A TIGER'S TAIL

US, 1987, 97 minutes, Colour.
Ann- Margret, C.Thomas Howell, Charles Durning, Kelly Preston.
Directed by Peter Douglas.

A Tiger's Tail is the story of a 19-year-old young man and his falling in love with a middle-aged woman. It all takes place in a small Texas town where everybody knows everybody else.

C. Thomas Howell tries to make the young man credible. Ann Margret brings her talent to the role of the middle-aged woman, trying to bring up an unwieldy daughter (Kelly Preston) and falling in love with this young man, having to face a decision about the future. Charles Durning is the young man's father.

The film creates the atmosphere of the small town, draws its characters quite sharply - and raises the emotional and moral issues. The film was written and directed by Peter Douglas, one of Kirk Douglas's sons.

1.A film about relationships, commitment and marriage? Comic treatment?

2.The atmosphere of the town, the details of its life, style? Musical score and songs?

3.The title, the literal application, the tiger in the film, Bubba's pet, having to give him up? The symbol of Rose as a tiger - and needing to be freed?

4.The portrait of Bubba: his story, his age and experience, wanting to be a vet, handling animals? Playing with the tiger, being wounded, going to the hospital? His friendship with Rose? Outings with Shirley, her precocious attitudes, wanting to compromise him with her mother? Their arguments? His meeting Rose, the discussions, the affair - infatuation and seduction? Shirley and her complaints about her mother's behaviour? Pop, his arguments, support? Claudine and her arrival in the house? The sexual experiences, the aftermath? Rose and her advice? The dance, the boys, the fight, Rose rescuing him? Going home, his seductive behaviour? Acting older? Pop and the truce about the morals? On the drive-in hill, the chase with the tiger? The question of pregnancy diaphragm? Rose's pregnancy, the discussion about abortion, his accompanying her to the clinic, taking the responsibility? The argument with the couple and the mother who wanted the abortion? Rose's leaving and going through her pregnancy? His living in, his jealousy, attacking the car? Going away, Shirley's return and her being more peaceful? Their both helping Rose in her pregnancy? The tiger growing up, going away to free it, Rose accompanying him? The decision to go to college, to go to California, his hitchhiking - and Rose picking him up? Did they have a future together?

5.Rose as a nurse, her divorce, marrying at 19? Clashes with her ex-husband? The fights with Shirley, Shirley trying to be provocative? Her friendship with Bubba, and the clashes with Shirley? At the hospital, the lunch, their sexual encounter? Her trying to make a decision? Stopping her drinking and smoking? Going to the dance, the drive-in? The clash with her husband and his girlfriend? Shirley's tantrum and going away? Bubba living in, her pregnancy, anger at Bubba, going to the clinic, her disgust at the woman and her arguments for the abortion? Shirley's return, being calmer? Cashing her ex-husband's cheques? Going to free the tiger? Her decision to leave? Bubba and his notices, picking him up on the road?

6.Shirley, her age, her absent father, provocative to her mother? The arguments? Leading Bubba on, trying to get caught by her mother? Standards? The boys, Randy? The drive-in, the dance? Her father's coming, going away with him, her anger with him, the girlfriend shooting him? Her return, becoming calmer? Helping her mother? Love for Randy, living with him, the plan to marry? The phase that she went through?

7.Pop, selling gas, the animals, the snakes, his relationship with Bubba, bringing him up? His friend, bringing Claudine? Arguments, the dance? The comments about Rose's pregnancy, the illegitimate grandfather? The tiger destroying the dog? His advising the tiger be freed? The ending and his letting his son go?

8.Randy, the boys in the town, their attacks on Bubba? Randy and Shirley? Together? The doctor at the hospital, his spiel about dealing with women?

9.The theme of pregnancy and abortion? The clinic, the selfish woman and her discussion with her husband? Rose's reaction and keeping her baby?

10.Themes of love and relationships, commitment? Audience presuppositions about the younger man with the older woman? Behaviour, morals? Did the couple have a future?

THUNDERHEART

US, 1992, 113 minutes, Colour.
Val Kilmer, Graham Greene, Sam Shepard, Fred Ward.
Directed by Michael Apted.

Thunderheart is a murder mystery in the steps of Dances With Wolves. It also features one of Dances With Wolves' stars, Graham Green, who is excellent in the role of a tough but sympathetic Indian police officer. But this is a modern story, based on the events of the '70s, of native American struggles. It is also a murder mystery and investigation.

The mystery works well: a killing that looks like vengeance but turns into racist conspiracy and land exploitation issues. The FBI investigates. Val Kilmer is a short back and-sides crack officer (with Indian ancestry which he disdains) and Sam Shepard is a wily veteran. Fred Ward is the chief of a type of vigilante squad on the Indian reservation.

Key to the response to the film is in following Kilmer in his troubled journey into his roots, dreams and the mystical relationship of Indians to the land and to one another.

Directed by Michael Apted (the 7-Up series, Gorillas in the Mist, Continental Divide), written by John Fusco (the Young Guns films) and with some breathtakingly eerie photography of the Dakota Badlands, the film is an entertainment that has worthwhile messages - and offers striking comparisons with Australian aboriginal issues.

Michael Apted followed this film with a documentary on similar themes: Incident At Ogala.

1.Successful and interesting thriller? The Indian background? Questions of the environment?

2.The colour photography and Dakota landscapes? Visuals, mood? The Indian village? The contrast with Washington, DC? The musical score?

3.The title and the focus on Ray, on his ancestry, on his dreams and visions, the name in the cemetery? Symbol?

4.The introduction with the death of the Indian, realism, the death of the Indian as a symbol? The violence? The mystery? The reprise of this death sequence throughout the film? The victim, the truth? The conspiracy? The killers? The final confrontation - and the Indians surrounding the FBI in the circle?

