DIRTY PICTURES

US, 2000, 104 minutes, Colour.
James Woods, Craig T. Nelson, Diana Scarwid, Leon Pownall, Matt North.
Directed by Frank Pierson.

Dirty Pictures won the Golden Globe for the best film made for television in 2000. Its star, James Woods, was nominated for a number of awards.

The film concerns a trial, held in 1990 in the city of Cincinnati. The focus was on the photographs of celebrated photographer, Robert Mapplethorpe. Some of his photos were considered obscene, exhibitions were withdrawn. However, Dennis Barrie curated an exhibition of photos in Cincinnati in 1989. There was opposition from the sheriff as well as community groups, religious groups.

The film takes a stance anti-censorship. However, the screenplay presents a range of arguments about the nature of community standards, about art and obscenity, about the first amendment in the United States, freedom of choice for adults. Set in the dramatic context, the arguments are well worth listening to and debating.

James Woods gives a solid performance as the curator of the museum, not expecting the hostility that was aroused, agreeing with his lawyers to sue the sheriff of Cincinnati for his opposition, undergoing cross-examination and trial, tensions within his own home, the support of his children, the upset of his wife (and the later information that they divorced after the resolution of the case).

Craig T. Nelson is solidly effective as the sheriff. Diana Scarwid is Dianne Barrie.

The film was directed by Frank Pierson, veteran screenwriter of films including Dog Day Afternoon. He also directed a number of films for cinema and television, including the Barbra Streisand A Star is Born.

The film works dramatically well – shows glimpses of many of the controversial photographs which enable the audience to test their theoretical views about censorship with viewing images.

1. The film based on a true story? Art issues? Community standards? Funding of art by government? The role of law? Changes in the 20th century?

2. Cincinnati as the focus, the American Midwest, a test in Ohio? Exhibitions, museums, galleries? Art and taste? Protest? Protection from offensive material? The role of the law? The New York origins of the art? The cancellation of the Washington exhibition?

3. The film opening at the trial, going back one year, the situation in Cincinnati, the cancellation in Washington, the decision to go ahead in Ohio? Reactions, the discussion in the board, for and against? Dennis Barrie and his role at the gallery, his skills in curating exhibitions? His relationship with his wife, children? The sheriff? The role of the media and stirring controversy? The standards group? The ideological campaigns?

4. Robert Mapplethorpe as a controversial photographer, his sexuality, homosexuality, dying from AIDS? His photographs of sexual behaviour? Of children? His Catholic background, lapsed? His life, death? The content of his photos? The art qualities and formal nature of his art? The explanation of lines, light and shadow, focus? The history of art and the comparing of photos to Renaissance paintings and sculptures?

5. The device of inserting interviews with actual people: Jesse Helms, D’Amato?, Salman Rushdie, the boy photographed, Susan Sarandon...?

6. The curators’ meeting, Dennis and his stance, John Walsh as an expert? Setting the scene?

7. James Woods’ performance as Dennis, as a person, his skill in art, curating, his family, his decision, his own taste, his case with the board, the variety of reactions, the shock in the city, the sheriff’s role? Dennis being persuaded to sue the sheriff? The appointing of the judge, losing appeals? The children and their suffering at school, being called names, fighting? Dianne becoming more desperate? Their ordinary life, going to the formal dinner and being shunned, Dianne’s overt reaction?

8. The lawyers, issues of freedom, personal choice, the clashes, motivations of the lawyers?

9. The judge, his friendship with the sheriff, his visit to the exhibition, his decisions in court, overruling objections? His alleged attempt at humour? His accepting the verdict?

10. The sheriff, the television interviewer, his being careful, yet his being set up? His seeing the art, his reaction, his harsh attitudes towards the interviewer and banning her?

11. The group, the lobby, their tactics, demonstrations in the park, handing out information, Dennis Barrie trying to discuss with Monty Lobb? Monty Lobb’s final comment that even though the case was lost, it made the public more wary, the law more cautious – and therefore a victory?

12. Issues and definitions, art, obscenity, the conditions for obscenity, the variety of arguments? The exhibits? The issue of whether people liked them or not? That as a basis for banning? Individual freedoms? Families and protection?

13. The prosecutor, the photos as evidence, the witnesses, the police – and the scene of riot at the gallery?

14. The psychological expert, her discussion about human experience, versus the experience of art?

15. The anonymous visitor, the offer of money, his discussions with Dennis? Visiting the home, putting doubts in Dianne’s mind?

16. Dianne, love for her husband, growing more upset, trying to protect her boys, the fights, the decision to stand by Dennis? The later divorce?

17. The focus on the boys, their being called names because of their father, the fights in school, Dennis and his interventions, the other parents? The boys and their love for their father, even if he were to go to jail?

18. The jury discussions, the variety of points of view, the Christian woman, the moral aspects, freedom aspects? The nature of the jury discussions? Their being influenced by the cross-examining of Dennis?

