ethos and codes of the school, the pressures of parents and teachers - and the possibility of thinking for oneself and breaking out. The Dead Poets Society is a group of boys which meets weekly in order to exercise and support that creativity.

A moving and exhilarating film about the possibilities of creativity and education. The screenplay is by Tom Schulman and the musical score by Maurice Jarre who scored many of Weir's films.

1. Interesting and entertaining film? Themes of education and creativity?

2. Delaware locations, the preparatory college, the atmosphere of 1959? Enclosed, privileged? The special effects - the sequences with the birds? Musical score, popular songs, classics?

3. The title, the focus on poetry, freedom and dreams, John Keating and the group in the '40s, the book of poetry, the effect on himself and his friends? The revival of the society in 1959, the boys' dreams and their creative and destructive effects?

4. Education and schools, prestigious preparatory schools, the exercise of power, the emphasis on careers, 1959 and the continuity of the four pillars: tradition, discipline, honour, excellence? The opening ceremony, the role of the staff and the faculty, the all-male atmosphere, the boys' rooms, the regime of the school, classes, dining room and formalities? The staff as an elite? Rules and code?

5. The headmaster and his opening speech, the four pillars and the boys standing, the boys watching Keating after the introduction? The headmaster and his supervising Keating, his interrogating the teacher, warning him, watching the boys in their classes, forcing the boys to sign the document against Keating, his taking over Keating's class, wanting to use the textbook - and the boys' revolt against him?

6. Robin Williams' portrait of John Keating: a past student of the school, on the staff, the introduction in the chapel, Williams' subdued but enthusiastic style, the first class and his introduction, walking through, the boys mystified, taking them to look at the photos, his speech about the boys in 1900, getting them to listen to the voices? His philosophy of `Carpe diem,' `Seize the day'? `Gather ye rosebuds while ye may'? The standing on the desk and looking at the world from a different perspective? Getting the boys to write poetry, Todd and his creative efforts, his being drawn out by Keating and being spontaneously creative, the transforming effect on him? The other boys watching and being absorbed? The class where he got the three to walk, their walking in unison, dramatising convention? Shakespeare and his imitations of the various voices including Marlon Brando and John Wayne as Macbeth? The football training, the verses of poetry and the boys kicking? Their victories, their carrying him, his encouragement? His talk about his own past, schooldays, the Dead Poets Society, Thoreau and `sucking the marrow of life'? His encouragement of each of the boys, the discussion with Neil about the theatre, urging him to tell the truth to his father? Going to the play, Neil's death and his grief? His wave to the cynical confrere and their previous discussions? His being asked to leave, the interview with the headmaster? Going into the class, the boys standing on the desk as a salute and a gesture to his creative power? The destructive aspects of his teaching? The creative aspects?

7. Who was right, who was wrong? `Carpe diem' - `Dying, not knowing that I have lived'?

8. The boys, their place in the school, the special group, the range of types, family background, personalities? The strict parents - the pressures on Todd and the memories of his brother? Neil and the severity of his father, the expectations, his life mapped out, going to Harvard, forbidding him to work on the annual? The boys and their reaction to their parents, wishing they could speak directly but unable to, smoking, mocking the four pillars? The rebellion and the conformity, hopes? Classes and their reaction? Joining the Dead Poets Society and its change on them?

9. Neil as leader, pleasant young man, helping Todd, studying, the dominance of his father, the silence of his mother? His wanting to lead his own life? The attraction to the poetry, the response to the society, getting it going again? Friendship with each of the boys, persuading Todd to come to the society? Going for the play, the audition, his being accepted? Forging the letter from his father and the headmaster? Discussing with Mr Keating? Lying to him about the play and his father? His father forbidding him to be in the play? His acting, success, feeling great? The character of Puck, the fairy, the magic? The crown of thorns? His father's presence, his going home, inability to speak directly to his father, opening the window, the freezing, the crown of thorns, going downstairs, shooting himself? The ritual of dying? The repercussions on his parents, the boys?

10. The sketch of Neil's parents, their hopes, credibility, his father's self-righteousness? Mother's inability to help? Their blaming Keating for their son's death?

11. Todd as the quiet young man, the pressure of his parents and his brother's reputation, rooming with Neil, his fears of speaking in public, writing the poem, being drawn out by Keating in class and being changed, enjoying the Dead Poets Society, his being called to the headmaster to testify against Keating, his signing, but his standing on the desk at the end?

