LADY JANE

UK, 1986, 142 minutes, Colour.
Helena Bonham Carter, Cary Elwes, John Wood, Michael Hordern, Jill Bennett, Jane Laportaire, Sara Kestelmann, Patrick Stewart, Joss Ackland.
Directed by Trevor Nunn.

Lady Jane is Jane Grey who was Queen of England for nine days at the death of Henry VII1's son, Edward VI, before Queen Mary ruled England. This sumptuously mounted film is directed by stage director Trevor Nunn (Cats, Les Miserables). It boasts a strong British cast and two attractively romantic juvenile leads, Helena Bonham- Carter (A Room With A View) and Carey Elwes (Oxford Blues, Another Country) as Guilford, Jane's husband, used by his ambitious father, the Duke of Northumberland (John Wood).

History enthusiasts will enjoy the opportunity to think about a lesser known period of English monarchy. However, all will note the 'modern' tone of the dialogue, especially as the young Queen and Guilford attempt some utopian social reform with zest and naivety.

Leisurely paced, elegantly acted, attractive - an enjoyable historical pageant.

1. The film as history? Pageant? Romance? Social message?

2. The re-creation of the 16th century, English exteriors, interiors? The countryside, castles? Sets and decor, costumes? The musical score?

3. Audience knowledge of the period? Of English history and the Tudors?

4. The Tudor dynasty and the background, Henry VII, Henry VIII? The birth of Edward VI? The Protestant succession? The contrast with Mary and Jane? The role of the Dudleys and their ambition?

5. The background of the Reformation, the establishment of the Church of England, the break with Rome, the attack on popery, politics and religion combined, theological background and Jane's explanation of the Eucharist and her beliefs, martyrs of the new faith?

6. The introduction to the Greys, their lineage? The symbolic opening of the hunt and the trapped deer and the focus on Jane? Her being studious, not at the hunt, her studying Plato? The flight of the soul, freedom and bliss? Sequences of birds soaring? The chaplain and the evocation of these symbols at Jane's death?

7. Jane and her youthfulness, her position, her parents and their ambitions, Edward VI as a companion, his company and illness, her studies and her Greek, Dr. Feckenham and his visit, the discussion about Plato, about religion? The menace of the Earl of Northumberland? Edward's illness? The proposition of her marriage, her resistance against it after the announcement, the severe beatings, her independent attitude? Edward persuading her to marry? Her being trapped in her future?

8. The contrast with Guilford, his dissolute life, cards, drink, the prostitutes, the black sheep of the family, raucous life and friends? Receiving the message? His unwillingness? The first encounter and his clash with Jane? The wedding, the pomp and ceremony? The feast and his drunkenness? Their being sent to the monastery?

9. The marriage and the effect on Jane and Guilford? The first night and his drinking? The journey, the encounter with the peasants and their brand marks, the situation, the monastery? The clash, their gradually sharing ideas, falling in love, the innocence of Jane and her purity, the sensual and sexual encounter, their reform plans, the pledge and the breaking of the glasses? Youthful enthusiasm?

10. The news of Jane's becoming Queen, her fears, her commands, Guilford's influence, the nine days, the reforms, their goodwill, setting the prisoners free, the minting of the money and a shilling worth a shilling? The possibilities? The war and the sending of Northumberland to fight?

11. The failure of the battles, the desertions, the Council and their initial support of Jane, their meetings and the desertion? Her going to prison, suffering? Her relationship with Mary, the previous visit, the clash about doctrine, the warning to be discreet? The encounter with Mary and her role in prison, the trial? Her father and his rebellion to save his daughter, the irony of his condemning his daughter, the final night in the cell with Guilford, her refusal to convert to Rome, the description of Guilford's death, her own execution?

12. A girl, of principle, religion and reform, her comments about the Eucharist, social awareness, falling in love, being used for political purposes, a martyr? The pathos of the execution scenes, her short stature and the block?

