TWICE TOLD TALES

US, 1963, 119 minutes, Colour.
Vincent Price, Sebastian Cabot, Richard Denning, Mari Blanchard.
Directed by Sidney Salkow.

Twice Told Tales is a collection of stories by Nathaniel Hawthorne including his celebrated House of Seven Gables. Vincent Price is the star. The three stories have been adapted and written in the vein of Roger Corman's films from Edgar Allen Poe. The director is Sidney Salkow, director of a number of B-budget action movies.

The films are stylishly designed, emphasise atmosphere rather than horror effects (except, perhaps, in the Seven Gables film). The films are glimpses of horror, 19th century atmosphere and suggestion of evil, evil effects in relationships, curses and the desire to overcome the curses of the past as well as of ageing. The films stand well enough in the comparison with the Poe adaptations. These are slightly more sedate than the rough edges often seen in the Poe films.

1.The work and reputation of Nathaniel Hawthorne? His picture of 19th century America? Explorations of evil, terror and horror?

2.Production values: colour photography, sets and decor, costumes and period? Special effects? The musical score and atmosphere?

3.The '60s and the interest in horror and adaptations of classics? Respect for the classics? Dramatising them? The presence of Vincent Price?

4.Dr Heidegger's Experiment: the friendship between Carl and Alex, their age, their memories? The portrait of Sylvia? Her death on the eve of the wedding? The reminiscences, the vault, Sylvia's body preserved? The liquid, the experiment? Carl and his rejuvenation? The invitation to Alex and his change? The rose and its coming to life? Trying to bring Sylvia back to life, success? Her thinking it was only a few hours later? The revelation of the truth - Sylvia's relationship with Alex, her spite in marrying Carl? Carl with the wedding gown and overhearing the conversation? Alex and his torn feelings, never having hurt Carl? The passion between Alex and Sylvia? Alex wanting to tell the truth? The clash with Carl, Carl's death, his ageing? The discovery about the short effect of the water? Sylvia as a skeleton? Alex left alone aged?

5.Rappaccini's Daughter: the mediaeval setting, the magic garden, good and evil, beauty and destruction? The father and his keeping his daughter in the garden, never having any visitors? Giovanni and his work, seeing Beatrice, infatuated? The landlady and her information? The wooing of Beatrice, their falling in love? The father and his protection? The professor and the truth, the antidote? Giovanni taking the antidote and dying? Beatrice killing herself? The father going to the destructive flowers and destroying himself? His over-protectiveness and obsession leading to total destruction?

6.The House of the Seven Gables: the tradition of New England and 16th and 17th century witchcraft? The old murders, the curse? Gerald and his bride, going to the house, Hannah and her hostility? The mysterious happenings to Alice, her being taken over by the spirit of Norah? Gerald and his search, the money? The truth about the curse? Alice and her knowing that Jonathan was coming? Playing the piano? Negotiations about the house, the clash between Gerald and Matthew? Jonathan seeming to be Matthew and Alice taken over by Norah? Gerald and his jealousy? Hannah and her bitterness? Gerald and his discovery of the tomb, the map? His killing Hannah? Alice in the tomb? The house collapsing, Jonathan and his rescuing Alice? The destruction of the House of the Seven Gables? The vindication of the curse?

7.The popularity of adaptations of the classics? Their style and atmosphere? Their exploration of evil and human malice?

TURTLE BEACH

Australia, 1992, 85 minutes, Colour.
Greta Scacchi, Jack Thompson, Joan Chen, Art Malik, Norman Kaye, Victoria Longley, Martin Jacobs.
Directed by Stephen Wallace.

Turtle Beach opened in 1992 with a great deal of publicity and controversy, criticisms from the Malaysian prime minister about Australia. The film was based on the novel by Blanche D'Alpuget, who lived in Malaysia during the period of the movie. It is a fiction rather than a documentary. It needs to be interpreted as a fiction rather than as presenting history accurately. For example, one of the criticisms was that the massacre presented of the Vietnamese boat people did not occur. However, the screenplay refers to Malays towing boats out to sea for people to die. This seems to be true.

In itself, Turtle Beach is an interesting film. However, it has a comparatively brief running time for a movie based on a novel. This means that characters are not explored in depth, often a line (which the viewer may miss) suggesting a facet of personality. It means that the motivation of the characters is not always immediately clear and some episodes seem rushed.

However, it is helpful to have some images of the boat people of the '70s and a reminder of living in the refugee camps like that of Bindong, dramatised here.

Greta Scacchi gives a strong central performance. Joan Chen is enigmatic as the Vietnamese prostitute who marries the high commissioner. There is a goo supporting cast led by Jack Thompson. Direction is by Stephen Wallace (Love Letters from Teralba Road, Stir, The Boy Who Had Everything, For Love Alone). The screenplay was written by Anne Turner (director of Flesh on Glass, Celia, Hammers Over the Anvil).

1.Impact of the film? Public controversies in Australia and Malaysia?

2.A historical drama rather than a historical documentary? Validity rather than accuracy? The perspectives on Malaysia? The Australian point of view?

3.The novel and its adaptation, brief running time, delineation of characters, situations, plot connections?

4.The Thai locations standing in for Malaysia? The atmosphere of the country, the countryside, the crowded cities, markets and bazaars, religious festivals, the sea and the beaches, the islands? The refugee camp? The musical score?

5.The prologue, the 1969 riots, the Malays and their antagonism towards the Chinese and Indians, the torture, the beheading? Judith and her taking of the photos? Her relationship with Richard?

6.The transition to 1979? Judith and the estrangement from Richard, his infidelity, her being with her children, taking them to school? The bickering, the opportunity for her to return to Malaysia and get a story?

7.Kuala Lumpur in 1979, Hobday and his work? Ralph and the Australian Immigration Department? The attitude of the Malay government, the Malays themselves? The people, the arrival of the Boat People and the handling of the refugee situation? The role of journalists? Tensions and atmosphere?