12. Knox, his infatuation with Chris, the dinner, in love, the phone call, the party, being bashed, the flowers and the apology, her coming to see him, taking her to the theatre, the happiness together - and his testifying against Keating?

13. Pitts and Meeks, the jokes on their name, working together on the forbidden radio, their participation in the club, their capitulating to the headmaster?

14. Charlie Dalton, the rich rebel, with the girls at the society meeting, writing the article, the phone call from God in the assembly, his standing by his values, sent away?

15. Cameron, serious, copying everything down, testing whether things were right or not, his place in the group, sharing in the society, his not really believing in it, his denunciation of Keating to the other boys, his signing the document?

16. The meetings, finding the cave, at night, quoting Thoreau, reading the poetry, their own compositions, playing music, the girl's visit?

17. An exploration of growing up, education and values?

DEAD AIR

US, 1994, 90 minutes, Colour.
Gregory Hines, Debrah Farentino, Laura Harrington, Beau Starr.
Directed by Fred Walton.

Dead Air is a psychological murder mystery. The focus is on Gregory Hines as a radio announcer, good at his work, haunted by the murder of his girlfriend, Katherine, and sensing, in his dreams, that he will be killed by her sister.

Relocating to Arizona, he receives threats at the radio station. He dates a young woman he meets in a bar and finds that she has been killed. Meanwhile, an alleged psychology student is interviewing him for her thesis. She gradually reveals that she is the sister of the murdered woman in Los Angeles.

The police see Hines as a witness to the murder, then as a suspect. As the film progresses, his assistant is murdered, he is set up and shot, survives and continues, with the help of the police, to track down the killer. At the end, it is revealed that he has a double personality, his real identity, the identity on the radio. In one of his personas he has committed the murders. He finally confronts his girlfriend's sister and makes her shoot him.

The film is well acted, portrays the police investigation, gives the film a twist (perhaps people were suspecting the sister as the murderer). Fred Walton made a number of films like this including When a Stranger Calls.

1. Interesting murder mystery? Psychological study? Credible?

2. The Arizona locations: the radio station, its surroundings, the town? The musical score and its atmosphere for character and for the issues?

3. The title, the radio station, the night hours for the radio? The programs, the music, the requests? Mark and his successful work in Los Angeles? Relocating to Arizona?

4. The opening, the focus on Mark, his dream, Katherine and her death, the mysterious woman with the gun about to shoot Mark? The replaying of this scene throughout the film? Its fulfilment?

5. Mark, at work, his phrase, "Don't waste my time," speaking on behalf of the radio station? His relationship with the head, the discussions about the raise in salary? The compere who followed him, his comments on Mark's skills? The young man ringing up with the request, Mark hanging up on him, his reappearance at the end - seemingly sinister? His having an alibi for the murders?

6. The mysterious woman, her voice, the comments, giving the audience clues (but thinking she was the insane one) by saying that she identified with Mark and was inside him? The importance of the two names, the discussions about each name and his different personalities? His becoming frightened by the phone calls?

7. His meeting Julie in the bar, their becoming friends, the night together, her murder, the phone call, his going to her house, helping the police?

8. Karen and her request for the interview, at the diner, the questions and Mark's answers? The background of identity, personality, responsibility, guilt? His attraction towards Karen? Her later reappearance, the affair? His checking on her, finding that she was not a student? Her reappearance, explaining that she was Katherine's sister, the questionnaire to interrogate him? Her believing him? The finale, her coming to the station, his threatening her, her understanding his two personalities? Her not wanting to shoot him, his forcing her?

9. His recording the detective stories, the echoes of the '40s private eyes? Susan and her assistance, the special effects? Her murder, the gun set up at the door, his being shot, not killed, going to hospital? The pathos of her death?

10. The police, friendship with Mark, suspect, the interrogation? The stakeout at the studio, the tape with no voice on it? Suspicions, lack of suspicion?

11. The build-up to the finale, the flowers and cards in the studio, Mark is dead? The phone calls? The build-up to the finale, his own bewilderment, talking to Laura, his understanding of his responsibility, the two personalities, his regrets, killing himself?

12. An effective psychological thriller - belying the expectations of the audience and making them think further about the characters and their suspicions.