13. Guilford and the change, his heart touched, love, reform, prison, not helping her to give up her faith, his death?

14. The portrait of John Dudley, his plans, using Jane, using Edward, keeping him alive and suffering, the diplomacy with Prances, his sons, control, the King and the arsenic, his satisfaction with the marriage, allowing Edward to die, his hold over the Council, his being sent by Jane and Guilford to the army, his defeat, his pretending to be converted, pragmatic approach? His failure with Guilford?

15. The Greys, the hunt, their decisions, the diplomacy about power, the father and his beating Jane, loyalty, her father repenting of his actions, his revolt against Mary, his death? Prances in the final sequence at court?

16. Edward VI, his rule, illness, his companionship with Jane, Northumberland and the decision-makers, being persuaded to urge Jane to marry, the suffering, his death?

17. The court, the attendants, Mrs. Ellen and her hold over Jane? Guilford's friends and advisers?

18. The Council, the lords, the bishops, their manoeuvres, fickle loyalties?

19. Princess Mary, her Catholic background, court, her talking theology with Jane, warning her? Her exile, return, the pomp, the freeing of the bishops, the decision about Jane's reprieve, the pressure of the Spanish ambassador, the portraits of Philip of Spain and her planned marriage, her decision about the deaths of Jane and Guilford?

20. The portrait of England, the Tudor period, Spain? The Reformation, Catholics, Anglicans? The desecration of the monasteries? The nobles and their taking over the wealth of the church? The poor, the possibilities of social reform? The modern overtones of the screenplay?

LADYHAWKE

US, 1985, 121 minutes, Colour.
Matthew Broderick, Michelle Pfeiffer, Rutger Hauer, Leo Mc Kern, John Wood, Alfred Molina.
Directed by Richard Donner.

Ladyhawke is a beautiful mediaeval legend. Photographed exquisitely on Italian locations, it re-creates a spectacular mediaeval world. The mountains, the mediaeval towns and cities, the great cathedrals are given great prominence. The photography is by veteran Italian photographer, Vittorio Storaro.

The screenplay was written by Ed Khmara, author of Enemy Mine. Rutger Hauer, usually a grim villain, is sombre as the hero. Michelle Pfeiffer is attractive as the heroine.. The show is stolen by Matthew Broderick (Max Dugan Returns, War Games) as the young minstrel thief, Philippe. Leo Mc Kern rumbles a lot as Father Imperius and John Wood is excellent as the villainous Bishop.

The film has the elements of the sword and sorcery features so popular in the early '80s but transcends them with its visual presentation of a mediaeval legend. Direction is by Richard Donner (The Omen, Superman the Movie).

1. An entertaining mediaeval legend? The delight in the plot, the action, the visual beauty, the imagination?

2. The location photography, the beauty of Italy, the landscapes, the towns, castles, the cathedral? The re-creation of the Middle Ages? Battles? Magic? The importance of beauty of day and the darkness of night? Reality and fantasy?

3. The pageantry of the film, the visual equivalent of the film, the visual equivalent of a poetic legend? The mediaeval style score?

4. Philippe as thief and troubadour? His nickname 'The Mouse'? Matthew Broderick and his style (20th century American)? Audience liking for him, sympathy? His imprisonment, his escape, his skills in getting out of dangerous situations? The drama and the humour of his pursuit? The town, the dangers, the help from the people, his survival? The rescue by the Black Knight? His becoming his servant and squire? His fascination with the knight and his hawk? The puzzle of the knight's disappearance? The appearance of the beautiful woman? The appearance of the wolf? The battles, the wounding of the hawk? The visit to Father Imperius? The attack on Aquila? His entering the jail by the way that he escaped? The opening of the gates? The final battles? His going off with Father Imperius? An engaging performance? The audience sharing his adventures and perspective?

5. The events in Aquila: the Bishop and his tyrannical rule? The story of the curse on Isabeau, on Etienne of Navarre? The help of Father Imperius? His leaving Aquila? The Bishop as a hypocritical symbol of evil? The pomp and ceremony of his being Bishop? The final confrontation in the cathedral? the destruction of evil?