5.Val Kilmer's portrayal of Ray: short back and sides, well groomed, a young man with success in Texas, his drive to Washington? The 1990s yuppy? The American Dream? The interview, his background? The task, the FBI motivation? His Indian background and the possibility of mediation? His disdaining his ancestry? His relationship with his mother, his memories of his father, the drinking, anger, death? His travelling to Dakota? His meeting Frank, his admiration for him, working together? The encounters with Walter, antagonism but admiration? Jack Milton and his men? The range of Indians in the village, his reaction to the village, to the lifestyle? The beginning of clashes?

6.The Indian world as a new world for Ray? The audience sharing his perspectives? On the Indians and their background, their heritage? The grandfather with his television and his mysticism? The children, the school? Prison and deaths? Maggie and getting Ray's help? The young boy and his injury? The conversations with Walter, the clashes, help with the investigation? Walter opening up the mysterious world of the Indians? The police work, the interviews, the puzzles? Jimmy Looks Twice and his anger, escape?

7.Building up the strategies with Frank, the traps, the Indians as elusive? The effect on Ray? The beginnings of sympathy? Helping the boy, Maggie's concern, consideration? The stakeouts and his changing perspective?

8.Maggie, her background, Minneapolis? Her role? The demonstrators, their stances, the political implications? Milton and his men, brutality, deals, politics? The violence? The pathos of Maggie's death? Discovering her body?

9.The grandfather, his wisdom, interactions with Ray, with Walter? His knowledge? The television? His wanting Ray's watch? The dreams, the significance for Ray? Walter's interpretation?

10.The set-up, the night, the grandfather? The place of Richard Yellowhawk? Confrontations, detective work, the truth?

11.The confrontations, Frank's role? His personality, links with Milton? Using the FBI - and racist attitudes? The uranium, the government? Information, plans? The confrontation?

12.Walter, the Indian background, his skills as detective? His jurisdiction and authority? Finding the body, the car? His relationship with the grandfather? The continual challenge to Ray? The confrontation with Milton and his men, with Frank? The danger, Walter sharing it with Ray? The Indians coming to their rescue and surrounding the men?

13.Ray and his change of heart - even change of clothes, more relaxed? The significance of his dreams, the change of life, Walter's envy? His future?

14.The race messages? Environmental messages? The setting from the '70s - and relevance for the '90s?

 

 

 

 

THE THREE MUSKETEERS

US, 1993, 105 minutes, Colour.
Charlie Sheen, Chris O'Donnell, Keifer Sutherland, Oliver Platt, Rebecca De Mornay, Hugh O'Conor, Tim Curry, Gabrielle Anwar, Michael Wincott, Paul McGann?, Julie Delpy.
Directed by Steven Herek.

The Three Musketeers is yet another remake of the popular Dumas story. It is particularly American, geared for the audiences of the '90s with its young American stars (and American tone), Kiefer Sutherland, Charlie Sheen, Chris O'Donnell. Critics at the time made the comparison with Young Guns: Young Swords.

The film is beautifully photographed on location in Austria by Dean Semmler. The treatment is lavish, with emphasis on decor and costumes, on actions, stunts and chases.

The three stars are particularly American and modern in their style. However, Tim Curry relishes his role as Cardinal Richelieu. Rebecca de Mornay is suitable as Milady. Constance, in this version, is relegated to the background.

The swashbuckling tone of the original is kept, plus its sense of whimsy. However, the macho style of the musketeers is a touch chauvinist, a kind of boyos' day and night out which makes the film a little silly.

Steven Herek went on to make Mr Holland's Opus and 101 Dalmatians.

1.The popularity of the Dumas story, the various versions? Adventure? Tongue in cheek?

2.Adapted for the '90s, the stars, the Young Swords, the American style?

3.The Austrian locations, sense of period, the countryside, Paris and its markets, palaces, squares, dungeons? Calais? The rousing score?

4.The swashbuckling action, stunts and chases?

5.The historical background: France, the young Louis XIII and his Austrian wide? Richelieu and his plans, Milady and the spy networks, the links with the British, the role of the musketeers to protect the king, their being disbanded?

6.The musketeer tradition, swordsmen, loyal guards? Their being disbanded? Richelieu's officer, the loss of his eye to D'Artagnan's father? The musketeers leaving, the three and their rebellion? Down and out? Serious/comic? The three encounters with D'Artagnan, the preparations for the duel, the officer and the guards coming to arrest the musketeers, the fight, `All for one and one for all'?

7.Athos and his seriousness, meeting D'Artagnan, his role as leader, the long story of his marriage to Milady and his thinking her dead, meeting her in Calais, her execution and death? His place in the loyalty to the king, the chase to Calais, the fights?

8.Aramis as a ladies' man, the lady's husband and the gun, teaching, his theological background, the clash with D'Artagnan, taking D'Artagnan to the inn and turning him into a ladies' man? The fights, the chases, his being shot, saved by the cross?

9.Porthos and his comic style, offhand remarks, with D'Artagnan, the fights, the confrontation with the Asian warrior on the ship?

10.D'Artagnan and his leaving home, the brothers chasing him, wanting to be a ladies' man, going to Paris, wanting to join the musketeers, finding that they had been disbanded? The three encounters, the three duels? Confronting the captain of the guard, the fight? In prison, the torture, the interrogation, overhearing Cardinal Richelieu and Milady, the escape, the encounter with Milady and the seduction, his escape? With the queen and Constance? In action, the flight to Calais, joining in the action adventures? The final confrontation with the assassin, the swashbuckling fight on the roof? Becoming a musketeer - and the finale with the brothers from his home town? His loyalty to his father and the tradition of his father?

11.Richelieu and his power, seeing him in the dungeons, the prisoners, his religious hypocrisy, the relish of his offhand sayings, his reliance on his officer, Milady and the Duke of Buckingham, the encounters with D'Artagnan, his patronising of the king organising the assassination? His having to flee, the chase and the fights?

12.The queen and her background from Austria, her love for the king, his youthfulness? Their being together, dominated by Richelieu? Public appearance - and the assassination attempt?