19. The decision, the reactions of those involved, the thanks to the jury? Dennis and his press conference, acclaim for the jury?

20. The fact that the audience was able see a variety of photos, listening to the arguments, noting the subjects and their style, issues of art and forms? American freedoms? How universal the application of these discussions to other cultures?
 

POSTCARDS FROM AMERICA

US, 1994, 93 minutes, Colour.
James Lyons, Michael Tighe, Dimo Tighe, Michael Imperioli.
Directed by Steve Mc Lean.

Postcards from America is a fictionalised portrait of artist and writer David Wojnarowicz, who died from an AIDS illness in 1992. A painter, photographer, artist for installations and one-man performances, he wrote two semi-autobiographies, Close to the Knives and Memories That Smell Like Gasoline. He was hailed as a significant writer and artist. A homosexual, he offered a literature and art about homophobia and homosexuality in the United States. The film recreates part of his life in fantasy form, wandering through the desert landscape, a voice-over talking about his anguish, his home life in his apartment, living in some kind of squalor. He also relives his life, flashbacks of him as a boy and as a young man. The background of his family life is very sad, an abusive alcoholic father, no love from his mother. His dream was the perfect American dream. However, he moves to New York, lives as a hustler, has liaisons with a number of men. Finally he contracts AIDS and remembers his father's suicide. He returns to the desert.

The film is avant-garde in many of its aspects, especially the cinema techniques and the visualising of the memories of the protagonist. The film asks for audience sympathy for the central character and his predicament. It also raises issues about American society, its changes from the 60s to the 90s, especially the outing of the gay men and the AIDS epidemic which devastated their community.

1. The audience for the film? The homosexual audience and the sympathy for David, his life, predicaments, American society, homophobia? For non-homosexual audiences, understanding character, situations, the emotional intensity, the homophobia, the experience of AIDS?

2. The visual style of the film, the range of cinema techniques, the hand-held camera, the colour design, framing, editing and pace? The structure of the film, David in the desert, the flashbacks, as a young man, as a boy? His childhood? Young adulthood? Life in New York City? Liaisons? Illness, wandering the desert? The musical score?

3. The title, the visualising of sequences as moving postcards? The emphasis on American society and what David's life and experience say about American society?

4. The portrait of David: seeing him in the desert landscape, his voice-over, the intensity, his scream? The transition to his apartment, the squalor of his apartment, the kitchen, the litter around the house? His consciousness of his illness, his body, the conflict inside him? The flashbacks, his mother, the alcoholic father, the abuse? His playing, swimming, the imagining of growing up in a wonderful family? The transition from New Jersey and the suburbs to New York? His poverty, the hustler, wanting some kind of physical contact, the absence of family love and the compensation? The range of men: the lawyer, giving him the meal, the man offering him a lift and the sexual attack, the art collector and his antagonism towards him, the rich man and the attempt at mugging him? The thugs, driving him into the desert, the threat to kill him? His relationship, his partner, developing AIDS, his reaction, memory of his father's suicide? The final sequences in the desert? A portrait of a human being, of a man, of somebody who wanted to be creative but could not break out of the traps that society had set for him?

5. The childhood, the portrait of the father, alcohol, abuse, suicide? The mother? The impact of parents on children, especially David and his struggle to understand himself and his identity and sexuality?

6. The men who picked up the hustler, their relationships, their violence, sexual predators, disdain? The thugs?

7. David's partner, their life together, the contracting of AIDS, the consequences for him and for David?

8. A 1990s glimpse of a changing world, American society, issues of sexuality and identity, AIDS and illness, America and its tolerance and intolerance?

PAULIE

US, 1998, 87 minutes, Colour.
Tony Shalhoub, Gena Rowlands, Cheech Marin, Bruce Davison, Jay Mohr, Trini Alvarado, Buddy Hackett.
Directed by John Roberts.

Paulie is a pleasant film for the family, a talking bird is discovered by a Russian émigré who had been a professor of literature in Russia but now a cleaner in an American animal laboratory. The bird begins to speak. The janitor decides to listen to his story and in flashback a range of adventures is visualised. This includes being the pet of a little girl for whom Paulie longs after the family has moved. Buddy Hackett as a pawnbroker who has possession of the bird for a while, Gena Rowlands as a kindly widow who takes him in her trailer across America. Cheech Marin as a man in a carnival who has dancing birds, Jay Mohr as the would-be kidnapper of the bird who wants to get him to do jewel robberies for him and his girlfriend, Bruce Davison as the professor at the laboratory who turns against Paulie and keeps him imprisoned and, finally, Trini Alvarado as the grown-up little girl who is glad to have the bird back and also the possibility of falling in love with Misha.

While the beak of Paulie is programmed to make the bird look as if he is speaking, otherwise there are no special effects. It is a very straightforward story, strong on characterisation, humorous touches, emotional touches. The voice of Paulie is voiced by Jay Mohr.

1. An entertaining family film? Children's response to the talking bird and his adventures? Adults' response to the bird and to the various characters? A pleasing combination?