6. The eclipse, the lifting of the curse?

7. The hawk and the wolf? Symbols of the curse? The anguish for Isabeau and Navarre? The experiences of night and day? Their secrecy? Philippe and his fascination, fear of the wolf, fascination with the hawk? Discovery of the truth?

8. Navarre as hero, the knightly Captain of the Guard, the mediaeval chivalry, his quest, being accompanied by the hawk? His melancholy and devotion to the hawk? His appearance as the wolf? By Isabeau's side? His encounter with Philippe, saving him, his squire? The visit to Father Imperius? The urgency of healing Isabeau? The battles, the siege of Aquila? The eclipse? The presence of the two at the one moment and the lifting of the curse? The appropriate happy ending?

9. Isabeau and the infatuation of the Bishop, his cruelty and curse? Her becoming the Ladyhawke? Her appearances as Isabeau? Accompanying the wolf? The friendship with Philippe and his treating her as a Madonna? The battles and her being wounded? Imperius and his healing? The lifting of the curse and the happy ending?

10. Imperius and his background, alone, crotchety, nursing Isabeau back to health? His reformation, return? The happy ending and Philippe accompanying him?

11. The presentation of the armies, the dangers, the attacks, the battles, weaponry? Marquet and the hunt, the final duel?

12. The popularity of mediaeval legend and beauty? Exercises in fantasy?

LADY FROM LOUISIANA

US, 1941, 84 minutes, Black and white.
John Wayne, Ona Munson, Ray Middleton, Henry Stephenson, Helen Westley, Dorothy Dandridge.
Directed by Bernard Vorhaus.

Lady Prom Louisiana is a John Wayne costume actioner from the early '40s, the period after Stagecoach when Wayne was beginning his stride to be a major star. It is one of the many vehicles he made at Republic. The film is enjoyable, was written by Vera Caspary (author of Laura) and has a good sense of period. Of interest, Dorothy Dandridge appears in a small supporting role as an entertainer.

1. Enjoyable John Wayne action feature? A John Wayne vehicle?

2. Sense of period, costumes and decor? New Orleans? Musical score? Louisiana and the riverboats,

3. The title and the focus on Julie Mirbeau? Her place in society? Her father, General Mirbeau? The background of the lotteries and the gambling in New Orleans? Charity? The riverboat and her encounter with John Reynolds? Attraction? Gallantry? The discovery that he was the attorney against the lotteries? Her taking a stand against him? Her attraction towards Blackie Williams? The attempts that Julie made to win John over to her point of view? The Mardi Gras? The murder of the winner? Julie's determination not to believe John? The death of her father? Her blaming John? The court cases and her reaction against him? The trial, the storm and the flood? Blackie abandoning Julie? John rescuing her? Her understanding the truth and the happy ending?

4. John Wayne's upright style as John Reynolds? Gallantry on the riverboat? With Louisiana society? His being brought in by the anti-lottery forces? His stances for them? The interviews with General Mirbeau? Blackie as friendly, then as hostile? Julie's attempts to change his mind? His standing his ground? The death of the owner, John's investigations? The death of General Mirbeau? Suspicion? His getting hold of the registers? The trial? The flood and his rescuing Julie? An upright American 19th century hero?

5. General Mirbeau and his place in Louisiana society? Snobbery? His belief that the lottery money went to charities? His being hoodwinked by Blackie? His love for his daughter, the antagonism towards Reynolds? The discovery of the truth, his dismissal of Blackie? His death?

6. Blackie as the suave criminal? Paying court to Julie? His henchmen? The death of the lottery-winner? His place with General, Mirbeau? The falling out, the murder? His cowardice during the flood? His death?

7. The anti-lottery forces? The old lady and her suspicion? Employing Reynolds? The stances taken, their justification?

8. The exploitation of the lottery by the gangsters?

9. The picture of life in New Orleans? saloons? The lottery? violence? the high society style? The Law and order?

10. The trial, the interruption by the storm, the flood? The final heroics?

11. Popular ingredients of a costume actioner?

LA BAMBA

US, 1987, 117 minutes, Colour.
Lou Diamond Philips, Esai Morales, Rosana de Soto, Elizabeth Pena, Danielle von Zernick, Joe Pantoliano.
Directed by Luis Valdez.