13.The officer of the guard, loyal to Richelieu, the disbanding of the musketeers? His injury from D'Artagnan's father, fighting with D'Artagnan?

14.Milady, the story of her marriage, the death, to be executed, love for Athos? Her spying for Richelieu? The encounter with D'Artagnan, her arrest, the trial on the cliff edge, her killing herself?

15.Constance, lady-in-waiting, helping D'Artagnan with the sword during the duel?

16.The musketeers, the final confrontation, the swashbuckling - and the humour as D'Artagnan is chased by the men from his village?

 

THIS LAND IS MINE

US, 1943, 103 minutes, Black and white.
Charles Laughton, Maureen O'Hara, George Sanders, Walter Slezak, Una O'Connor, Kent Smith, Philip Merivale, Thurston Hall, George Coulouris.
Directed by Jean Renoir.

This Land Is Mine is quite an effective piece of wartime propaganda, although very dated now, especially in its rhetoric. It is the work of scenarist Dudley Nichols, writer of many films for John Ford and author and director of Sister Kenny and Mourning Becomes Electra. The film was directed by celebrated French director/artist Jean Renoir, director of many famous films of the '30s: The Rules of the Game, The Great Illusion, The Human Beast. Renoir spent some years in America during the war, making such films as Swamp Water, The Woman on the Beach, The Diary of a Chambermaid.

Renoir obviously feels about his topic in this film: The film is set `somewhere in Europe'. It resembles, of course, occupied France. Nazi occupation of an unnamed European country and the challenge to resistance for ordinary inhabitants of a country town and the dangers of collaboration and support of the Nazi regime. The film has an excellent cast and Charles Laughton is quite restrained as the central cowardly schoolteacher. He receives attractive support from Maureen O’ Hara, who had appeared with him in Hitchcock's Jamaica Run and as Esmeralda in The Hunchback of Notre Dame. George Sanders, Una O'Connor and Kent Smith have quite effective roles although at times the patriotism makes them rather strident and over-forceful. The story is basic and retains the interest, there are many speeches which highlight the attitudes of resistance in World War Two as well as the exaltation to Americans to oppose the Nazis. There is a great optimism for a brave and better world after the war.

Not one of Renoir's great films - but an interesting insight into the war propaganda film-making of Hollywood in the '40s.

1. The value of this film as entertainment, as World War Two propaganda, as dramatising the attitudes of Americans and Europeans in the early '40s?

2. The production values? The work of Jean Renoir and his bringing his French style to America? The writing of Dudley Nichol - especially the rhetoric for propaganda? Black and white photography? Sets and the re-creation of Europe? Musical score?

3. The title and the focus on liberty? The occupying of European countries by the Nazis? The stances taken by the Resistance and saboteurs? The basic interest in the plot? The strength of the character-drawing? Sufficient basis for propaganda and rhetoric? The impact of this film before the end of World War Two? Its contribution to the American effort?

4. The presentation of the Nazi occupation? The opening of the film? Walter Slezak as embodying the occupying Nazi oppression, cruelty, smooth talk, seeming plausibility, the rhetoric of the Reich and the New World? The German soldiers and the resistance? Sabotage? The Commander's attitude towards George Lambert and his collaboration, towards the Mayor and his support? The hostility towards Paul and his pursuing and killing him? The taking of hostages? The professor and the other people of the town executed? The attitude towards Albert and the attempt to do a deal with him in the prison? The Commander as sufficiently plausible for the audience's detestation of Nazism?

5. The life of the town? Wartime conditions? Lack of food and black market dealing? The censoring of books for use in school? The sending of vegetables to the war front etc.? The reality of collaboration? The reality of resistance? The freedom leaflet put under people's doors and the arrest of the printers? The influence of the teachers on the children? Paul and his seeming friendship with the Germans yet his sabotage? The ordinary people of the town caught in the occupation situation, hoping for freedom?

6. Charles Laughton's style as Albert Laurie? A mother's son and his being pampered by her? the domination of his mother, the breakfast, the cat, her mollycoddling him? His manner in the classroom and the children sneering at him? His teaching, friendship with the professor, with the little boy? The schoolboys mocking him? The orders to tear pages out of the books? His hurrying home, not going out? The friendship with Louise? Paul? George Lambert? His shock with the arrest of the professor? His being terrified during the bombardment and the children ridiculing him? His confessing his weakness and cowardice to the headmaster? His becoming involved with the Resistance? His invitation to Louise's for the meal and his having to cover for Paul? and the smoking sequence? His being arrested and imprisoned as a hostage? His seeing the professor and others executed? Louise's spurning of him, thinking he was responsible for Paul's death? His confrontation with George Lambert but being accused of murder? His reticence in the court scene? His speech - as the occasion to voice the attitudes of the ordinary man in the face of the Nazi occupation? The night in jail and von Keller talking with him, trying to persuade him to collaborate? The false letter? His theme of interior courage and exterior cowardice and the reverse? The contrast of his own attitudes with those of George Lambert? The German Commander trying to deal with him in the prison and forge Lambert's suicide note? The confrontation with the prosecutor? The judge allowing him to speak? His declaration for freedom - with the urging to the Americans to resist Nazism? His final speech in the court, his talk about his mother and her guilt, the middle class and their being comfortable, collaborating with the Germans? His love for Louise? His political stance, his statements about freedom, his support of the Resistance?The wartime hero and the acclaim? His speech to the children in the classroom and his arrest? Louise's support, his reading the American Constitution with its rights, being taken to execution? A persuasive picture of a hero for the war?