DARKMAN 2 - THE RETURN OF DURANT

US, 1995, 88 minutes, Colour.
Arnold Vosloo, Larry Drake, Renee O'Connor, Kim Delaney, Lawrence Dane.
Directed by Bradford May.

Darkman 2 was created (as was Darkman 3) for direct release to video rather than cinemas. It was executive produced by Sam Raimi, the director of the original Darkman in 1990.

Darkman was a creation of Raimi, a comic book hero whose face was destroyed but who lived on, investigating tissues in order to have a face (and be able to use masks to confound his enemies) and combat evil. In the first film, Liam Neeson was the Darkman. In parts 2 and 3 the role is taken by Arnold Vosloo (who was to appear in The Mummy).

Robert G. Durant, the arch-criminal tycoon of the city, was destroyed at the end of the first film. However, it is discovered that he is in coma, returns from the coma and lives once again to confront Darkman.

The plot involves manufacturing arch weapons with the help of a mad scientist, played by Lawrence Dane. Durant wants a particular building owned by scientist who also investigates tissue for skin. Darkman befriends him - but the owner of the building is soon killed by Durant's men and they want to buy the building from his sister. What follows, of course, is confrontation between Darkman in various guises with the criminals leading to a spectacular conflagration ending. Direction is by Bradford May, who directed the third part. He also acted as his own cinematographer.

1. The popularity of the original Darkman film? The character, his appearance, his face, masks, hat and cloak, his ability to move fast? The confrontation between good and evil?

2. This film in continuity with the original? A new Darkman? Durant coming out of coma to confront him again? Expected confrontations? The city, the buildings, the chases in the street, cars, special effects? The musical score?

3. Darkman, the story of his past? Not dying, living alone, his experiments? His interest in Dr Brinkman? Meeting Laurie? The partnership? His anger at Brinkman's death? Seeing out Laurie? Impersonating Durant's henchman, infiltrating? Trying to save her? The arms deal, the buyer turning up, Darkman in disguise? The confrontation, the new weapon and its fire power? The deaths of the henchmen? The destruction of Durant? Darkman surviving and giving Laurie the opportunity for a new life? The crusader for good?

4. Durant as villain, comic book head of crime in the city, wanting to eliminate opposition? His range of henchmen and their personalities, yes-men, violent? His plan for the arms deal? Breaking the doctor our of jail? Wanting to buy the building, sending his henchman to persuade with money? The henchman and his skimming the money, his being put in the model car and thrown over the building? Durant and the murder of Brinkman? The deal with Laurie, the henchman going to the funeral? Her decision not to sign the document? His abducting her? Wanting to test out the weapon on her? His deal with the other crime chief? The build-up to the confrontation, his deceiving Darkman and luring him into the trap, the weapon? The fight and his death? The sketch of the other henchman, the Russian and his serious violence, Eddie and his being impersonated?

5. Brinkman, his skills, the warehouse left to him by his father, his experiments, refusing the money, being battered to death? Laurie, her love for her brother, working in the nightclub, wanting to get out, the funeral, signing the deal, her refusal, her antagonism towards Darkman but then reliance on him, the abduction in the taxi, her almost being killed, rescued?

6. The popular material of action comic strips - and brought to life with visual style and pacing and action?

DOUBLE WHAMMY

US, 2001, 90 minutes, Colour.
Dennis Leary, Steve Buscemi, Elizabeth Hurley, Luis Guzman, Victor Argo, Chris Noth.
Directed by Tom de Cillo.

Slight and light. Writer-director, Tom de Cillo, has a pleasant CV with offbeat comedies like Johnny Suede, Living in Oblivion (very funny on independent film-making), Box of Moonlight and The Real Blonde (very funny on the world of commercials). On this level, Double Whammy is probably the least and least satisfying of his films. The comic ideas are good but they go together in a somewhat inconsequential way.

What about a detective with a bad back which goes out just as a mass killer is machine-gunning customers in a take-away place - and a young boy gets to stop the murderer? What if the detective is at home sleeping when the super of his building is stabbed by two killers? Double Whammy for a loser cop - that's the verdict of the media and his boss. What if his sexually-confused partner recommended a chiropractor and the detective fell in love with her? And what about two would-be film-makers talking inanities as they do their screenplay with dreams of Sundance and Cannes? All good ideas, especially as it is the nice young daughter who has hired the hit-men to get rid of her father, the super.