2. The range of American settings, the laboratory, homes, the trailer, Los Angeles? A piece of Americana? The musical score?

3. The what if… ? of a talking bird? The brain ability, the conversation, irony? The emotions of the lonely bird? The character of Paulie, the voice style by Jay Mohr? In the laboratory, imprisoned, starting to talk to Misha, refusing to talk to the professor? Tempted by the mango? Telling his story - and audience involvement with him as a character, the various adventures? In the home with Marie, her inability to speak, the growing friendship, the return of her father, the mother and the training? Paulie helping her to speak? The parents taking away the bird, moving house? In the pawnbroker's, the reaction to the pawnbroker and his selling Paulie? Benny and his wanting Paulie - and later getting him from the carnival, training him to fly into homes, take the jewellery from the homes - but Paulie trapped by the closed window? Ivy and her pleasant talking to him, taking him home, his explaining about Marie, the trailer trip, her eyesight and the crash, her having to say goodbye? His confidence in flying to Los Angeles? His meeting Lupe and falling in love with her? Her flirting? Ignacio and the dancing birds, his friendship with Ignacio, performance, being seen by Benny and taken? Flying down the chimney, the man taking him to the laboratory? The professor, his disbelief, the testing of Paulie and reading the cue cards, his intelligent response about the word "pi"? His being promised to go to Marie? The professor refusing, Paulie refusing to speak in public, the humiliation of the professor? The pursuit by the professor when Misha was trying to find Marie's address? Finally finding Marie, Paulie unable to see her as grown up, her singing the song, the happy reconciliation, his marriage advice to Misha?

4. The range of characters and the cast sketching in briefly rounded characters: the evil professor going back on his promises, Ivy as the lonely widow and her kindliness, Buddy Hackett as the pawnbroker, Trini Alvarado as the older Mary, Cheech Marin and his carnival?

5. A pleasant adventure story, comic touches, sentiment - and the fantasy if animals could speak?

PUMPKINHEAD

US, 1988, 90 minutes, Colour.
Lance Henriksen, Jeff East, Matthew Hurley, Kimberley Ross, Cynthia Bain.
Directed by Stan Winston.

Pumpkinhead is a short atmospheric horror thriller in the vein of Friday the 13th with its group of youngsters - but not in any way sexually explicit as those films were. It also has an atmosphere of the supernatural n the backwoods. Lance Henrickson has appeared in many similar films and is effective as the central character.

The film was directed by special horror effects whiz, Stan Winston.

1. Interesting horror? The backwoods? The supernatural?

2. Locations, far from the city, the town, the farms, the mountains? The prologue and the horror? The ordinariness of the characters, the homes? The old woman on the mountain? The cemetery plot? The dark, the atmospheric score?

3. The demon and special effects, the atmosphere? The name and the origin of the name?

4. The prologue and 1957, the family afraid, Ed seeing the demon, superstition?

5. Ed and his life, work, relationship with bi-s son Billy, domestic scenes, telling stories, pleasant, the shop? The Wallaces and the delivery? Billy wandering away with his dog, the accident of his death?

6. The presentation of the group of youngsters, their style, men and woman, vying with one another, the bikes, the accidental death and their concern?

7. Ed and his reaction, anger, going to the witch, calling up Pumpkinhead, becoming possessed by the demon, sharing in the killing, his reactions of horror, his decision to save the youngsters, his shooting of himself, the demon being buried - but with Billy's chain?

8. Joel and his bravado, on probation, drinking, the death, his running away? His death? Steve and his concern, staying guard - and yet his being killed by the demon? The first killed, Maggie and her prayers, her death?

1 Kim and Chris trying to rescue? Locked in by Joel? The pursuit by the demon? The encounter with the Wallaces, the boy helping them? Why did some die, some live?

0. The Wallaces and the backwoods, superstitions, their life and work, the boy and his helping Ed, understanding what he had done, wondering whether the stories were true, the confrontation with the demon?

10. The old woman and her damnation, calling up the demon, burying him?

11. A blend of murder and horror and folk horror?

PURSUED

US, 1947, 101 minutes, Black and white.
Robert Mitchum, Teresa Wright, Judith Anderson, Dean Jagger, Alan Hale, Harry Carey Jr.
Directed by Raoul Walsh.

Pursued is a powerful western written by Niven Busch. It is directed by veteran Raoul Walsh. It is considered by many to the one of the first of the psychological westerns.

The film boasts an excellent cast with Robert Mitchum at his best. Teresa Wright is a persuasive heroine and Judith Anderson and Dean Jagger are the older generation. The film is fairly grim, focuses on themes of vengeance. It also has a score by Max Steiner.

1. An interesting western? Impact as western? Psychological western of the '40s?

2. The quality of the black and white photography? Light and shadow? Locations? The atmosphere of the West? The Max Steiner score?

3. The structure of the film? The importance of the flashbacks? The situation? Jeb and Thor? Memories, puzzle? Life story? The audience knowing Grant? The satisfactory resolution?