7. Louise as heroine? Maureen O'Hara's presence and style? Work in the school, her tearing out the pages proscribed but keeping them? dismay with Paul, love for George? Her reaction to Paul's being a saboteur and supporting him? Her courtesy towards Albert and her criticisms of his mother? Her relationship with George, the engagement, going to get his support? Breaking the engagement? Thinking that Paul was a collaborator, discovering the truth, her support, the meal with Albert? Covering? Her breaking with George Lambert? Her accusations against Albert? The discovery of the truth and her response to Albert's declaration of love for her in court? Her presence in the classroom during his talk to the children? The final statements from the American Constitution and democratic freedoms? The film ending with her reciting them?

8. Paul as ordinary worker in the town, fraternising with the Germans, his girlfriend and her disgust - and her grief at his death? The sabotage and his escape over the rooves? His covering at the meal with Albert and the cigarettes? His escape? The confrontation with George Lambert?

9. Albert and his role at the railway yards? Friendliness with the Germans? His declaration of belief in their principles? Friendliness with the Commander? Love for Louise? His trying to persuade her as regards the taking of hostages and executions? Blame for saboteurs? The information given him by Mrs. Laurie? His acting on it? His trying to warn Paul? Conscience problems and his suicide? A stereotyped symbol of collaboration?

10. Von Keller, the German occupation, the Nazis, the philosophy? Von Keller and his genial manner, yet the taking of hostages, control of the mayor? With Paul, with George? Trying to get Albert on side? The response of the audience to the Nazi occupation?

11. George, merchant, collaborating, conscience? Love for Louise, friendship with Paul? Albert's mother telling him the truth, his telling von Keller? His change of heart, warning Paul? Von Keller talking about collaboration? Killing himself?

12. Mrs. Laurie as the doting mother? Her fussing over her son, her tantrum? Her trying to protect him against arrest, her collapse, her appeal to the authorities? Her knowing Paul was guilty and her telling George Lambert? Her being responsible for Paul's death? Albert's repudiation of her and her betrayal? hypochondriac, dominating, pleading her own ills, wanting him home? Her stifling his growth, alleging ill health? His criticisms of her during the trial? How persuasive a portrait of a possessive mother? The points being made about the war?

13. The stereotyped picture of the prosecutor? His aggressiveness? His mouthing platitudes? The fabrication of Lambert's suicide note? The reaction of the jury - even though they were condemned by Albert's speech? The reaction of the judge?

14.The mayor, his background, collaboration?

15.The hostages, the professor, the arrest of the printers, the professor and his writing the paper - with the Latin quotes? Going courageously to his death?

16. The portrayal of ordinary people trying to go about their way of life under occupation? Resistance and sabotage - and the justification of sabotage? The experience of privation and bombardment? The presentation of war in the uncertainties of 1942-43?

17.A French director in Hollywood, away from the war, contributing to the war effort by this propaganda melodrama?

THINGS CHANGE

US, 1988, 100 minutes, Colour.
Don Ameche, Joe Mantegna, Robert Prosky, J.T.Walsh.
Directed by David Mamet.

Things Change is a comedy drama with the background of the Mafia. It is a star vehicle for Don Ameche, who emerged as a popular star with his Oscar-winning role in Cocoon in 1985. Until his death in the early '90s, he made quite a comeback in a number of films. This is one of his best star roles. He is matched with Joe Mantegna, star also of many films, playing character roles. Mantegna has been a collaborator with playwright David Mamet. Mamet wrote and directed this film as he did with House of Games and with Homicide.

Mamet was responsible for a number of screenplays including The Verdict, We're No Angels as well as the translation of Chekhov for Vanya on 42nd Street. He also directed a film version of his play Oleanna and The Spanish Prisoner.

1.The work of David Mamet, theatre, film? Comedy drama? Focus on characters? Focus on talk and dialogue?

2.The Chicago locations, Lake Tahoe? Colour photography? Light and shadow? Mood and the colour commenting on characters and events? The editing, the musical score?

3.The title, the way it is used - with reference to Gino, Jerry, Frankie? A truism and the mood of the plot?

4.The cast, their work for Mamet?

5.The drama, suspense, comedy style, farcical touches? Well integrated?

6.The introduction to Gino, Don Ameche and his screen presence, the shoes? His being chosen for a particular role? The Mafia observing him? Style, accent? Chicago with the Sicilian background? The nature of the bribe, the meeting? His dream, his refusal? The phone calls? The change of heart?

7.The set-up, Mr Green and Mr Silva, the plan, style, promises, threats? The word and the coin? Later appearances? The breaking of the word? Frank? The family, the boss, henchmen and probation?

8.Jerry and his role in the set-up? On probation? The hotel, rehearsing, the idea? With Gino? Going to Lake Tahoe, the hopes? The situations, the friends, style? The pseudonym of Mr Johnson? The attention of the staff, the room, the management? Gambling and winning? The number 12, 35,000 and losing? The anxiety? The show and Jackie Shore? The girls, the spa, fishing? The morning worry, dinner and watching Gino? The meeting, the farce and the quick thinking? Petrol and the money, the return? Urging him to go? The walk, the death, attacking Frankie? The end with the shoes? The portrait of a character and his change?

9.Gino, the rehearsal, the word given about Tahoe? His personal dignity and style? The man of his word, the room, the clothes? The toilet, the attendance of the staff? The gambling, the number 12, the wheel of fortune? Losing? The show and the spotlight, the girls? The note and his going fishing? Teaching how to clean boots? Going to visit the Don, his reception, passing as a Mafia Don? The dinner, the exchanging of the coin, the beach, the talk? Anxiety, leaving, the petrol and the money, not escaping, walking the beach? Ringing Giuseppe? The court and the end? The transformation of a character?

10.Tahoe and glamour, the wealth, the management, service, power? The lavish room, the gambling? The show, sex? The Mafia family?

11.The Don and his henchmen, power and suspicion, fencing with Gino, liking him, the symbolism of the coin, the gift of the number, the code? His help?

12.The ending, satisfying resolution of the case?

13.A portrait of people, American style? The use of power, influence, Mafia codes and integrity?