The cast is good too. Denis Leary is far less sarcastic and frenetic than usual as the detective. Steve Buscemi does a nice turn as his partner. And Elizabeth Hurley is the chiropractor. It's just that it gels too loosely to be as punchy, funny and entertaining as it might have been.

1. The work of Tom de Cillo? Comedies, offbeat? His mocking, gently, of the film industry and film-making?

2. The New York settings, the apartments, the precincts, the streets, the river? New York as a character in the film? Musical score? Songs?

3. The credibility of the plot - for a comedy, parody, reality and fantasy?

4. The title, the experiences of Ray Pluto, his detective work, the opening and his going with his partner Jerry to the takeaway, the hold-up, his back going, falling unconscious, the young boy getting the gun and shooting the killer? The media reports, the news headlines, his boss and the condemnation? The media making a hero of the boy - on every television station? Ray and his character, his memories of his wife and child being killed in the hit-run accident (and this being visualised in his dream)? His friendship with his partner? His being put off duty until he was well again? Jerry persuading him to go to the chiropractor? His discovery that the chiropractor was a woman? The long sequences of his back being put in place? The attraction with Ann? The dates, going to the restaurant - and her complaint about the smoking, flicking the roll into the soup? The sexual encounter between them? His reaction, memory of his wife, the breakfast scene? His ringing and calling things off? Her being hurt?

5. Ray, in his apartment block, his friendship with Juan? His friendship with Maribel? The issue of the graffiti on the wall? The two young film-makers upstairs and friendship with them? The attack on Juan? His being called down - his being at home asleep? The newspaper headlines attacking him with the double whammy about his being a loser? The authorities down on him? His commander giving the case to his rival Dmitri? His not giving Dmitri the full information?

6. Audience knowledge of what was going on, the graffiti, Juan and his anger with his daughter, their arguments? His wife and her studies, the exam? Maribel at school, wanting to be with the other girls, going to the hit-men and a down-payment on her father's killing? Their attacking Juan with Ray while they were fishing at the river? Ray fighting back and hurting one of the killers? Their coming to the apartment block, stabbing Juan? The police, the investigation? Ray and his not suspecting Maribel, gradually realising what had happened? Going to the hospital? Maribel and her crying in the hospital?

7. The film-makers, the poking fun at the eccentricities of writing a bad police screenplay, the cliches, their acting it out? Their suits, ambition to go to the Cannes Film Festival and to Sundance? Their asking Ray to come up and discuss the plot, their tying him up, the killers and their thinking that they had been seen by the film-makers? The attack, Ray getting loose, bumping one of the killers out the window, the knife and the darts (as discussed in the screenplay)? The final fight, the death of the other killer? Ray becoming a hero?

8. Jerry, good friend to Ray, living alone, continually worried, his discussion about his sexual fantasies and worry about his orientation? The contrast with Dmitri and his self-assurance? The commander, his being down on Ray, Ray's final promotion, the mayor's phone call, the ceremony and Ray's promotion?

9. Ann, her work, her secretary, the relationship with Ray, her being hurt when it was broken off? Not answering his calls, finally going to the river? The bonds between the two?

10. The presentation of the New York police force, as in crime films, with the comic touch?

11. The romantic and humorous combination of a double whammy loser policeman, his partner, rivalries, murder in the apartment blocks, vengeful teenage daughters against their father (but his recovery)? The world of the chiropractor? A slight but enjoyable film?

THE DUEL

Iran, 2004, 135 minutes, Colour.
Directed by Ahmad Reza Darvish.

The Duel is one of the most expensive films made in Iran. While it begins in the present, and continues its story in the present, especially in the tribal regions near the borders with Iraq, a great deal of the film shows battles in the Iran- Iraq war. They are mounted with great care, and quite some detail. They make comparisons with the film The Family Farm which also showed a great deal of war action.

The screenplay of the film might have come from a writer like Jack Higgins, a great deal of war action but seen in the light of present activities, dangers, action.

During the war, the local fighters are asked to save a huge safe from a train. They do so (in a rather spectacular manner) with great loss of life. However, the safe finally goes to the bottom of a river. The village people blame the hero of the film who has spent twenty years in an Iraqi prison and finally is released. With the dramatic confrontations on his return, the village decides to pardon him. However, the local strong man who had organised the saving of the safe, has a secret and there is a melodramatic final confrontation.

The film is continually exciting, well paced, a kind of action matinee entertainment.