8.The picture of Judith: in herself, as a journalist, in Sydney, seeking out Minou? The interview at the hotel? Her going to Malaysia, arguing her case with Richard, leaving the children? The Hobday conference and the questions? Her following him and seeing him in the market with Kanan? Claiming friendship with Minou? The visit to the house? The ethics of people using one another for various purposes, including headlines and stories? Her friendship with Sancha? With Ralph, the croquet games, the discussion of the boat people and Bindong? The socials, Minou and her escaping to Turtle Beach, Judith going with her? Her going to Bindong and photographing it? Ralph's anger? Going to the beach, the arrival of the boat, the horror of the massacre? Minou and her story of prostitution, going to the baths, Judith listening to Minou's story? Hobday and the domestic tensions and Minou's reaction? Going to the Hindu festival, the mutilations? The attraction towards Kanan, the affair with him? Richard and his phone calls, the threats for custody of the children? The parallels with Minou leaving her children in Vietnam? The visit to the island, the blackmailing of Ralph? The photos? Their effect? The return to Turtle Beach, Kanan advising her not to go? The villagers, the threatened massacre? Minou's self-sacrifice? Rescuing the children? Her angry reaction to Kanan about Chinese traditions and self-sacrifice? The Malays satisfied with Minou's self-sacrifice? Her return to Australia, the press conference and her tribute to Minou? Her future? Settling down with the children?

9.Minou and her personality, style, the visit in Sydney, provocative? The prostitute? Married to the high commissioner? Having to leave her children behind? The premonition of her drowning - and her not swimming? In Sydney, at her house? Socialites snubbing her in Kuala Lumpur? The contact with Kanan? The paying of the Chinese searcher, the information about her children? Her retreating to Turtle Beach, contemplating, hoping for children to arrive? The boat people? The horror of the massacre? Eluding the embassy bodyguards? Her relationship with Hobday - as a prostitute, calling him `Daddy'? The erratic emotional sequences? Her talking to Judith, explaining her life as a prostitute? Blackmailing Ralph to get to the island? Faith that her children would arrive, the boat, the reconciliation with her children - and her self-sacrifice and drowning?

10.Kanan, the Indian in Kuala Lumpur, his parents and their suffering, his relationship with Hobday, helping Minou? Interest in Judith, the festival and the mutilations? Their affair? His being involved in the black market and Judith's reaction? His advising her not to go to Turtle Beach, his standing back in dismay?

11.Ralph and Sancha - the echoes of the Somerset Maugham couple, the isolated wife in Malaysia? Social whirl, Ralph and Bindong and concealing the truth? His anger at Judith going? Open to blackmail? His woman on the island, the black market, her head being shaved? His fight, rupturing his spleen, in hospital? The hypocrisy of his marriage? Sancha and her promising to bring him to health?

12.Hobday, his official role, his caution about the boat people, his marriage to Minou and its background? The range of his moods, forbidding her to go to Turtle Beach, the sexual companionship, his angers?

13.The picture of the Malaysian people, government, the police, prejudices against the Vietnamese, the village people and their massacre of the boat people at the beach, their further attack - but satisfied with Minou's self-sacrifice? Cultural background, religious background? A prejudiced picture of them - depending on which character spoke attacking them?

14.The picture of the boat people, the experience of Vietnam, Bindong as a refugee centre, its squalor? The horror of its lack of hygiene, people crowded together, the people with qualifications in their country? The black market and punishment? The boats, the suffering on the boats, being towed back out to sea, the massacres?

15.The relationship between Australia and Malaysia, the experience of Vietnam, Australia in the Asian cultural and geographical context? Not understanding customs and beliefs? Films like this offering insight to western audiences about Asia?

16.The entertainment value of the story, its style? The importance of message?

TRAVELLING NORTH

Australia, 1987, 96 minutes, Colour.
Leo Mc Kern, Julia Blake, Graham Kennedy, Henry Szeps, Michelle Fawdon, Diane Craig.
Directed by Carl Schultz.

Travelling North was a nominee for best film at the Australian Film Institute Awards of 1987. Leo Mc Kern, in fact, won best actor for his performance. Julia Blake was also nominated for her performance.

The film was an adaptation of the play by David Williamson. He has opened it out well, giving a sense of place with Melbourne, roads in between, the Queensland north as well as a glimpse of Sydney.

The film also takes up themes of age and retirement, relaxation and illness, death. It also focuses on themes of love, especially between those of the older generation. There is also the tension between the generations, especially of mother and daughters.

The film works smoothly, has fine performances, especially from Graham Kennedy as the next-door neighbour and Henri Szeps as the doctor. Diane Craig and Michelle Fawdon give strong glimpses of the two daughters with cameos from Drew Forsyth and John Gregg as their husbands.

The film was directed by Carl Schultz (Careful, He Might Hear You, Bullseye) who later went to work in the United States, making such films as The Seventh Sign and Curacao.

1.The acclamation for the film? The portrait of basic human experience? A humane film?

2.The writings of David Williamson, his style? Insight into characters? Verbal humour and wit? Adaptation from the stage? The devices for opening up the play?

3.The Melbourne locations? Homes, streets, the city? The comparison with the Australian countryside and travelling the roads? The contrast with Port Douglas and the beauty of the Queensland tropical coast? The images of Sydney?

4.Images of movement, the roads, the sense of travel? Australia's north as a destination for retirees? A glimpse of paradise?

5.Leo Mc Kern's performance as Frank (and echoes of Rumpole)? Mc Kern living the part, the gruff side of his nature, the sympathetic side? His work and skills, engineer? His being cranky at work, dealing with others? The background of his having belonged to the Communist Party? His retirement, the presentation of the bag? Plans? The relationship with Frances? Love for her? His reaction to her daughters? Going to concerts, enjoying and conducting the music? The meal? The decision to leave Melbourne and go north? Wanting Frances to share the decision? Travelling, sharing the driving, the journey as a pilgrimage? Giving Frances the surprise of the house and the view? Settling in, relaxing, the fishing, the boat - and his criticisms of Frances's rowing? Their discussions, enjoying the music and conducting? The initial reaction to Freddie, his coming in instantly? Sharing points of view, rude to him about the RSL meal, arguing about Vietnam and other Australian issues? The north and its pace of life? The history of his illness and collapses? The angina attacks and their effect? His visiting Saul, arguing with him, wanting the books, demanding? The various pills and his testing? The moments of harshness with Frances? The question of revisiting Melbourne? Setting out, his collapse and return? The final visit? The importance of the discussion with his daughter on the park bench, listening to the truth about his rude attitudes towards his wife, his disregard for his son? His reaction to Helen and her rudeness? Gradual weakening, his eye, his hearing? The importance of the short-span expectancy of his life? The clash with Frances and her leaving? The significance of the phone call, the silences, his apology, his proposal? Her return and the wedding? The dancing and the enjoyment of the wedding? The nightclub, gatecrashing the art gallery? His bet with Saul - and his leaving the envelopes? His weakness, sitting in his chair (and his enjoyment of the gift) and his quietly dying? The instructions after his death? Portrait of a crusty and ageing Australian male? The past and his experience, retirement, illness and facing up to questions of death, his not believing in a life after death, his admiration for Frances's beliefs? His life achievement?