THEY WON'T FORGET

US, 1937, 94 minutes, Black and White.
Claude Rains, Gloria Dickson, Otto Kruger, Allyn Joslyn, Elisha Cook Jnr, Lana Turner, Elizabeth Risdon.
Directed by Mervyn Le Roy.

They Won't Forget is a film strong in '30s Warner Bros film-making style. However, it still has quite a powerful impact. It focuses on the role of the media beating up a story for sensationalist purposes. It also focuses on ambitious lawyers, dependent on public vote for office and their unscrupulous use of the law courts. It also highlights prejudice in America's South, the legal processes and mob dissatisfaction with judicial decisions. The film has, suggested rather than seen, a mob performing a lynch-killing. This film presents the grim side of American prejudice.

The film was directed by Mervyn Le Roy, whose films at Warner Bros included I Am a Fugitive from the Chain Gang, Little Caesar and such taut thrillers as Ballots or Bullets. He was soon to move to MGM with big-budget dramas, often with a message, like the Greer Garson vehicles Blossoms in the Dust and Random Harvest.

Claude Rains, in an early role, is the unscrupulous southern district attorney, hoping to be Senator or Governor. The film has a lesser-known cast by Allyn Joslyn, resembling John Lithgow in films of the '80s and '90s, is particularly good as the newshound, unscrupulous journalist. The film is also of interest in presenting Lana Turner in her first major role as the young woman who is murdered. (The plot was used for the '80s mini-series, The Murder of Mary Phagan, with Jack Lemmon.)

Interesting serious film-making of the '30s with relevant message about prejudice, hatred, lynch mentality and the abuse of legal procedures as well as of the media.

1.Impact of the film? In its time? In the United States? Elsewhere? In later decades?

2.Warner Bros production, studios and sets? Black and white photography? The atmosphere of a southern town? The editing and style? The use of the loudspeaker for informing audiences about the trial? Musical score?

3.The title and the variety of references: to the memories of the Civil War with the veterans, people remembering the Civil War and its issues? Justice and injustice, victims of murder, victims of the court? The district attorney and the journalist confronted by Mrs Hale at the end, confronting them so that they would not forget what they had done to her husband?

4.The Civil War setting: the veterans sitting in the park, going to march in uniform, their memories of the past? The issues of the war, the clash between North and South? The continued hostilities and suspicions between North and South? Bigotry - and its role in condemning Hale to death?

5.The business school, Hale and his class, the girls, Mary and her attraction to him? Buxton intervening and sending everybody home because of the Confederate memorial holiday? Hale and his being humiliated, from the North, wanting to go back, preparing the telegram? Mary and her friend, going to the soda fountain, her return to the school for her vanity case? Her death - and the irony that the screenplay does not tell us who killed her?

6.Andy Griffin and his ambitions? His role as district attorney? His assistant? In the parade, the clash with the governor? The meeting with the responsible men of the town? Their dislike of him? His wanting something big to happen, something to use in the courts for his ambitions? The news of the murder, his decision to use it? His declaration that he would prosecute only when there was a clear case and the evidence was strong enough? His talk, his assistant understanding his ambition? Being played on by Brock? Given information about Hale? The investigation, the janitor, the boyfriend? The decision to go and attack Hale? His putting aside scruple? Deciding Hale would be the victim?

7.Hale, his love for his wife? Scenes at home? The police coming, the arrest? The interrogation, the telegram about going to the North? The bloodstain on his coat and his alleging that he went to the barber? In jail, a sense of doom? His wife coming to see him? His mother coming to the trial?

8.The janitor, his evidence, under suspicion? Black and prejudice in the South? His being in jail? The detective coming from the North? Buxton and the local authorities getting him to change his testimony? His fear?

9.Mary Clay, the victim, Joe Turner and his being upset? Mrs Clay and her grief? Her brothers and their crying out for vengeance? Feeding the town and its hatred and prejudice?

10.Brock, the smart newspaperman? Bored in the town? Wanting a story, information about Hale? Giving it to Griffin, getting the deal? Inflating the story? The collage of taped messages going to North and to South? The inflation of the case, suspicions of Hale? Urging the prejudice angle? Detectives coming from the North, the lawyer coming from the North? Brock and his behaviour during the case, setting up the confrontation< playing on the presence of the two mothers and their grief? The voice-over and the radio announcements about the case?

11.The case, the evidence? Hale as victim? Audience suspicion of him or not? Of the janitor? His behaviour in court? His wife's support? His mother on the train and the garrulous woman urging her to go to the case? His mother's grief in the court and the way that this was used by the papers and the lawyer?

12.The investigation by the detective from the North, the interview with the barber and his backing down on his evidence? His wife slapping him? The headlines that the detective was beaten up?

13.The lawyer from the North? The performances in court, the speeches and their emotive style? The cross-examinations? The evidence, leading witnesses? The outbursts of prejudice from the court? The responses of the judge?

14.The jury, their discussions, the hesitant man, the death threat? The discussions and the decision?

15.The governor, the petition to him? His wife? His speaking honestly about the evidence and his decision? His wife supporting his retirement? His commuting the sentence?

16.The police taking Hale on the train, complicity, the train stopping, the Clay brothers and their taking Hale and lynching him?

17.Mrs Hale, her visit to Griffin and Brock? Griffin and his poster for the Senate? Gloating? The truth told by Mrs Hale, not wanting them to forget, not taking their buy-off money? Their reaction after her visit, watching her go? The touch of conscience - and then overcoming it?

18.The film's presentation of the media, lack of scruple? The visit by Brock to the Hale apartment, searching for photos, ransacking drawers? The middle-aged journalist drawing Mrs Hale's story out of her? The use of the interview in the papers and as working up support against Hale? The film's critique of the media?

19.The film's critique of justice, fairness, using cases for political ends? The fairness of the judge? Of the governor?

20.Serious film-making from the '30s?

THEY LIVE

US, 1988, 97 minutes, Colour.
Roddy Piper, Keith David, Meg Foster.
Directed by John Carpenter.