1. The popular aspects of the film? Action, adventure, a hero? War action? The more serious elements in the exploration of tribal themes and the film's blame of Iranians who exploited the war situation?

2. The big budget and sets, locations? The re-creation of the war, the battle sequences, the special effects and action? Editing and pace?

3. The border between Iraq and Iran, the villages, the dangers, the war, the destruction? The death of so many people? Seen in retrospect?

4. The focus on Zaynal being released from prison, aged forty, the voice-over giving the information about his twenty years' imprisonment, the lack of detail and knowledge about his presence in the prisons? The secret files, his being released, taken back to his village? His journey being the framework for the flashbacks?

5. The conduct of the war, his being in charge, his friend Yahya being in charge at headquarters, Zaynal on the front line, the action, the repairing of the ambulance, the bombings, shooting? The desperate phone calls to Command? Yahya and his having to make decisions? The higher command? Difficulties of phone calls? The bombings, the need for people to escape? Cars, trains? The spectacular presentation of the bombers bombing the people at the railway station? The devastation?

6. The focus on Salimeh? With the children, the bombing of the train? Her receiving the necklace from Zaynal, a memorial of his wife? Her command that he protect Yahya? His promise that he would?

7. The situation with the safe, Eskander and the strongmen, stating they had orders from the governor? The train being waylaid by the Iraqis? Zaynal and Yahya and the disputes about what was to be done? Zaynal and his suspicions, the former clashes with Eskander? Eskander being in love with Yahya's wife?

8. The nature of the mission, the men chosen, their skills, arrival at the train, hiding from the Iraqis, locating the safe, the guide and his fright? The finding of the actual safe, Zaynal's decision and the phone call to bring the tank? The chain, the taking of the safe, the pursuit by the tanks? The escape, the number of men killed? Zaynal's return, his wanting to give the safe to the authorities, Eskander trying to block him, Yahya and his following orders? The taking of the safe, getting it onto the boat, Yahya following, the safe going overboard, Yahya drowning? Zayna, and his capture?

9. The aftermath of the release, his going home, the village meeting, his being forgiven by the tribes? Salimeh and her refusal, her son shooting at him?

10. The situation in the village, the next generation, the older men, the head of the village and his tribal authority, Zaynal's father and his drug-taking? The young woman, her suitors? Salimeh and her domination of her son? Eskander and his place in the village, having the rights over all the scrap metal from the war?

11. The build-up to the climax, Zaynal and his being taken by Salimeh, tortured, dragged along the road by her son? His nephew rescuing him? His decision to find the safe, going to the commander and finding the one who saved the safe during the war? The diving, his going down, identifying the safe, its being brought to the surface? Eskander wanting the safe?

12. The tribal celebrations, the marital jealousies, the meetings, Eskander and his men? Blocking the safe?

13. Zaynal and his bringing Yahya's bone back to Salimeh, her believing him, her burying the bone? The end of the feud?

14. Zaynal and his nephew with the safe, taking it to the authorities, the blockade, everybody present? Zaynal driving the truck through the minefield? Eskander and his pursuit, the confrontation, the shootings, his stabbing Zaynal? The revelation that the safe was pure gold? Being smuggled out of Iran? The drive through the minefields, the mines exploding? The end of the feud, the end of the quest for the safe, a new beginning?

15. This kind of action adventure for an Iranian audience, the worldwide audience? The place of the war in the Iranian psyche, the aftermath, the blame on the exploiters?

LA TRAVERSEE (THE CROSSING)

France, 2001, 85 minutes, Colour.
Stephane Buquet.
Directed by Sebastien Lifshitz.

La Traversee is a documentary that plays like a fiction drama. It is the collaboration between two friends, the actor and the director.

Stephane Buquet discovered the truth about his father, who was a 21-year-old American soldier stationed in France in early 1967, who was ordered to go back when General De Gaulle wanted the Americans to leave. He had an affair with a 27-year-old Frenchwoman who never told him that she was pregnant. She told her son about his father as he grew up. The son decided then that he needed to find his father.

The film shows the collaboration between Stephane and his friend Sebastien, who suggests that he film the journey and the search. At times Stephane says he is embarrassed by this exhibitionism and that he doesn't want his mother and father to see the film. He also feels imprisoned by the experience. However, he goes along with it.