6.Julia Blake's portrait of Frances: in herself, manner and style, grace and dignity? Her relationship with her daughters? The background of her husband leaving, her giving Helen to her brother to care for? The children's reaction to her neglect of them and their considering that she wanted to enjoy music rather than care for them? The relationship with Frank, the sexual relationship? Her decision to go north despite having to leave her children and grandchildren? The impact of the travel, the house and the beauty of the view? Her activities, shopping, going to the doctor? The friendship with Freddie, thinking that Frank was rude to him? Her finding alternate ways of making up to Freddie? The barbecue? The friendship with Saul and the information about Frank's illness? Frank's treatment of her, her angers? The question of belief of life after death, Frank's asking whether God wanted them to be married and her reply that she thought he would prefer it? The attempt to go to Melbourne and the return? Going to Melbourne, meeting her daughters again, the meal and the discussions about their past life, the angry reactions, the loving reactions? The humiliation of the professor? Her being away from Frank? Walking out on him? His phone call, her response to the apology, the proposal? Her return, the celebration of the wedding, the visit to Sydney, the wedding itself, the nightclub, the Whitely exhibition and their gatecrashing? Her preparedness for his death? With Saul and Freddie? The toast and the final instructions? Her contribution to Frank's life? Its meaning for her own?

7.Saul, his work as a doctor, retired, his own health and ulcers, his exasperation with Frank, answering his questions, the role of the general practitioner, the books and his finally capitulating to Frank, helping him test the tablets, the final result being as he said? His admiration for Frances? His bet with Frank about who would die first? His presence at the end?

8.Graham Kennedy as Freddie, talkative, the widower, his chatting, taking offence about the RSL, arguing with Frank at the meal? Building the barbecue? Cooking the meat - and Frank's comments about cholesterol, but not hurting Freddie's feelings and eating the meat? His response to Frank's illness, his presence at the end?

9.Helen and her relationship with her husband, his working the computer? His lack of interest in her and the family? Her resentment towards her sister, the story of being persecuted as a little girl, her feelings of neglect from her mother, going to stay with her uncle? Her relenting and her need for her mother?

10.Sophie and the easier relationship with her mother, her professor husband, her own thwarted ambitions for study, her mother's memory of her as a young girl and her hair streaming (and Helen's retort)? The scene in the restaurant, Sophie humiliating her know-all husband? His taking offence and walking out?

11.Frank's daughter, care for her father, the walk along the river, the discussion about her mother and his treatment, her telling the story about Frank? The absent brother?

12.The wedding, the minister and his little speech? The enjoyment of the art gallery and the gatecrashing? The nightclub?

13.How well did the film treat the themes of ageing, retirement, illness, love? Frank's comment that he had a care for humanity but was not very good at individual people?

14.The themes of Australian men and women and their backgrounds, awkwardness with each other, overcoming barriers? Love?

TOY SOLDIERS

US, 1991, 112 minutes, Colour.
Sean Astin, Wil Wheaton, Keith Coogan, Louis Gossett Jr, Denholm Elliot, R.Lee Ermey.
Directed by Daniel Petrie Jr.

Toy Soldiers is a rather gung-ho action adventure, geared at a teenage audience, but entertaining for adults as well. It focuses on US tensions with Latin American countries and their drug-dealing. The film starts grimly with massacres, moves to an attack on a school for the drop-out sons of wealthy families (The Rejects) and takes hostages. The film shows the ingenuity of a group of boys, particularly difficult for the staff of the school, who develop and plan and, of course, effect a rescue and the overcoming of the terrorists. Sean Astin has a good role as the ringleader and is well supported by Wil Wheaton and Keith Coogan. Andrew Divoff is a very effective villain. Denholm Elliott appears as the headmaster and Louis Gossett Jnr is the dean of the school. Direction is by Daniel Petrie Jnr, who co-wrote the script with David Koepp from a novel by William P. Kennedy.

1.A piece of Americana, gung-ho tone, Americans against the South American drug lords? The military background, education? Violence and hostages? Heroics?

2.The Colombia settings, the opening action and violence? The American school, interiors and exteriors? Stunts and special effects, the musical score?

3.The title and its ironies? The boys as soldiers?

4.The prologue and the mood, the siege, the media, the son of the drug lord, the brutal killing of the woman, the shooting? The television news? The execution of the judge? The vengeance by Lewis Cali? His father being extradited, imprisoned - and ironically killed at the behest of the Mafia? The vengeance of Cali, the pursuit of the son of the judge? His moving with the migrants across the border? Infiltration into the US?

5.The picture of the school - and the contrast with the world of Dead Poets Society? The dean and his strictness? The clientele - the rich parents and their drop-out sons? The headmaster and the ethos of the school? Staff? Discipline? Benign and severe? The difficult students, The Rejects? Their behaviour? The humiliation of the students? Their wanting revenge?

6.The boys, the rebels, the ingenuity, angers, their parents? CIA and the judge? The boys and manufacturing stories about their parents? Mafia connections? At school, good-hearted, channelling their energy - and being transformed into heroes? Their behaviour in the school, the listening in on the phone, the sex phone calls?

7.Billy as leader, his background, personality? His place in the group? Jogging, painting the notices - The Rejects? The techniques of outwitting the authorities? The technology? Discipline, the seller on the phone, listening in? The drinking? Caught? The lecture? The attitude of the headmaster, the vengeance with the furniture? Putting it back?

8.The group: Joey and his Mafia connections, ashamed of his father? Snuffy and his asthma? The Hispanic member of the group, the black member? Their own room, the drinking, the phone? Derring-do and following Billy's lead?

9.The dean - his going to the town, observation, information? The clashes with Billy, having to trust him? The headmaster? The death of the boy, the dean's return? Helping in the action, being wounded, saving Billy?

10.The headmaster, his having to cope, the administration of the school, the lessons - and the boys being bored with books? The hostage question? His role with the boys, the pressure by the South Americans? His being saved? The final drink? The dead members of staff?