They Live is not a bad science fiction horror thriller (though there is an unnecessarily prolonged brutal fistfight and some rapid-fire shootouts). Director John Carpenter (Halloween, Fog, Escape From New York, The Thing) sets his scene well amongst marginal workers in the city, street preachers, and then takes us into an imaginative variation on alien body snatchers and subliminal totalitarian state. It is a wry comment on contemporary consumer complacency. We humans sleep, but they (ghoul-like under their skin) live. The ideas are interesting, some good action and a glib but flip ending (with a viewer commentator criticising the excesses of films by George Romero and John Carpenter). The screenplay is by Walter Armitage from a story by Ray Faraday Nelson, `8 O'clock In The Morning'. Music is by John Carpenter and Alan Howath, his regular collaborator.

1.Interesting science fiction? Contemporary fable? The US? The world?

2.The American city, building sites, marginal people and their camp, the ordinary city with its shops, television stations? The underground? The plausibility of the setting from the plot?

3.Stunts and special effects, the effect for the sunglasses: the totalitarian slogans, the drab monochrome world, the totalitarian state? Seeing the ghouls under the skin of ordinary-looking people? The contrast with ordinary citizens? The pounding and mesmerising score?

4.The tone of the film: adventure, the loner from the country in the city, the preacher and his message, the mystery of the church, the TV message, the glasses and the new world, violence, the attack, siege and fight? The flip ending with its commentary about media?

5.The influences on the film: films about aliens, George Romero's films of the Living Dead, ghouls, body snatchers?

6.Nada and his name? The hero, wandering into the city, unemployed? Disillusioned? The road and the city, jobs at the building site, the unions, the bosses? Work, his treatment? Meeting Frankie, following him to the accommodation, a new buddy? Black and white buddies?

7.Frankie and his work, Detroit background, his family, buddy, helping Nada?

8.The camp for the unemployed, the preacher and his apocalyptic themes? The church, the recorded music, the TV program, the interference, the ordinary people having headaches? The contrast with the showing of ordinary television commercials and programs? The group in the church as terrorists? Whose side were they on?

9.Nada going into the church, hearing the message, the personnel and their views, the dark glasses, the raid, his escape, the destruction of the church? His return to the church and the garbage sequence, getting the glasses? The group, the meeting, strategies, Holly present, her being a spy? The massacre?

10.Nada and the glasses, the revelation of the totalitarian world, the dangers, the shooting, in the shops and his behaviour, the watchers and their giving of information to headquarters, his experience, the return, Holly as hostage, her hitting him over the head, her disbelief? His concern for her?

11.The confrontation with Frank, trying to persuade him, the fistfight? The massacre, the police, the shooting, the hole in the ground? Frank and Nada in the underground, the banquet and the speeches, the boss and his tour, information, the aliens travelling to Andromeda? The shooting and the sabotage of the antenna?

12.Holly and Nada, as hostage, seemingly in love, the sabotage, her infiltration, her wearing a mask - shooting Frank dead, Nada shooting Holly?

13.The ending with the ghouls literally unmasked? Their being exposed for what they were - their moral comments, the television programs, the sex movie? Nada and the irony of his name as a world saviour?

14.Themes of conformism, obedience, Americana apple pie, greed and money, morals, the American dream? The title: We Sleep, They Live?

THERESE

France, 1986, 91 minutes, Colour.
Catherine Mouchet, Aurore Prieto.
Directed by Alain Cavalier.

Therese is a film about religious life, particularly the Carmelites in Lisieux at the end of the 19th century. The focus is on Therese Martin, called popularly in Catholic circles, The Little Flower. She made a great impact immediately after her death, especially with the publication of her spiritual autobiography, `The Story of a Soul'. Dying in 1897, she was canonised by Pius XI in 1925.

This film is in the French tradition of films about nuns, most especially in the clear and somewhat abstract style of Robert Bresson (Dialogue of the Carmelites, The Passion of St Joan of
Arc). It is the opposite of the more flamboyant style used by such directors as Ken Russell. Audiences, more familiar with Hollywood nuns, will find the film rather bleak and ascetical. (Though many will have memories of Audrey Hepburn in The Nun's Story.)

The film is highly stylised, quite claustrophobic for its impact of cloister on the sisters. Scenes move from one sound stage to the other without many exteriors. This stylising of the film highlights the character of Therese, the style of life she lived in the convent, her seeking for holiness.

The film was co-written and directed by Alain Cavalier who follows the Bresson tradition. The film received some acclaim - winning prizes at a Cannes film festival. Observers outside the Catholic church found the film quite powerful. Many from within the church, having experienced transition from this kind of 19th century spirituality to a more contemporary and outgoing spirituality, found the film very difficult to identify with.

1.Impact of the film? Acclaim - awards, critical reviews in favour? The reaction of Catholics who had experienced the transition from this spirituality to a more contemporary one?

2.French film-making, a French perspective on a French saint? Memories of the 19th century, the Catholic church, anti-clerical attitudes of the period? A perception of holiness and asceticism?

3.The stylised manner of the film: sound stages and sets, darkness and light, claustrophobic aspects of the convent, the cloister and enclosure? The musical score, traditions of religious music?

4.Audience response to 19th century French piety, the visuals of statuary and liturgy, the chapel, religious rituals, the religious habit, religious music? Regimented and regulated behaviour?

5.Audience knowledge of Therese of Lisieux, the effect of the movie on those who were not aware of her, people with critical attitudes towards the Catholic church, people sympathetic to the church?

6.This picture of life in a convent in the perspective of the reassessment of religious life and asceticism after the Second Vatican Council?

7.The film as a collage of sequences in Therese's short life, the building up of a portrait?

8.The background of the Martin family, her parents and their devout life, the older sisters joining Carmel, the place of the convent in the consciousness of the family, religious ideals and holiness? Therese wanting to join the convent, her sense of vocation, the parish priest and his refusal? The pilgrimage to Rome, her encounter with Leo XIII, his sympathetic listening, his granting permission?