The film is a road film, a journey through the United States. There are graphic sequences of New York City, of Washington DC and the Vietnam memorial, of the landscapes of Tennessee and life in the Tennessee southern towns.

Towards the end the film is quite moving as Stephane finds his father. In close-ups to camera, he explains the experience of meeting his father. He was very lucky to have a decent man as a father - although the father's wife is hesitant and suspicious. Stephane is welcomed into the family, especially by his half-sister and her husband. However, all this happens off-screen and we find it told vividly by Stephane himself. We hear his father during a phone call (and we also hear his mother during phone calls). The father is finally glimpsed in long shot saying farewell to his son.

Sebastien Lifshitz has made a number of films, focusing on gay issues. Stephane mentions at times that he is gay, but nothing is made of this as a theme of the film. It remains a film about family and about a young man on whom his mother depends seeking out his birth father, who has been psychologically absent during his formative years.

1. The audience sharing Stephane's journey? The narrative development as if the audience is sharing a fiction? The cinema verite as the audience watches the actual events, characters?

2. France, the city, Stephane's background? The airport, the build-up to the flight? The flight itself and the detail? The landing in New York? The American landscapes and cityscapes? New York, the buildings, the streets, the familiar landmarks? The people? Washington DC, the research, the Vietnam memorial? The Appalachian Mountains? Tennessee, the towns, the familiar American shops, McDonald's etc? The contrast between the United States and Europe?

3. The decision to film the journey, the friendship between Stephane and Sebastien? Sebastien keeping out of the film until towards the end when asking questions and explanations? The audience sharing Sebastien's view? Close-ups as well as distance? The ultimate effect of the filming of the journey, the editing?

4. Stephane's commentary, written after the events, the diary during the journey? The combination for leading the audience to share his search, the experience of finding his father, the aftermath?

5. The explanation of the affair in Orleans? American soldiers in France? De Gaulle and their withdrawal? The affair, the lack of correspondence yet Stephane's mother telling her son about his father? The cumulative effect in terms of an absent father, curiosity? The decision to go in search of his father? His mother's attitude, the phone calls, the questions, the support?

6. Stephane in himself, the photos of his growing up, his comments about himself as a child, an only child, the relationship with his mother, the seeming dominance, his being the surrogate of love in her life? His comment about his homosexuality, sharing his mother's perspective? The comment on homophobia? Yet his not pursuing this particular theme in his search for his father? Introverted, quiet, his reaction to the plane and the trip, to arriving in America? The beginning of his search?

7. His research, the information available? His staying in New York, not for the search, but for the imagination? His fantasy of having his father being comfortable, his being there in the city with him, a possible brother? The European romanticising of New York City?

8. The research in Washington, documents, going to the memorial, not finding his father's name? The impact of Washington, the people, his interactions with ordinary Americans?

9. The hiring of the car, the salesman, the deal, needing the salesman's help to drive out? The film becoming a road movie as Stephane took to the roads and the highways, the motels, the accommodation, the meals, takeaway food? Listening to the radio, the music? The changing patterns of the American scenery?

10. Arriving in Tennessee, the discussions with Sebastien, Sebastien urging Stephane on? Going to the addresses, making inquiries, the people that he met? Going to the post office, the phone calls, the difficulty in hearing pronunciations in getting the phone number?

11. Finally getting the phone number, the call and his going to his father's house? The audience not seeing this? The close-up of Stephane explaining what happened, his arrival, his father's wife and her hostility, suspicions? His father's acceptance, the photos, the name of his mother, his thankfulness that his father remembered? The second visit, his stepsister and her husband? Being made to feel at home? The phone call and the audience hearing his father's voice, the accent? The warmth of the father towards his unknown son? The counterpoint with Stephane ringing his mother, discussing the meeting with her, her reactions, questions?

12. The audience seeing, in the distance, Douglas Macarthur and his relationship with his son, the shaking hands, the embrace? A future? Stephane walking in the distance?

13. The consequences for Stephane, his father in his life, the extended family? The importance of the final close-up and Sebastien asking the effect on him and whether the trip was worth it? The audience identifying with that question?

14. The film's insight into family, relationships, the significance of absent parents and their effect? The human search for parenting and relationships?

THIS YEAR'S LOVE

UK, 1999, 95 minutes, Colour.
Kathy Burke, Dougray Scott, Douglas Henshall, Jennifer Ehle, Catherine Mc Cormack, Ian Hart, Emily Woof.
Directed by David Kane.