11.The background of the Colombians, the boy as the target for kidnapping? The infiltration into the US, the takeover of the school, the threats, the treatment of the boys, the staff? The weapons and the wiring of the building? Explosives? The detonator on Lewis's arm? The guards, the strategies? The dossiers of the boys, the search? The treatment of the boys? Billy's reaction and confrontation? The information, the regime? The threats, the roll-call? Billy and his observation, data? The towel? And his shrewdness?

12.The boys and the interactions, the reaction to the confrontation? The risks? Billy and his plan? The two boys and the explosives? His getting out, chased, the return, the punishment? Snuffy and the roof? The guard, the use of the plane, the batteries? The distraction? The skill in changing the explosives, moving through the toilet? Overpowering the guards? The risks?

13.The parents and their anger, the Mafia boss and his reaction? The death of his son? The message to the prison, the murder of Cali in prison at his orders?

14.The army, the surveillance, the need for information? Discussions with the dean? Billy's plan, his getting out, his return? The attack, the involvement? Deaths?

15.The picture of American-style military heroics - by the toy soldiers? Action and pacing? Far-fetched or credible?

TOUCH

US, 1997, 96 minutes, Colour.
Skeet Ulrich, Bridget Fonda, Christopher Walken, Tom Arnold, Gina Gershon, Lolita Davidovich, Paul Mazursky.
Directed by Paul Schrader.

Touch raises a number of religious issues, especially that of miracles and the moral standing of the miracle-worker. The film finishes with a voiceover question, `What would God think...?'.

Touch is an adaptation of a novel by Elmore Leonard. Leonard is better known for his tough thrillers like Stick, Rum Punch, Glitz, 52 Pickup, many of which have been filmed. However, Touch is quite a different novel, more reflective, and tackling issues of God and the nature of religion and church.

The screen adaptation has been written by Paul Schrader. Schrader has a strong religious background, Calvinist, from Grand Rapids, Michigan, an austere Christianity. He wrote the screenplay for Taxi Driver and The Last Temptation of Christ for director, Martin Scorsese. Amongst his own films are American Gigolo, Mishima and The Comfort of Strangers.

Catholic audiences will recognise a great deal in Touch. However, Leonard and Schrader want their audiences to ponder the possibility of miracles and such phenomena as the stigmata (Jesus' wounds reproduced in such people as St Francis of Assisi). The central character, Juvenal, has been a Franciscan working in Brazil, where he found he could heal people. After leaving the order, he returns to Los Angeles and works with alcoholics in a Catholic shelter.

He is `discovered' by a smooth-talking former preacher who wants to exploit him on the media - especially a national TV talk show, in the papers and with a ghost-written autobiography. He is also discovered by a fanatical leader of a conservative Catholic group who go around demonstrating against changes in the Liturgy. Juvenal, a plain and direct young man, tries to avoid being used as his healing power comes and goes.

The tone of the film is comedy, sometimes farce, though Schrader invests his bizarre tale with some serious depths, especially the question of worthiness of the miracle-worker (especially with regard to sexual relationships). Juvenal and the screenplay quote Jesus challenging the Pharisees and there is a critique of church while supporting religion and the following of Jesus. When God sees a story like this, what does God think...?

Christopher Walken is the conman, Skeet Ulrich the earnest, somewhat nice and naive Juvenal, Tom Arnold is the fanatic. Bridget Fonda leads a strong supporting cast.

The film is brief and would have benefited from further elaboration of some of the characters and situations. But it is entertainingly provocative.

1.The novels of Elmore Leonard? Film versions? Expectations of slick gangster action films with a touch of the comic? Touch as different from the usual Elmore Leonard work? Paul Schrader's background in serious film-making? Serious issues, religious issues? His adaptation of Leonard, the comic touches and the satire?

2.The jauntiness of the opening credits with their colours, lettering, music? The atmosphere of Los Angeles, the centre, apartments, television stations? The church? The musical score and its moods? Different moods of music for different characters?

3.The title and its reference to Juvenal? The implications for physical touch, emotional and psychological touch? The healing effects of touch?

4.The basic premise of miracles and the possibility of miracles? The quality of the healer, the merit and goodness of the healer, moral stances? God working through ordinary human beings? The psychosomatic aspects of healings and such signs as the Stigmata? The effect of the miracle on those who are cured, on the psyche of those who are cured, transformations? Physical, emotional, psychological? The joy of the cures? People ready to exploit and use the healer and the healed? Especially in the '90s with con tricks and with mass media and financial contracts?

5.The introduction to the film with Virginia and Elwin? His being drunk, the TV, Virginia's blindness, his brutality towards her? Bill and his arrival, wanting to help? Tidying the room? Juvenal arriving, helping, touching Virginia, her being able to see? The blood from the Stigmata?

6.Bill Hill and his curiosity? His religious background, his own church and faith, outdoor type of thing in Georgia? His visit to Father O'Donohue and explanation of himself? His story? His bond with Lyn? His enthusiasm, trying to persuade her to find out about Juvenal, to infiltrate the AA? His rescuing her, his hopes, trying to build up her participation in the exploitation? The meeting with August and discussions with him, urging him on with his spiel? The contracts? Going to Katherine for the press rights and the ghost-writing of the book? Going to Debra and trying to get Juvenal on prime time, on several sessions, his variety of schemes for getting people involved? His meeting with Artie and trying to persuade him to be interested in products and records? The discussions with Juvenal and using him? His belief in Juvenal - or not? The amount of profit from the deals? Christopher Walken and his personal style? This just merely one episode in his life or having some kind of effect on him?