9.The picture of life in the convent, its strictness, enclosure? The small group of sisters in an enclosed world? Striving for ideals, Carmelite tradition, local interpretation of rule and spirituality, reading Scripture, the Song of Songs and its evocative interpretations? Discipline, charity?

10.The portrait of different nuns in the convent: the superior, her attitudes towards the Martin sisters, towards Therese, her regulating convent life, her lack of sympathy, indecision and decision? The elderly sister who was a widow, keeping her husband's photo, her friendship with Therese? The strength of her vocation - or not? Sister Lucie, her background, affection, the bond with Therese, the tradition of breaking up Particular Friendships at the time? Her anguish, her decision, her absence?

11.The Martin sisters, the bonds between them, friendship and love, lifestyle and piety, authority in the convent? Their father's death and its impact? Celine coming to join the convent as well?

12.The tradition of asceticism and its severity, physical asceticism? The spirituality of illness? Therese and consumption? The interviews with the doctor - and his attitude towards the sisters' behaviour? Therese and her keeping a diary, `The Story of a Soul' - and it being published in an edited edition first? A pious image of The Little Flower? Giving her life for missionaries? The later more robust version published?

13.The film's attention to the detail of convent life: prayer, recreation (and the dressing up as Joan of Arc for the photo - and Therese fainting), the daily work routines? The demands of sisterly love and charity?

14.The background of the world of Lisieux, France at the end of the 19th century, emerging nationalism, anti-clerical attitudes? Middle class society?

15.The portrait of a strong woman, her character and courage, her religious dedication?

THELMA AND LOUISE

US, 1991, 138 minutes, Colour.
Susan Sarandon, Geena Davis, Harvey Keitel, Christopher Mc Donald, Michael Madsen, Brad Pitt.
Directed by Ridley Scott.

Thelma and Louise was one of the most talked about films of 1991. Thelma and Louise are good friends who go off for a holiday weekend. It turns into a journey through the West with the police chasing them. There has been an attempted rape and a shooting. But the women cannot trust the police, feel that they won't be believed. So, they go on the road, as so many men have gone before, as fugitives, gaining notoriety and, finally, faced with a violent showdown. Thelma and Louise find themselves in this vanishing West. But it is not so easy for women as it is for men. In fact, men have set western society's agenda. They impose the expectations, have the structures and the law on their side. Women assert themselves - and the film is an allegory of what happens.

Geena Davis and Susan Sarandon play Thelma and Louise very well. They are sisters, not buddies. The movie is also an allegory of the relationships between men and women in 20th century American society. Most of the men are caricatured or, deservedly, lampooned. The ending was considered controversial. Butch and Sundance went out in a blaze of glory - but what can women do in 1991? It should be added that there is a great deal of humour in this complex film, one that needs discussing.

The film was written by first-time writer Callie Khouri. It was directed by Englishman Ridley Scott (Duellists, Alien, Blade Runner, Legend, Someone to Watch Over Me, Black Rain).

1.The film's acclaim, considered a landmark women's film? Its use of traditional American genres and showing women within these genres?

2.The strength of the cast, the writer and the director?

3.The backgrounds of Arkansas and Oklahoma, New Mexico and the vanishing West? The traditional West - photographed beautifully - but with an ominous sense? The background of homes, police stations, the American highways, towns, motels?

4.The striking musical score and its moods? The West, road films?

5.The buddy genre and its being transformed into the Sister genre? The tradition of the road and fugitives? Robberies? The tradition of the westerns and the law? Men in this tradition? Women? Parallels and differences? Audience sympathy and responses?

6.The credibility of the plot - establishing Thelma and Louise as personalities? Their situations? Presentation of the men? The action as larger than life - yet with the core of credibility?

7.The portrait of men and women, equality and dominance? Men and their superiority, assumptions, smugness? The reaction of women? The role of the law? Domestic domination? Sexual encounters and domination, violence and rape? Violent deaths? The film as contributing to changing attitudes?

8.The pessimism of the plot, the pursuit of Thelma and Louise, their option to die? A '90s allegorical ending for a film about women?

9.The sketch of Thelma at home, Darrell's criticism of her shouting, the breakfast, the marriage and the four years' courtship? Her manner, eating, the fridge? Her fear of telling Darrell? The pressure from Louise? Leaving a note and a microwaveable meal? Wanting her vacation, packing, mess and all, the number of suitcases? Her friendship with Louise - and the exhilaration of going?

10.The contrast with Louise at the diner, her work, pleasant, talking to people, smoking the cigarette? Her neat packing, leaving the house in an orderly way? Her influence on Thelma and the pressure? The audience not knowing her past, but knowing something was amiss? The tension of her relationship with Jim?

11.On the road, their plans, the fishing, the car, Thelma wanting to stop, going to the diner, enjoying the drink, Harlan and his approach, Thelma's vigorous dancing, excitement? Louise's more restrained response? Thelma and Harlan's approaches, the married man, pursuing her, pressure, in the car-park, the attempted rape? Louise and her stance, the gun, her shooting Harlan? The reason, motivation, their reaction? Audience reaction - sympathy, surprise, revulsion?

12.Facing the dilemma and deciding to act? Getting in the car and driving? Not trusting the police? Not trusting the law? Women in rape situations, Thelma interpreted as flirting and leading Harlan on, their not being believed? The emotional reactions of each? Sharing the experiences, the decisions, the angers? Going to the motel, wanting to be safe? Thelma at the swimming pool? Louise thinking things through? The phone calls?

13.The plan, the contact with Jimmy, his bringing the money? Their driving to Oklahoma City, the encounter with the young man on the road? His story, their being persuaded to take him? Thelma believing him? The exhilaration of the ride? Leaving him, his being drenched in the rain? Thelma taking him in? Jimmy and his arrival with the money? Louise and Jimmy and the motel encounter, the tenderness, his offering the ring, their talking the truth? The possibility of a relationship - but the difficulty of what Louise had done and how she was handling the situation? Thelma and J.D. and their encounter, sex, the morning after? Thelma leaving the money - the loss and the angers?