4. The focus on Jeb and the version of his life, puzzle? Hatred? Memories? Trauma?

The importance of psychological trauma in the western? Imagining Grant? Dreams? Superimpositions? The war etc? His recalling and resolving the trauma?

6. The focus on Mrs Callum: floor, help, home? The children growing? The members of the family? Colt shot? Grant? Not telling? The war and return? Adam, death, inquest, hatred? The dance and Thor? Prentice? Confronting Thor? Leaving? The truth and the shooting?

7. Jeb: playing, colt and fight? His own name? Not loving? Growing? The three? Thor, the town and Grant? The coin? War and the dream? Hero, visiting home? Relationship with Ma? The clash with Adam, the coin? Jake and the money? Shooting Adam? Hatred? Work and Jake? The dance? Shooting? Courting and marrying? The wedding? Home and the guns, the attack, the finale?

8. Thor, pleasant, playing, the coin, the war? Death and hatred? The dance, courting? With Ma? Hatred and the wedding, the gun and the ending?

9. Grant, the shooting of the colt, Ma, recruiting? Adam and poison? Prentice, vendetta? The shoot-out and death?

10. Adam, the brothers, the fight. war, money, Grant, death?

11. Prentice: shop, devotion, dances? Grant and the shooting?

12. Jake and the gambling?

13. The Coroner and the moral stances and perspective?

14. An American western town, family, vendetta and the law? War and Americana? Human nature and psychological themes?

PRIDE OF THE MARINES

US, 1945, 120 minutes, Black and White.
John Garfield, Eleanor Parker, Dane Clark, John Ridgely, Rosemary de Camp, Ann Doran.
Directed by Delmer Daves.

Pride of the Marines was a Warner Bros contribution to the effort for propaganda in World War Two. it is a very well-made film, very patriotically written by Albert Maltz (who received an Oscar nomination, later to be brought before the inquiry into un-American activities).

John Garfield has a strong role, capitalising on his tough image but giving him some kind of status as an American war hero. Eleanor Parker, at the beginning of her career, shows her strength and sympathetic presence. There is a very good supporting cast including Dane Clark.

The film shows the '30s, life in Philadelphia, the impact of the bombing of Pearl Harbor, men enlisting for the Marines, strong sequences of battle on Guadalcanal, war injuries and rehabilitation and the difficulties of the return home. There are strong hopeful passages of dialogue about the future, employment - themes which were soon to be the topics of such films as Till the End of Time, The Story of G.I. Joe, The Best Years of Our Lives.

The film was directed by Delmer Daves (Destination Tokyo) who was to move into directing action dramas like the Bogart-Bacall? Dark Passage, many westerns during the '50s including the influential Broken Arrow and 3.10 to Yuma and then a series of romances in the '60s starting with A Summer Place and Susan Slade.

1. The film as a piece of Americana? War propaganda? Romantic: American story? its impact in its time? Critical acclaim? Now?

2. Warner Bros. contribution to the war effort: the portrait of people living in Philadelphia, their hopes in the '30s, the impact of the war, their patriotic service, their injuries and heroism, decorations, hopes for the future? The cinema treatment: black and white photography, domestic America, the war sequences; Musical score?

3. The title and the focus on Al Schmid - a Marine hero, the need for American war heroes, the tribute to them? The tribute to the Marines? The tone of the screenplay with its strong patriotism, hostility to the Japanese, a jingoistic and war-mongering tone entering into the heroism?

4. Al Schmid and the opening of the film, the description of the ordinary life of the 1930s in an ordinary American city? His living with Ella Mae and Jim, the friendship with Loretta, his work? Ella Mae wanting to get him married? The inviting of Ruth to dinner? Their initial clash, the humiliation at the bowling alley? The apology? Their falling in love? Sharing interests, going hunting? The impact of Pearl Harbor, Al's joining up? Wanting to break with Ruth? Knowing that he was in love with her, the gift of the ring? Action on Guadalcanal - the small piece of action but the intensity of the filming, the trench, the bombardment, the vigil, Al's shooting, comradeship, his holding the fort, the hand grenade and his going blind, Leigh thinking that he was going to shoot himself, but his shooting despite his blindness? His hopes for recovery, his growing bitterness and non-acceptance of his blindness? Virginia and the writing of the letters, her therapy?

5. The operation and its failure - the glimmer of light only? Wanting to break with Ruth? His surliness and being alone for eating etc.? The common room recreation and the talk about American futures, jobs, politics? His being ordered back home? The trip with Leigh, Leigh's trying to persuade him to give Ruth a chance to decide? Ruth's meeting him at the station, taking him hone, his mellowing, his bitterness? Helplessness? His greater acceptance? The decoration? A future despite his blindness? The tribute to the American hero? Timely in 1945?