7.Juvenal as the young Franciscan who had left his order? His way of dressing, speaking, beard? The social worker? Going to visit Virginia, his care for her, healing her? His work at the centre and its ordinariness? The build-up of his story about his being in the Amazon, the healings, the reaction of the Franciscans? His decision to leave the congregation? The discovery of his miraculous power and his calm acceptance of it? The support of Father O'Donohue and the people at the centre? August and his trying to persuade him to be a figurehead for his reform movement? Persuading him to go to St Isidore's? The encounter with Lyn, being able to read her mind and know what she was wanting? His straightforward dealings with her? The discussions, his help of her, her telling the truth? Her seeing him at the washbasin with the Stigmata? Her helping him to leave St Isidore's after he was drawn to heal the young boy with the cancer? His going to her apartment, her washing the clothes, their discussions about their lives? His going back to work, not responding to Bill? Going to find Lyn, attracted towards her, the sexual encounter? Lyn's concern about this behaviour as being appropriate for a miracle worker and for God working through him? His explanations of himself, leaving the Franciscans, the story of the encounter with the prostitute, his alcoholic binge, going to the centre and his being rehabilitated? The nature of the Stigmata (and the tradition of St Francis)? His side, his hands? Knowing that he was being used and allowing Bill to exploit him? Thinking that was not exploitation because he agreed? Wanting to get away, the holiday with Lyn, on the roller coaster, in the eccentric hotel room? The proposal and the plan to marry? The interview with Kate and her wanting a scoop? Debra and the television plans? His sensing that something had changed, going to the mall, his inability to heal the palsied man? The miracle power gone? His disappointing August - though August continuing to blame Lyn? The doctored photo and his reaction? August's intrusion and his defending Lyn? August falling over the balcony? His going on the television, his suit, his earnest talking with Debra, her trying to lead him on? Bringing on August - and the feeling of power to heal him? His going off into obscurity and ordinariness with Lyn? The discussions about God acting through him and his love for God? His belonging to the church but his critique of the church? The possibility of God working miracles through him? His continued references to the gospels and the scribes and Pharisees and their lack of belief and yet Jesus being sincere and a healer?

8.Lyn and the background of her experience, her having worked with Bill? Her marriage to a Catholic? Drinking, Bill persuading her to get smashed and go as an AA member? Meeting Juvenal, her questions, being affected by him and his sincerity and probing honesty? Seeing the wounds? Not wanting to work with Bill and walking out of his lunch? Going to meet Artie at the airport, her work for him? Going to the church, rescuing Juvenal, washing his clothes? The intimacy of their talking together and sharing their lives? His return, the sexual encounter, her being puzzled? Going on the holiday with him, the proposal? The doctored photo and her searching for him? The reconciliation and August's intrusion? Watching the discussion on TV, going onto the set, trying to rescue Juvenal? Leaving with him at the end? Their future?

9.August and Tom Arnold's comic style? First seeing him in court, the clash with the priest? The organisation and his wanting to restore the Roman aspects of the Catholic Church, Latin, Holy Ghost instead of Holy Spirit etc? His fanaticism? Righteousness? His presumption and barging into people's houses and interviews? The publication of books? His conservative stances? The confrontation with Father O'Donohue about Juvenal? Getting the old Franciscan from St Isidore's and pushing him along? The interviews with Juvenal, persuading him to come on the Sunday? The experience of the healing? His wanting to get major publicity, going to Kathy Worthington, the discussions about the articles and her research, his anger that he was eliminated from the article? His disgust with Lyn and Juvenal's behaviour? His attitude towards guns - and threatening to shoot anybody who threatened him, no matter what God did in terms of forgiveness? His imagining that he would shoot Lyn? The discussions with Bill - and imagining himself part of a Roman passion movie? The build-up to the attack, his being injured? Coming into the television, his forgiving Juvenal, his being healed - and immediately responding to Debra and being glad to be on prime time television? The film's critique of the right-wing self-righteous Catholic?

10.The TV interviewer, the initial sequence and the walk-off of the celebrity? The parody of contemporary '90s talk shows? The discussions with Bill, the deals, her responding to his proposition about ratings? Hoping for a miracle on air? The interview with Juvenal, her questions, rising to the occasion - the miracle, talking with August and forgetting about Juvenal?

11.The crowd at St Isidore's church, the traditional hymns, vestments, processions? Antoinette and Richie, Richie being drawn to Juvenal and his being healed? His rapid recovery, sequences with his mother at home? Antoinette as tough, dancing at a topless bar - a selling point to get her on Debra's show? The discussions with Artie and the visit to the nightclub, her discussions about being baptised as a Catholic? The discussions with August and her despising him? Her TV appearance?

12.Father O'Donohue, the centre, the rehabilitation of people? Alcoholics - and August's despising of alcoholics as not worthy of his religious interest?

13.The old Franciscan - and his dysentery and his continued need to go to the toilet?

14.August's disciples, the printing press, the demonstrations? The comedy in the courtroom at August's trial and his wanting to get notoriety?

15.The film as a comedy and farce about serious issues, American style?

16.The importance of touch, healing, the wounded hands of Jesus? The healing hands? The response of people who were touched?

17.Themes of God and church? Images of the crucified Jesus? Discussions about Jesus, his ministry, passion and crucifixion? St Francis and the Stigmata? The continued reference to the Pharisees and their self-righteousness and not being able to communicate grace?

18.The description of the press release: Can a saint survive in the modern world of slick promoters, religious crackpots and couch potato controversy? The final question of the film: What was God thinking?

TOTAL RECALL

US, 1990, 109 minutes, Colour.
Arnold Schwarzenegger, Rachel Ticotin, Sharon Stone, Ronny Cox, Michael Ironside.
Directed by Paul Verhoeven.

Total Recall is a lavish futuristic fantasy that is the collaboration between Philip K. Dick (author of the story for Blade Runner), Paul Verhoeven (director of Robocop) and Dan O'Bannon (writer of Dark Star, Alien) and other writers. It also has an enormous budget with state of the art technology and special effects. And it stars Arnold Schwarzenegger in a role that is more demanding of him than usual.

All in all, it works very well and should please fans of the genre. It is the future on Earth and Mars. Technology has so developed that people's memories and life patterns can be altered. There are power-hungry multi-planetary companies, thug squads and a hero who will prove that good will triumph over all manipulation.

The version screened in theatres in Australia was modified for violence by the director himself, using alternate takes. (Of interest, this was initially a project for Bruce Beresford to be filmed in Australia at the de Laurentiis studios, but they went bankrupt.)

1.Interesting science fiction, fantasy about the future? State of the art technology and film-making? An Arnold Schwarzenegger film?

2.The Earth locations, homes, society, travel, workplaces, laboratories? Mars and its red planet, the lack of air, the settlement and the mine, officers, slums and clubs? The atmosphere of Mars?

3.The importance of the lavish special effects, costumes and decor, stunts? Big budget on the screen? Musical score?

4.The significance of the title - the travel company and what it offered, Doug's experience and his inability to recall his previous life, the video recording explaining his life without his recalling it? The moral experience for Doug?