14.The sketch of J.D., on the road, peddling his good looks, his story about study, getting the lifts? His story about robbing the store and his spiel? The sexual encounter with Thelma? His being arrested, the interrogation, his taunting of Darrell?

15.The police, Harvey Keitel as the main sympathetic man in the film? His concern about the two? His boss and the authoritarian approach? Speculation, his empathy? The phone calls and Thelma contacting Darrell? Darrell's shock and reaction? Louise and her more shrewd phone calls? The police, surveillance, information? Their watching the TV weepy - and Darrell wanting to watch the sport? Darrell giving himself away on the phone? The interrogation of J.D? The decisions to pursue the women?

16.The pressures on the women, Thelma and her enjoying robbing the store and using J.D's spiel? The driving to the border, the phone calls, Louise's serious approach? The encounter with the Highway Patrolman, their behaviour with him, pulling the gun, shooting the radio, tying him up and putting him in the back of the car? Continually passing the truckie, his obscene gestures? The finale - their confronting him, exploding his truck? The pressure of men in the old West and the effect on the women?

17.The transformation of Thelma and of Louise? Evading the police, the cars and the helicopter, the sudden coming to the cliff - and the possibility of going off and over the edge? The siege? Their reflection on what had happened to them, their decisions and motivation, going out in the blaze of glory? The final freeze frame? Not seeing the reality of their bodies and the smashed car?

18.The background of the men, Jim and his sympathy? The sympathetic policeman? The contrast with Darrell and his vanity, his car number-plate, his chain? His preening himself? His behaviour at home, the antagonism towards J.D? J.D. and his arrogant self-confidence? The police, the law, violence? Harlan and his presumptions, sexuality and violence? The obscene truckie?

19.A film of the '90s - in the Hollywood tradition, conventions? A film about women - and secondarily about men?

THAT OLD FEELING

US, 1997, 105 minutes, Colour.
Bette Midler, Dennis Farina, Paula Marshall, David Rausche, Danny Nucci.
Directed by Carl Reiner.

Now that Bette Midler is over 50, she is taking on roles that make her mother of the bride while allowing her to be as bumptious and wise-cracking as ever. She is probably the sole reason for seeing That Old Feeling, a rather corny comedy of the 90s which seems to take it for granted that marriages are not made in heaven - though it does opt for true love. There is a lot of spoof here with Midler as a flamboyant actress, attacking the paparazzo who knows more about her than she does, married to a sensitive New Age psychologist author continually spouting psychobabble, taking up again with her author ex-husband, and dealing with her rather straight up and down daughter who is marrying a Kennedyesque politician. That does not spoil the plot. You have to see it unfold - or, perhaps you don't. It's just a Midler pastime.

1.An entertaining comedy and farce? A version of screwball comedy for the '90s?

2.Molly's world contrasting with Keith's affluence and the background of his family? Her relationship with her mother and father and their worlds of authorship and film stardom? The affluent world of mansions, hotels, weddings?

3.The title and the quote from the song? The importance of the musical score and the range of songs and references throughout the film? Bette Midler singing the title song?

4.Molly and Keith as a nice American couple, their plans for their wedding, Keith and his political ambitions and the election, the preparations for the wedding? The opening and Keith putting the ring on Molly's dessert and her swallowing it? The discussions about invitations to the wedding, the choice of the church, Molly's parents coming to the wedding - and her expectations of disaster?

5.The relationship between Molly and her mother, seeing them going shopping, the paparazzo and his continued interference and Lily's anger? Lily and listening to the conditions that Molly gave about her attending the wedding? David and his going to the wedding? Molly and her relationship with her father and his wife? Inviting them to the wedding?

6.The wedding itself, the ceremony? Dan and Lily fighting and Molly giving them an ultimatum? Their hostility, talking things over, the sexual encounter? Dancing together and the puzzlement of Molly and Keith? The escape from the wedding and going off together? The character of the spoilt film star and the brash novelist? Their careers? The 14 years of separation, the reasons for the break-up? Molly and her conditions, their getting away from the wedding, the fights, their time together and enjoying themselves, locking Molly in the room with the paparazzo? The return, the confrontation? The irony of their going to the airport and going on the trip?

7.Bette Midler and her style - given full rein here with the brash character, the loud mouth, the ironic comedy, the songs? Matched by Dennis Farina?

8.Lily and her marriage to David? 14 years? David and his psychiatry, his New Age patter, his books? His trying to sort out every situation and get people to express their feelings?

9.Rowena and the marriage to Dan? Her getting ready for the wedding, her jealousy of Lily? Her reaction at the wedding, the encounter with Keith and seducing him?

10.Keith and his love for Molly, the preparations for the wedding, his political hopes, his parents? The style of the wedding? His reaction to Lily and Dan fighting? His callow attitudes, his fear of scandal, the search for Molly, his not believing her, his allowing himself to be seduced by Rowena? The aftermath?

11.Joey and the photos, his continually pursuing Lily? Their fights? Lily revealing that she never sent him away but enjoying his attention - except when he took a photo of her when she was fat? His turning up at the wedding? Molly contracting him to find her parents? Going to the bank, checking the file, the newspaper and the information about Lily, surmising where she would go? Going to the hotel, helping Molly, being locked in the room with her?

12.Molly not resembling her mother, straightforward, honest? Uptight? With Joey and discovering different feelings for him, contrasting with those for Keith? Dancing with her father? Joey and the coat, seeing that he could look presentable? Being locked in the hotel room for the night? Her having to change her mind about both Keith and Joey?

13.The culmination at the airport - the break-up of the marriage? David and Rowena left on the side? Lily and Dan going off to make a beginning - with that old feeling?