This Year's Love is a 1990s version of La Ronde, middle-class English style. With ordinary London settings, six people fall in and out of love. They each have middle-class or lower middle-class backgrounds, which means that the film is geared to the average audience in the British population.

Kathy Burke is the seemingly unattractive cleaner at Heathrow, a would-be singer. Kathy Burke had already won the Cannes Film Festival Best Actress award in 1997 for Nil By Mouth and had appeared in many British films and television, especially the Kevin and Perry series. Dougray Scott had appeared in Ever After and was the villain in Mission Impossible 2. Catherine Mc Cormack had appeared in Braveheart as well as in many plays on the London stage. She was to come into greater international prominence with films like The Tailor of Panama and Spy Game. Jennifer Ehle had been Elizabeth Bennett in the BBC's version of Pride and Prejudice. David Kane was to direct a similar kind of film with an ensemble British cast (including Catherine McCormack) in Born Romantic.

1. The appeal of the film for a British audience? Twenty- and thirtysomethings? The ordinary middle class and falling in and out of love?

2. The La Ronde structure of the film: the initial pairs, the time passing and changing of partners, the final relationships? The use of chance and coincidence?

3. The London settings, ordinary homes, shops, streets, markets, clubs? The musical score, the range of songs? The final song sung by Kathy Bourke and its lyrics?

4. The background of the six central characters, homes and family, jobs, in and out of work, in and out of digs? Their seeking for relationships, something permanent? Or not?

5. The moral perspective of the film, people and their franker attitudes towards relationships and sexuality, yet a seeking for something more permanent? Hurting other people, hurting themselves?

6. The opening, Daniel and Hannah in bed, the wedding day, hurrying to the wedding, the ceremony, the dinner, the enjoyment, Hannah's best friend revealing the truth about her relationship with her husband, Daniel's anger, storming out, the 35-minute wedding?

7. Hannah, her being hurt, hurting Daniel? Still in love with him? Her moving to new digs, meeting Liam, their friendship, his infatuation with her, her not being able to reciprocate, his attempted suicide? Her working in her dress shop? The chance encounter with the customer who had the dream, relationships, the lesbian experimentation? Feminist perspective? The meeting, his attitudes, his love for Hannah, their breaking up? The encounter again with Daniel, working in the supermarket, his apology, proposal, the ticket for the honeymoon, the frustration of not being able to get to Heathrow, the finale and the happy ending, reunited? Daniel and his short temper, his being a tattooist, his shop, running out of money, being thrown out? His meeting with Mary, the relationship with her, seeming to be some fulfilment, the clash, his temper, Mary not wanting to see him again? The meeting with Sophie, the relationship, impermanent? Coming to his senses, going back to Hannah?

8. Cameron, in the pub, the Personals column, playing with people's affections, not washing? Staring at Hannah? His relationship with her, coming to nothing, the encounter with Mary, her criticisms of him, seemingly a future, her recognising his selfishness? The encounter with Sophie, her falling in love, taking him to see her parents, the awkwardness of the situation, her falling in love with someone else and breaking off with him? His being back in the bar, with the Personals, eyeing off the women? His callow attitudes - any future?

9. Liam, his nervousness, by himself, sharing with Cameron, the friendship with Hannah, becoming infatuated with her? The attempted suicide? Work, the passing of time, helping Mary at the airport, the relationship, the seeming mutual love, going to the clubs, his madness, possessiveness, the background of the breakdown? His friendship with Sophie, its not going anywhere? His being left on his own, no future?

10. Mary, the work at Heathrow, Daniel giving her the ticket for the honeymoon, their friendship, relationship, her meeting Cameron, her meeting Liam? Unlucky in relationships, poor self-image, Cameron trying to help her? In the band, her singing?

11. The London backgrounds, shops, customers, clubs, patrons, bands, Heathrow, passengers? A sense of realism as background for this kind of story?

THE TRUMAN SHOW

US, 1998, 105 minutes, Colour.
Jim Carrey, Ed Harris, Laura Linney, Natascha Mc Elhone, Noah Emmerich, Holland Taylor.
Director: Peter Weir

The teaming of Peter Weir and Jim Carrey is not a collaboration one would automatically think of. Weir has directed some powerful dramas about Australia (Picnic at Hanging Rock, Gallipoli), about Indonesia (The Year of Living Dangerously) and about the United States (Witness, Dead Poets Society, Fearless). Carrey is admired for his frenetic clowning (Ace Ventura, The Mask, How The Grinch Stole Christmas, The Majestic). In The Truman Show the Weir-Carrey? combination works perfectly. Carrey is restrained and shows he can manage serious acting. He is able to create pathos. Ed Harris is the grimly obsessive director, Christof. Laura Linney exudes TV sunny commercial cheerfulness as Meryl.