5.The opening with Mars, the red planet, travelling, the couple and the falling, Doug waking from a nightmare? His lack of memory of Mars? The truth about his brain, the erasing of his memory, the erasing of his personality? The instilling of a new life, new memories and its effect? The possibility and impossibility of recovery? The background of science and technology - futuristic Frankenstein experience?

6.Arnold Schwarzenegger as Doug, the film capitalising on his screen presence, physical presence? His wife and their relationship, the detail of his ordinary life, domestic, going to work, drilling and building? His interest in Mars, the advertisement in the train about the travelling? His decision, going to the laboratory, his plan, his ideal woman? The focus on Mars? The beginning of the experiment, the personnel, the PR man and his persuasion, the laboratory personnel? The experiment going awry - and the PR man with his client? Trying to control the situation?

7.Doug at work, his work companions - and their being planted to guard him, their pursuit? The wife and her control over him? The leader of the violence squad pursuing him, the technology to see where he was, his pursuit, escapes? The contact and the information about the video? The truth about himself? The possibility of making holograms - and using the technique to elude pursuers? His mission to Mars?

8.The arrival on Mars, interplanetary travel, disguised as a woman and eluding pursuit? The breaking of cover and the inflating of the woman? His being revealed underneath? The shoot-out with the squad at the airport? The contacts on Mars, finding the nightclub, the sleazy atmosphere, people's reactions to him, meeting Melina, her hostility, his not understanding it? The friendship of Ben, driving him in the cab? The squad and their pursuit, violence? Continually tracking him? Finding him, the fight with his wife and her death? Melina on his side? The quest for the rebel leader, being taken by the guide, discovering the truth about the rebel leader - and the mutants, the seer in the stomach of the mutant? The message about the future and the saving of Mars?

9.His final mission, going to the mine, his being caught, the confrontation with Cohaagen, the video of his true self? His being tricked? The decision to alter his brain as well as Melina's? His effort, the escape? His final decisions about right and wrong? Putting his hand in the hole for the explosion? He and Melina being blown out of the mine? Their struggles, the fresh air?

10.Melina and her place in the initial dream, her part of the mission, knowing Doug in the past, the prostitute in the bar, suspicions and hostility, the decision to help, the clash with his wife, being caught, sharing his experience, the happy ending?

11.Cohaagen as the boss, running the planet, the mine? The rebels? The leader of his violence squad? His concocting the whole plan to get Doug to lead him to the head of the rebels? Tracking him? The confrontation, the revelation of the truth, the options for Doug? His being blown out of the building and dying for lack of air which he had been hoarding?

12.The thugs and their leader, the violence, the relationship with Doug's wife, her part in the mission? His anger at her death? The pursuit, the tracking, the holographs, the spaceport shoot-outs, the risk of breaking the protection? Getting his orders from Cohaagen? His death?

13.Ben, his friendliness, one of the mutants, helping him with the taxi, the escapes, the shoot-outs? Showing his mutant arm? The ultimate betrayal, the motives, his destruction?

14.The mutants on Mars, the special effects and makeup for their appearance? In the bar? Helping Doug, the lack of air and their collapse? Their leader, the psychic in his stomach, his death?

15.A picture of future society, power, use of people, technology and manipulation, greed and power? Moral choices?

TOO LATE BLUES

US, 1961, 100 minutes, Black and White.
John Cassavetes, Stella Stevens, Bobby Darin, Everett Chambers, Nick Dennis, Rupert Crosse, Vince Edwards.
Directed by John Cassavetes.

Too Late Blues is an early film from John Cassavetes (Husbands, Opening Night, Woman Under the Influence). It offers a good starring role for Bobby Darin and for Stella Stevens - who seemed to be moving in the Kim Novak tradition (though acting better). The film is about a group of musicians, a downbeat theme as they struggle for some kind of success as well as in their interrelationships. The film introduces Seymour Castle, who was to appear in many of Cassavetes' films, especially Minnie and Moscowitz.

The film has a musical score by David Raksin (Laura) - and while it is a film of the late '50s, early '60s, it is quite interesting in its presentation of its characters.

1.A film of its period? Later? Portrait of people? Struggle for success? Downbeat?

2.Black and white photography, the work of John Cassavetes?

3.The musical score, jazz, the themes, the singing, the blues?

4.The picture of the group: the bonds between them, their playing the music, their instruments, with the children, the boy taking the instrument and the group's response? Going to Nick's and playing pool? Going to the party, the meeting with Jess, her singing, the hopes? The playing at the park with no audience? Going to the audition, Benny's influence, not wanting Jess? The party at Nick's, the fight with the pool players? Ghost moving away from the group? The group by itself, playing, not wanting Ghost back? Jess's return and singing? The possibility of reconciliation?

5.Ghost and his talent, his place in the group, leadership? Playing and composing? At Nick's, banter with Nick? The party, with Benny? His finding Jess, admiration for her singing? The drink at Reno's, the mixture of the drink, the toasts? The night at her place? His fascination, her dependence on him? At the park, the audition, her singing, Benny wanting her out, the argument? The fight at Nick's, the clash with Jess and his spurning her? Benny and the arrangement of patronage, the countess, playing in the Los Angeles clubs? Meeting Benny after a year, coming to his senses, going to find Jess, her desperation, returning to the group, their attitude towards him - too late?

6.Jess and her singing at the party, the relationship with Benny, vulnerable and hurt, no self-image? Ghost's compliments, attraction? Her drinking with him, the dance at Reno's? Going home? At the park, the audition? The fight in the bar, Ghost's spurning her? Her being hurt, going home with Charlie? Cruising the bars, meeting Ghost again, the attempt at suicide? The end and her singing?

7.The men in the group: Red, Pete, Charlie? Their love of music, hopes for success? Charlie and Jess? Going home with her, abandoning her? Red and his animosity towards Ghost? Playing together - their future?

8.Benny as the smart agent, his style, two-timing people, using Jess? Trying to get deals, auditions? At the record-playing? Ousting Jess? The arrangement with the countess?

9.Nick and Reno, their bars, their clientele, friendships, stances, fights? The men at the party and the fight? The men with the girls?

10.The countess, her patronage, the arrangement with Ghost? His walking out?

11.Themes of hope, striving, talent, success and failure? Downbeat?

TO HAVE AND TO HOLD

Australia, 1996, 95 minutes, Colour.
Tcheky Karyo, Rachel Griffiths, Steve Jacobs, David Field.
Directed by John Hillcoat.