6. Ruth as the ordinary girl, friendship with Ella Mae, the visit and the clashes with Al, telling him off at the bowling alley, the apologies, their sharing interests, outings, the hunting, the engagement ring? Correspondence during the war? The letters after his injury? His attempt to break off? Her sadness at his letter, the phone call from Virginia, her continued support, decision to come to the train, taking him home, the Christmas celebrations, her not being pitying but loving, the importance of talking out the difficulties, the reconciliation?

6. The portrait of the Marines, comradeship, the war effort, the impact of the war sequences, the vigil in the night---the Japanese attack, the shooting, the grenade? The various injuries, the rehabilitation, the mutual companionship, apprehensions about the future, clashes? Leigh and his continued help? The train ride home?

7. Friends at home - Ella Mae and Jim, the American family, Loretta and the comic sequences with the shaving, the description of the Christmas tree, her support of Al? The return home and the family supporting Al?

8. The theme of the war effort, the significance of the war, its changing American lives, American families, the American future? Audiences judging this in retrospect?

9. The importance of the theme of blindness - the impact on Al, the cause of the blindness, his heroism, his growing bitterness, unwillingness to face the reality? The therapy? Self-acceptance? Not having to rely on others, the questions of pride and self-pity? A contribution to audience awareness of the plight of blindness?

10. A satisfying war film? War themes? Human relationship themes? The heroism of the ordinary man?

THE PERILS OF PAULINE

US, 1947, 96 minutes Colour.
Betty Hutton, John Lund, Billy de Wolfe, William Demarest, Constance Collier, Frank Faylen.
Directed by George Marshall.

The Perils of Pauline is a Paramount feature of the '40s which takes its audience back to the days of the serials pre-World War One and the exploits of Pearl White. The screenplay is partly biographical, partly showbiz biography for the benefit of a '40s audience. However, the return to the theatre of the time, the transition to cinema and the film studios, the popularity of the serials are all highly enjoyable.

The role of Pearl White is perfect for Betty Hutton with her lively and exuberant clowning, sometimes a bit exhausting for the audience. John Lund is sufficiently serious and stolid as the stage actor who takes on Pearl and is then eclipsed by her success. Constance Collier enjoys her role as Julia Gibbs, the stage actress who turns to the screen (even with a pie in the face). She gives the full British melodramatic articulated style. Billy de Wolfe has one of his best roles and makes an excellent 'hiss the villain' character of the serials. Finally, William Demarest is exuberant as Mc Guire, the silent screen director. Some stars from the past as Chester Conklin and Snub Pollard also appear.

The film has a salute to Charles Goddard, who wrote the original Pearl White series. There is a pleasing score, especially a romantic theme by Frank Loesser. An enjoyable '40s romantic comedy with memories of the past.

1. The memories of the silent screen? Biography? Showbiz? Comedy? musical? The colour photography, the re-creation of period, theatres and film studios? The Casino de Paris? The echoes of World War One? The comic set-ups? The re-creation of the serial crises? The collage (and the slides telling people to be quiet, take babies out, remove hats etc.)?

2. The musical score, the romantic theme? The insertion of the songs: the Sewing Machine song, Pearl's audition with 'Rumble Rumble Rumble', Twinkle? The theme 'I Wish I Didn't Love You So? The Perils of Pauline song? And 'Poppa Don't Preach'

3. The title and the memory of the old film days: the early years of cinema, the end of theatre and burlesque? Audience participation, even fainting? The re-creation of the studios - the pie in the face sequence, McGuire's direction, Pearl taking Julia through the various sets, even with the lion? The idea for the serials? The derring-do - the locations with the horse and the train? The hot air balloon and the failure of the stunt? World War One and its being used? The beginning of the star system and the publicity stunts for the stars? The director arranging the marriage?

4. Betty Hutton's exuberance and clowning? Her portrait of Pearl White: in the sweat shop, the sewing, love for music, singing the song? Sticking up for people? The chance encounter with Julia? Coming to the theatre, the encounter with Michael Farrington and his disdain? Her jobs and the sewing? Her raucous line as the English maid and causing laughter? Her being the black servant? The South Sea Islander and the sneeze? Her leaving Farrington and telling him the truth? The singing audition? Julia's going to the films, her antagonism towards Mc Guire, rescuing Julia, giving the idea for the serials? Her success and enjoying of the stunts? The chance encounter with Timmy and his working with her? Tracking down Farrington at the fair? Offering, him the job? His wooden -performance, his exuberance? The hot air balloon stunt, the proposal? The planned wedding and his opting out? Going to war and his embarrassment? His success on the on stage and Pearl seeing him in the play? His tracking down Pearl, going to McGuire? Going to Paris, the sequence in the cab? In the theatre as she watched the serial? Her future and his?

5. Julia and the English dowager style? In the company, supporting Pearl, giving her hope? Performance? Telling Farrington off? The audition, going to the films and her reluctance, the pie in the face, bargaining, with McGuire? Acting as Pearl's adviser and manager? Supporting her? The finale and helping Michael?