Weir directs a screenplay by New Zealander, Andrew Niccol, (Gattaca). Niccol is fascinated by technology, its power to control individuals and manipulate society. The screenplay shows us society's consumerist interpretation of human nature and the temptation to 'play God'. The movie is geared towards a popular audience rather than an 'art-house' exploration of themes in depth. Other movies about the manipulative and intrusive power of television include Ron Howard's EdTV, Pleasantville, Holy Man, Series 7. The Contenders. Even Truman's surname has TV overtones: Burbank is the Los Angeles suburb where many of the television studios are found.

1. The impact of the film, its status as an instant classic? Reflecting on the media of the '90s? The role of television in people's homes, filling their lives, emotional identification? The nature of truth and reality? Real life? TV viewers as voyeurs? The managers, the producers, scriptwriters? Big Brother and control? Individuals performing, not knowing they were performing, not knowing they were being watched?

2. The film as a piece of Americana: Seahaven as the perfect town, sunny, perfect, people commenting on its perfection? The birds chirruping, the use of the musical score to swell emotions?

3. The initial interviews: Christof and his discussion of reality and what was fake? Meryl and her cheery comments of performing, that it was a blessing? Marlon and his friendship - and the irony that it was all a performance?

4. The focus on Truman Burbank (and the American significance of his name, Truman president, Burbank Studios)? The manifesting of his life on screen, the daily routines, the greetings to the neighbours, the cliché language, the pleasantries, the wisecracks?

5. The interruption to his life with the light falling from the sky, the quick broadcast explanation, his surreptitious phone calls about Fiji, his memories of Sylvia, the rain leaking on him and moving with him, his father suddenly reappearing, the radio going awry and hearing the voices commenting on his behaviour?

6. His work, the best place on earth, insurance, threat of cutbacks, keeping him in Seahaven?

7. Jim Carrey as Truman Burbank, age and appearance, a nice and good man, in himself, home, workplace? His fear of water and the memories of his father drowning and the flashbacks? His being asked to go to the island, seeing the boat sink? Yet having itchy feet, discussions with Marlon, Fiji, his memories and then growing suspicions, the sequence of his long walk and looking at everybody with suspicion, running to escape? The elevator with its openness to the set?

8. His relationship with Meryl, her being so cheery, the greetings, working as a nurse, advertising coffee, lawnmowers, reading the dream machine, her constant discussions about their future, wanting to have a child? Her relationship with her mother-in-law, going to the hospital for the amputation, Truman following her, the behaviour of the people at the hospital, the pretend operation? Truman taking her in the car, wanting to escape, the jammed traffic, the return? Her looking at the camera, getting unnerved, not wanting to continue because it was 'unprofessional'?

9. Marlon, friendship from being children, having beers, Truman talking with confidentiality, playing golf on the road, the talk on the beach, Marlon and his discussions about friendship and lies? His going into the house to find Truman, looking at Christof, making a fool of himself on television, leading the search?

10. Truman's parents, his memories, the storm, losing his father, his father appearing in the street, being caught up in the crowd, taken on the bus, his mother's constant chatter, looking at the photos?

11. The audience: the two men and their comments on the program, watching it together, comments on propriety and sexuality and the toilet and not seeing it? The girls at the bar and their continued watching, sympathy? The people in the bar and the crowds watching? The man in the bath and his emotionality?

12. Memories of Sylvia, at the dance, Meryl falling on him and wanting to marry him, pressurising? Seeing Sylvia, discussions, at the study in the library, going to the beach, her telling him everything? Her father coming and taking her to Fiji? Her continued watching the program? Her ringing up Christof and arguing with him about his control of Truman, her being ready to follow him at the end?

13. Christof and his creating the show, directing and controlling it, improvising, changing the characters' behaviour? His interview and calm exposition of his 'playing God'? The storm, his growing frustration? Blacking out the show? the final confrontation?

14. The film as offering a critique of television and of audiences?