A melodrama set in Papua New Guinea, with an expatriate (Tcheky Karyo) obsessed with his dead wife and unable to love his new wife, a novelist who is telling this story, (Rachel Griffith) who has been transported from Melbourne to an isolated and alien place and culture. Perhaps we are not in the vein of such melodrama today as the film seems too exaggerated and not too believable, melodrama going over the top. The film borrows themes from Vertigo but can be seen as an attempt to do something different in Australian films.

1.An emotional melodrama? The florid and heated style? A film noir of '90s in florid colour? The tradition of the film noir? The tributes to films in the tradition?

2.An Australian production? Production values? The location photography in Melbourne? The bulk of the film set in Papua New Guinea? The widescreen vistas of New Guinea, the river, the town, the homes, the bars? The bush? The importance of the tropics, the weather? The Papua New Guinean people within this context? The rituals? The atmospheric texture of the film as a context for the melodramatic themes?

3.Kate as an Australian? Her writing novels? Her falling in love with Jack? The decision to marry him, to go to Papua New Guinea? The audience entering Papua New Guinea with her (though they had prior knowledge of the drama about Rose's death and Jack's response)? Her view of PNG coloured by her love for Jack? The experience of the expatriates, the moral dilemmas, the social status and social issues? Riots? Violence? Tribal responses? The film as a film of the '90s and the introduction of technology themes, especially video?

4.The importance of the musical score and its contribution to this kind of florid melodrama?

5.The opening and its mystery? Rose's death? Jack's mourning of her and his obsession? The funeral? The videos? Jack and his continually looking at the videos - and the later action of the film to give a perception to his obsession? Jack and his relationship to the Papua New Guineans, especially (Luther)? The passing of two years, Jack's going to Melbourne, the encounter with Kate? Jack and his continuing to watch the videos, Kate and her seeing his madness? Sal and the tape and the emergence of the truth?

6.The portrait of Jack, his European background, double expatriate in the tropics? Seeing his grief? His relationship with Rose, the videos, the funeral? Going to Melbourne, the credibility of his attraction to Kate, proposing and marrying? His bringing her to Papua New Guinea? Setting her up? The ordinariness of their life? The gradual change and his seeming to go troppo? The videos? The sexual relationship with Kate? His wanting her to wear Rose's red dress? His drinking? The presence of Luther and the link with the past? Suspicions? His gradual eruptions of violence? At the bar, the Australian expatriates and their drinking? Sal and his wounding him? His growing brutality towards Kate, taking her passport? Attacking Sal, dogs and the killing? The build-up to the riots? Kate and her decision to leave? His seeming to ignore this? His staying, going to the bar, seeing the singer, seeing the resemblance to Rose, lost in his obsession?

7.Rose and her presence in the tapes, her relationship with Jack? With Sal? Her reappearance later, the truth of the accident? Her innocence?

8.Kate, the return to Australia, writing the novel? The snow and the contrast with the tropics? Her experience, videos, the dress, the sexual experiences, Luther? Her friendships? The police, the tribesmen? The truth and her leaving? Her creative writing?

9.The portrait of the expatriates, their life in the tropics, their work, drinking? Sal and his work, commission? The relationship with Rose, with Jack? The brutality of Jack's killing him?

10.Luther and the Papuans? Their being taught by the expatriates, their helping them? The mystery of Luther, appearance and disappearance, suspicions, innocence?

11.The role of the police, the background of the accidental death, Jack's violence?

12.The reminiscences of such novels and films as Daphne du Maurier's Rebecca? The popularity of this kind of melodrama, heightened emotions, artificially contrived situations - to reveal the intensity and obsessions of character? How well does this work in the '90s? And in the exotic settings?

TAKING CARE OF BUSINESS

US, 1990, 107 minutes, Colour.
James Belushi, Charles Grodin, Anne de Salvo, Hector Elizondo, Veronica Hamel, Mako.
Directed by Arthur Hiller.

Taking Care of Business is much more enjoyable than it ought to be. Basically, it is a comedy of mixed identities when James Belushi as a car thief escapes from prison to go to the world series and is mistaken for a whiz advertising executive - and, of course, does things better than the executive. It is played for laughs and gets them. The screenplay is clever. But the more restrained acting of Belushi and the always amusing exasperated deadpan of Charles Grodin make a successful combination. It is satiric on the hard-sell yuppy lifestyle. Direction is by Arthur Hiller, a veteran of many types of movie. His comedies include The Out of Towners, The In- Laws, The Silver Streak, Outrageous Fortune, See No Evil Hear No Evil.

1.An entertaining comedy, mistaken identities, farce, yuppy satire?

2.California locations, Malibu and the beach, the business world and its affluence, the world of basketball, prisons? The songs, title song and lyrics?

3.The title and the cues for humour?

4.The introduction to Jimmy in prison, the popular prisoner, love for baseball, antagonism towards the warden and vice versa, the World Series prospect, the quiz and his answering the phone? Punishment for all the inmates? The contrast with the introduction to Spencer and his shaving, his Filofax, his relationship with Elizabeth, business emphasis, hoping to go away for the weekend, Walter phoning and the pressure on him to change the weekend?

5.James Belushi as Jimmy: prisoner, background of car-stealing? Good-natured? Work in the kitchen, friends with everyone? The punishment, his plan? The strike, the reaction of the warden? The previous interview with the warden and his taking a hard line, his indoor golf? Getting out, his luck, avoiding the police, finding Spencer's file, hoping to get the reward, going to Malibu, enjoying the swim, the luxury of the house? Being mistaken for Spencer by the executives? His adapting, his going to play tennis, the win over the Japanese businessman? The meeting with Jewel and his becoming friendly with her, listening to her? Going to the meeting, the clash with Diane and his telling the truth? Advertising ideas and the product? The relationship with Jewel, giving her good advice (even if adapted from Dr Ruth on the television)? The sexual encounter? Finally confronting Spencer?

6.Spencer and his decision for the business weekend, his motives and ambitions? Meeting Debbie on the plane and her incessant talking? Missing the driver at the airport, the phone call, losing his Filofax? The ride and his going back to find it? Getting the old car? Being mugged and tipped into the garbage? Relying on Debbie, listening to her talk, self-preoccupied? Getting into the house, climbing the pipe, being arrested? Going to the club, access to the computer? Being thrown out, prison? Still relying on Debbie, the rides, her reactions, demanding that he have a meal? Out in the rain, hitch-hiking, hurting Debbie? Confronting Jimmy?