6. Timmy and his work on the stage, support of Pearl? Leaving Farringtor? His getting a job, tracking Farrington down? His role as the villain in the films? Going to war? The return? Supporting Pearl? The finale and helping her in her illness?

7. Mc Guire and his rough style as a director, exploiting situations, self-centred, coward? Browbeaten by Julia? Supporting Pearl? Yelling at Michael? organising the wedding? The skit on the director? The silent stars?

8. Pearl and her success, the transition from the serials to the Casino de Paris? The finale and her fall? The doctor's decisions? Her wanting to meet Mike? Her performance in trying to send him away? Going to the cinema? The reconciliation?

9. Popular Hollywood ingredients, nicely done?

PETER PAN

US, 2003, 118 minutes, Colour.
Jason Isaacs, Jeremy Sumpter, Rachel Wood- Dunham, Olivia Williams, Lynn Redgrave, Richard Briers.
Directed by P.J. Hogan

A lavish production, filmed at Australia's Gold Coast studios. Co-writer and director is P.J.Hogan who made his mark with Muriel's Wedding and My Best Friend's Wedding. He obviously has great devotion to playwright J.M.Barrie and his immortal creation, Peter Pan.

Peter Pan has had many incarnations on stage, screen and television. It has been pointed out that he is usually played by a girl or a woman. While Disney's animated 1953 Peter Pan and the recent Return to Neverland have Peter as a boy, this film has a boy playing our hero. (Though, I should add, that I sorely missed 'Never Smile at a Crocodile' this time round.) Some critics have got themselves into a lather in their reviews, taking the opportunity to execrate Steven Spielberg for Hook - Spielberg was trying to interpret his own life and career through Peter Pan as a middle aged executive who had grown up and forgotten Neverland and needed to go back there, something that this Peter Pan gives as a reason for not growing up.)

Hogan recreates a turn of the century London that we are familiar with from stories like Mary Poppins. Mr Darling could be straight out of Mary Poppins with his subservient business nose to the grindstone, not understanding his children too well. In the meantime, they are being bossed about by their socially climbing aunt, Lynn Redgrave. Their mother, Olivia Williams, loves them, even if they cavort around the house playing pirates and they do have their dog, Nana, as their nurse. This is the situation when Peter Pan comes knocking on their window to retrieve his shadow which was cut off in their room.

Off they go to Neverland to find Lost Boys, fight pirates and confront the wicked Captain Hook. There is plenty of adventure, swordfights, especially with Peter and Wendy showing their derring-do. The Darling boys forget home. Wendy becomes an honorary pirate. Where will it end, especially as Mrs Darling sits vigil at their window night
after night.

The question is: do they want to grow up? Is childhood in Neverland the goal in life? It is best to be the eternal boy? And, the invitation to the audience to join in and bring Tinkerbell back to life: 'We believe in fairies'?

Jeremy Sumpter, a touch too American to be the perfect Peter Pan, combines natural charm with a smirk that makes you wonder who innocent he is and how manipulating he is. Rachel Dunham Wood is a lovely and vigorous Wendy. Ludovine Sagnier is a cheeky (sometimes irritating) Tinkerbell. As in the theatre productions, Mr Darling and Captain Hook are played by the same actor. Jason Isaacs seems very meek as the children's father but is more than life-size as Hook. He showed he could do dastard in The Patriot and the second Harry Potter film.

Perhaps the pudding has too many rich ingredients to make it the satisfying delight that would be truly magical.

1. The impact of the film, for adults, children? The popularity of Peter Pan - in the original novel, in the theatre, the Disney version, television versions, Hook?

2. J.D. Barrie and his feel for children, providing them with fantasies and dreams? Peter, Wendy and the family? The importance of never growing up, living in Neverland, growing up meaning the fading of Neverland memories?

3. The tradition of the presentation of Peter Pan, generally a girl or a woman? The same actor being Father and Captain Hook? The Edwardian setting, the Edwardian family, the nature of English family at the time, business world, the dog as Nana, love, sadness and happiness? The tradition of Neverland, the Lost Boys, Hook and the pirates, the Indians?

4. The adaptation for this film, the introduction of the aunt, the fidelity to the main features and details?

5. London, the homes, the décor, costumes, formal and elegant? In the nursery, the children, their world, their lifestyle?

6. The presentation of Neverland, a fantasy world, echoes of contemporary theme parks for Neverland, the mountains, the sea, the cliffs, the ship, the caves, the jungle and the Lost Boys, the village of the Indians? The crocodile? The musical score?

7. The title with its focus on Peter - or Wendy as the centre of the story and the themes?

8. The Darling family, ordinary, the children playing, loving action? Nana as beloved? The place of the aunt, her interfering? Father, his work, subservient to the business people? His future? The children's future in this world?

9. Peter Pan, age, appearance, his innocence, the smirk, shrewd? Listening to Wendy's stories, introducing himself to her? Hoping that his own stories would be in her repertoire for the future? The shutting of the window, the detachment of his shadow, the return, his search - and the special effects of the shadow on the wall? Tinkerbell, her presence, size, appearance, mischievous? Her love for Peter, becoming jealous, her death? Reviving? - everybody chanting, "We believe in fairies"?