7.The confrontation, the truth, angers? Going to the meeting, the Japanese businessman and his affirmation? Diane and her dismissal? The resignation from the job, Spencer as sad? Their going to the ball game, Jimmy giving up his date with Jewel to take Spencer? Enjoying it, Spencer trying to ring Elizabeth? The sensational catch and Jimmy being seen on television? The commentators wanting him, the police chasing him, the escape and Spencer using the Filofax to go down the cable? The phone call, his promises? Disguising himself as a priest to get Jimmy back into the jail, Jimmy disguised as his mother? The reaction of the prisoners? Television-watching, his coming out, Spencer waiting for him to drive him away? The Japanese businessman offering them a job?

8.The differing types, personalities, manners, world, behaviour? The truth told with each type?

9.Walter, the businessman, alienated from his daughter, pressurising his executives, ill in hospital, his phone calls, the final discussion and his identifying the real Spencer? Spencer turning against him?

10.The Japanese businessman, the tennis game, the executive's trying to let him win, Jimmy and his reaction, winning? The Japanese man listening to all his ideas, the sacking of Diane?

11.Diane as tough, the meal, the meetings, her dismissal - and the points made by the executive, her secretary clapping?

12.Elizabeth and her relationship with Spencer, hoping for the weekend, continually exasperated, the phone calls? Her arrival, the encounter with Jewel? The puzzle about Spencer's identity? Everything becoming clear - and a happy ending?

13.Jewel, her relationship with her father, glamour, friendship with Jimmy, explaining herself, his listening, the meal, the sexual encounter? A future?

14.Debbie, her incessant talking, his relying on her and using her, her job, her explanations of her background, relationships, beauty parlour? Her being hurt by Spencer? His reparation by buying the dog?

15.The warder and his toughness, his henchmen, indoor golf, malicious towards Jimmy, the strike, the television, his allowing the mother in, believing the priest - and having to let Jimmy go?

16.Contemporary themes of business and the pressures of business life? The contrast with prisons? Satire with light humour?

TIGER WARSAW

US, 1988, 93 minutes, Colour.
Patrick Swayze, Piper Laurie, Lee Richardson, Mary Mc Donnell, Bobby di Cicco.
Directed by Amin Q. Chaudhri.

Tiger Warsaw is a family drama, a variation on the prodigal son story. Patrick Swayze portrays a middle-aged man who, 15 years earlier in anger, had held up his father and actually wounded him with a gun. On drugs, he had disappeared out of the lives of his family but now wants to return. They, and people in the town, are unwilling. Again there are crises - but the film has a very positive (touching on sentimental) ending.

Piper Laurie and Lee Richardson have particularly good roles as Swayze's parents. Mary Mc Donnell (Dances With Wolves, Passion Fish) is his sister.

The film is the material of telemovies - but with Swayze's stardom in the late '80s, it was budgeted as a cinema feature. It highlights family relationships, tensions, friendships and loyalties, reconciliation.

1.Interesting and entertaining family story? The prodigal, forgiveness and reconciliation, the return? A film ultimately with hope?

2.The small American town, its way of life, homes, shops, schools? Authentic atmosphere? Musical score?

3.The title, the focus on the Warsaw family and their Polish background? Chuck and the family nickname of Tiger? The symbolism of Tiger in Chuck?

4.Patrick Swayze's portrait of Chuck: his return, the motel, outside his home, looking at his mother? The drug rehabilitation and the lost years? The story of his marriage and his son and signing the son away? The encounter with Karen, friendship, going back, living with her, the relationship, with her children? His going to see Tony, friendship, lack of forgiveness, clash? Tony and his warning Chuck? Chuck going to see his mother, in the rain in the yard, the glimpse? Going to the police, looking up his file, his sister putting the restraining order against his going near the home? The decision to go to the high school reunion? Hopes, the clashes, Val being pushed, tension? People talking about him? His getting work and making a living? The growing desperation, the decision to go to find his son? Finding him, seeing him with the parents, leaving him be? The growing desperation, the visit to his mother? His having to get out of the house? Buying the pills, the temptation to suicide? The ultimate clash in the home, the father taking the rifle to him? The flashbacks and the memories of the incident, the tension, the shooting of his father, watching his sister? His sister blaming him and their confrontation at the mansion? The impact of his father's arrival, the forgiveness, the reconciliation? To the wedding, in the family seat with Karen and the children? Cleaned up, hopeful for the future?

5.Frances and Mitchell? Their devotion, Frances and the details of home, Mitchell and his retirement, not always with it? The meals and Thelma chatting on, his making up stories for Paula? Love for his wife, his daughter? Not remembering his son? The preparations for the wedding? His going to the basketball, hearing the talk? Buying the rifle, going home, the confrontation, shooting above Chuck's head? Considering him dead? The dinner before the marriage, the toasts, his silence? Frances's speech, her love for her son, looking at the photos, the clippings? The meeting with him in the yard, his coming to the home? Paula's arrival and her getting him away? Her speech and her toasting her son? The impact on Mitchell, his getting the plane ticket, finding his son, the reconciliation? The finale at the wedding?

6.Paula, the successful businesswoman, her secretary, jobs, showing people houses? Engaged to Roger? His age, unmarried, love for Paula? Together, shopping? The meeting with the uncle and aunt? At the airport? Her clash with Chuck at the mansion, at the school reunion? The restraining order? Her not wanting to listen to him? Her talking to her mother, her mother blaming her? The final forgiveness? Roger and Paula and their wedding?

7.Tony, past friendship, turning against chuck? Seeing him in the shop, together, Chuck's moods? Val and her pregnancy, warning Tony away from Chuck? At the dance, the fight, Val's fall? Tony seeking him out, the basketball, the final clash? Tony and Val at the dinner? At the wedding?

8.Karen, her reputation in the past, seeing Chuck at the railway crossing? The invitation, her divorce, her devotion to her children? With him, smoking the pot, his staying the night? Moving in? Her love for him? Not wanting to go to the reunion, going because of him? The insults to her? Her concern, Chuck's going away, the phone calls? The final affirmation?

9.The uncle and the aunt coming for the wedding, hiring the bikies to intimidate Chuck? Boastful, the aunt and her support of her husband?

10.Scenes from American life, the family, the disruptions of the '70s, drugs, rehabilitation, tension, forgiveness?