10. The challenge to Wendy, the invitation to go, gathering up the boys, their wanting to fly, flying through the air to Neverland? The introduction to the pirates, Captain Hook (and his physical resemblance to their father)? The Lost Boys, their age, characters, having no parents, their plight? Indians - from the world of the imagination rather than reality, the Indian adults, the girl, the children playing Indians, their help? Adventures? Feeling more at home in Neverland? The swashbuckling adventures with the pirates?

11. The relationship between Peter and Captain Hook, Peter, his abilities, agility, flying, the sword, fighting Hook? Hook, the pirate chief, his appearance, black curls, severe look, his manner of speaking, demonic, the hook? The irony of his hand being taken by the crocodile - and the swallowing of his watch? The crocodile and its appearance, ticking? The fights, the verbal exchanges?

12. Smee, observant, servant to Hook, wry observations? Yet as cruel as the other pirates? The range of pirates, their appearance, manner of speaking, threats, facial appearances, teeth etc? Their fighting, the swords, the capturing of the children, Wendy, having to walk the plank?

13. Peter and his character, the young boy, no emotions, refusing feelings? Gradual change, attachment to Wendy yet never admitting it? The clashes with Wendy, her going off, her going to Hook and being welcomed as a pirate? Peter and the boys, the leadership, the rescue of Wendy? The final confrontation with Hook, his being swallowed by the crocodile?

14. Wendy, mothering the boys, her brothers forgetting their own parents? Her being pleased to be a pirate with Hook, his turning against her, Smee? The confrontation and the victory?

15. The build-up to the finale, fighting, flying, the question about returning, Wendy making the decision, going back home, the Lost Boys going to London, Peter deciding not to go back to the real world?

16. Mr and Mrs Darling, at home, Mr Darling at work, the authorities, his botching things, his shyness, the advice to make conversation, awkward? At the social function, its style, Nana and the mayhem? The aunt, her place in the household, her interfering, sizing up Wendy, wanting to plan the future? Mrs Darling, her waiting, her dreams of her children, the window always open? Mother and father longing to see their children again, fearing they never would?

17. The return, the happiness in the household, the aunt and her getting sons with the Lost Boys, Peter watching all of this, listening and going?

18. The perennial popularity of Peter Pan, the nature of the appeal - what if one never had to grow up? What if one could remain the eternal boy? The consequences?

PRESQUE RIEN

France, 2000, 95 minutes, Colour.
Directed by Sebastien Lihfschitz.

Presque Rien was written by Sebastian Lihfschitz, the director. He went on to make The Crossing, an interesting portrait of a young man from Paris going to America to find his American father. The Crossing also had themes of sexual orientation, especially homosexual orientation.

Presque Rien is much more explicit in its presentation of a young man and his growing sexual awareness. It focuses on Mathieu on holidays on the coast of Brittany, his experience of his ailing mother, his willingness and unwillingness to care for her along with his sister and the woman who actually does all the work for his mother. He meets Cedric, a young man from the town, they begin a friendship which moves into an intense sexual relationship and Mathieu's experience of love. The film is open and frank in its presentation of this relationship as well as presenting criticisms from his sister and Annick, the woman looking after their mother. His mother and Cedric's father are far more open and sympathetic.

The film is very French in its presentation of the relationships and intensity, the experience of joy but with an underlying theme of potential gloom and despair which culminates in Mathieu's attempted suicide. The film is open-ended as to what will happen with himself, his studies, his relationship with his family, his past relations with Cedric, further relationships and his sense of identity, love and fulfilment.

1. Impact of the film, its appeal, to a wide audience, to a gay audience?

2. The settings, the coastal town, the holiday atmosphere? The contrast with the train ride, the institution? Musical score?

3. The structure of the film: the present and Mathieu's trip, the return, his memories of the institution, the psychiatrist, having to cope? The past, the visit to the family, the summer holiday, the encounter with Cedric, the lyricism, the aftermath? The future and his relationship with Cedric, ending it, the visit to Pierre and the discussion?

4. The portrait of Mathieu, the present and his suicide attempt, his time in the institution, not wanting to eat, reluctance to talk to the psychiatrist, his talking with her, the memories, the perspective on Cedric, the summer holiday? His talking with Pierre? The bonds between the two? His future in terms of himself, relationships, studies? The past and the holiday, his relationship with his mother, her constant illness, his absent father and the communication with him? His sister, the rivalry, love, friendship, clashes? With Annick and her presence in the household, her criticisms of him, her looking after his mother? His age, self-absorption? His going to the beach, languid, his room, not wanting to help with his mother? The discussions with her? His previous heterosexual experience? On the beach, noticing Cedric, the discussions with him, the bond between the two, the shared experiences, the sexual experiences? The reaction of the family? His being out? His mother and the discussion about his orientation? With his sister and her criticisms, with Annick and her observations of what hat happened? The freedom with Cedric? The incident with the cave, the accident, the hospital, the discussion with Cedric's father? The future, Cedric and his going for training, Mathieu and his changing venue for his studies? The arguments about his decision? The elliptical nature of the film in not giving particular reasons for his suicide attempt?

5. Cedric, his age, place in the town, his work in the café, his experience, acting for a while as a prostitute? On the beach, his seeing Mathieu, approaching him, the friendship, the activities together, the enjoyment of the holiday? The sexual encounter? The accident and the aftermath? The discussions about his father, work, studies?

6. The portrait of the family, the mother and her illness, her not wanting to be ill, her bond with her son? Jane, her age, experience, jealousies, suspicions? Her self-centredness? Annick, her role in the household, selfless, cooking the meals, caring for the mother, criticising Jane and Mathieu? The absent father?

7. The issue of relationships, love, sexual orientation, discovery of sexual orientation? A sympathetic portrait of Mathieu and his age, experiences, building towards a future despite the suicide attempt?

PROTECTING OUR KIDS: THE JULIE POSEY STORY

US, 2003, 95 minutes, Colour.
Annie Potts, Michael O'Keefe.
Directed by Joanna Kearns.

Protecting Our Kids is a topical telemovie, focusing on thirteen- and fourteen-year-old girls and their involvement in on-line chat rooms. What begins as curiosity, becomes involvement, an expression of need which is preyed upon by paedophiles who use the chat rooms - especially those with provocative titles - for sexual relationships.

The film focuses on a mother who had been molested when she was a girl and feels very strongly when she discovers her daughter involved in a chat room conversation during the night and going to meet the man she was corresponding with. Her husband had been urging his wife to get a job. She goes to the police and volunteers to do unpaid work, corresponding with people in chat rooms, careful not to raise the sexual issues or to create entrapment. The film shows the effect on the mother, the effect on the husband and his wariness of what was happening, the effect on the daughter and the relationships within the family. It also shows the luring of several paedophiles and their being arrested, going to trial.

Annie Potts is strong and sometimes abrasive as the mother. Michael O'Keefe seems over-stern as the police connection.

1. The title, a film of the early 21st century, social issues of pornography, the internet, paedophiles?

2. The Colorado setting, middle America, the suburbs, schools? Ordinary workers in shops? The police? The backgrounds of the paedophiles? A credible portrait of a social problem?

3. The focus on the issues, the role of the law, the police, entrapment, the paedophiles making the moves? The role of the central character and her work?

4. American families, care of children, their work at school, friendships, gossip about the internet, curiosity about sexuality? The role of the chat rooms? The young girls going into the chat rooms out of curiosity - and following through?

5. Kristen Posey and her relationship with her parents, her friend, going into the chat room, feeling appreciated when the visitor asked for her short stories? Her inability to show her stories to her mother? The discovery of her being on-line? Her lies to her parents? Going out to meet the man? Her mother following, confronting the man, taking Kristen home? Her stern reaction? The response of her father? Her school friend - and saying that while she was on-line, she never followed through?

6. The impact on Kristen, her work, her relationship with her mother? Gradually helping her mother in her work on the internet? Her mother's wanting to trap the man who contacted her?

7. Julie Posey, her husband suggesting she get a job? Her reaction to the internet? Going to the police, the discussions with Michael and Cassandra? Their wariness? Their agreeing to her work, her going on-line, the intensity, the time taken, her husband's reaction? The different equipment and his supplying them? Her pretending to be a young girl, getting Kristen's help? Going on-line, the various chat people, the build-up to the first entrapment, the man's background, the brutality of the chat room, the overtones of incest? Wanting the mother to look on at the sexual encounter? Going to the town, the hotel, the room, the man coming with flowers, his coming in, his intended purpose? His being trapped, the taped evidence against him? The man in Texas, the contact, the decision to meet, his coming, Julie and her being told not to go near the entrapment, Cassandra posing as the young girl, Julie seeing him, fearing he had a gun, going to the diner? The arrest, the court case, the criticisms of Julie and her methods? The audience knowing about her being molested as a child because of the flashbacks? This being revealed in the court, her husband's support, the scene where she told Kristen about what had happened to her? The reactions of Michael and Cassandra?

8. Michael, very stern, reluctant? Cassandra and her listening, her support? Their marriage? The court case? Their finally supporting her?

9. The initial paedophile coming into the chat room with Julie, trying to keep him on-line? The revelation of who he was, his prominent background? The meeting, her being wired, the accident and the disconnection? The threats, the man meeting her? Her appealing to the police? Their finally getting there?

10. The character of Julie, strong, under a strain from her past, care about her daughter, love for her husband? Stern manner, mellowing? Her husband, his support, coming to value his wife's work?

11. A story of ordinary people, a prominent social problem, a way of contributing to unmasking paedophiles - and Julie Posey exposing over sixty?