La Bamba is a surprisingly interesting and entertaining film. While it re-creates Ritchie Valens' brief months as a rock and roll star until his untimely death in the plane crash that claimed Buddy Holly's life, it is a strong story about a Hispanic family in the '50s U.S.A. Rosanna de Soto as Ritchie's mother and Esai Morales as his older brother, Bob, offer convincing interpretations of family love, envies and bitterness. The real Connie and Bob Valenzuela were consultors on the film.

But Lou Diamond Phillips gives a pleasing, energetic performance, miming Ritchie Valens songs to their reproduction by the group Los Lobos. This is basically a rags-to-riches and fame story, but is more insightful than most.

1. An enjoyable film? Popular success?

2. Audience and their response to rock and roll, to Ritchie Valens and his songs, to Buddy Holly and the singers of the mid and late 1950s? Audience knowledge about Valens and his death?

3. California 1957: Spanish Americans, working in the country, the barrios, their work? Homes, school, the gigs, their recording studios, the tours, American Bandstand, Alan Freed's programme? The re-creation of this world of the '50s?

4. Rock and roll music and its impact in the 1950s, shaping the times? As shown in the film? performance of songs? Ritchie Valens and his music, the songs, performance: 'La Bamba', 'Donna', 'Come On, Let's Go', 'That's My Little'? The selection of songs from other singers of the time, especially on Bandstand and Alan Freed's show?

5. An enjoyable biopic: strengths, limitations? The motif of the plane, the crash and the dreams?

6. Barrio life: the trailer, poverty, work, school? Connie and her toughness, bringing up her sons, taking in Rosie? Bob and his background? Rosie and her relationship with Ritchie, with Bob, the baby? Moods and atmospheres? The contrast with the American high school and Donna's world?

7. Ritchie as a character; his age, nice lad, his strong mother, Bob, their friendship and growing up together, his platonic love for Rosie? his reaction to her going with Bob, the hard life, survival? Donna and his falling in love, outings, her rejection? His skill in playing and singing? The audition? The success with the rednecks in the bar? The group and the American Legion dance? The clashes with Rudy? His solo spot, the group? Bob spoiling the dance at the American Legion?

8. Success? The meeting with Bob Keene, the recording of: Let's Go and the many takes? Changing his name, the reasons? The composing of Donna, singing it to her through the phone? Rosie's baby, Bob's wandering? His being taken to the whorehouse? The playing of 'La Bamba' and its effect, making it his own?

9. Apprehension about planes, going to Philadelphia for American Bandstand? success? To New York and the success with Alan Freed's show? The, artists? The clash with Bob on Christmas Night? The group, flying in the snow? The build-up to his death? Sadness, his funeral?

10. The portrait of Bob and his providing dramatic interest for the film? Esai Morales' presence? Jail, taking Rosie from Ritchie, the later life, drugs and deals? His interrupting the dance The final clash with Ritchie? Yet the lyrical scenes of the brothers sharing joy and memories together?

11. Donna and her vigour, home and control, arranging the solo spot, organising the show, her grief at the news of Ritchie's death? American girl, nice, the song composed for her?

12. The TV world of the various groups and individuals who celebrated rock in the mid-'50s?

LITTLE WOMEN

US, 1933, 117 minutes, Black and white.
Katharine Hepburn, Joan Bennett, Jean Parker, Frances Dee, Edna May Oliver, Spring Byington, Paul Lukas, Douglass Montgomery, Henry Stephenson.
Directed by George Cukor.

Little Women is an adaptation of the novel by Louisa May Alcott, considered a classic and remade by MGM, colourfully, in the late 1940s. It was also a mini-series of the 1970s.

This was one of the earliest films directed by George Cukor who was to go on to direct Katherine Hepburn in a number of films including The Philadelphia Story.

The film is a piece of Americana coming at the last stages of the Civil War, echoing the life of women in the times but indicating some changes coming, poverty and gentility, good manners and a changing robustness. A young Katherine Hepburn plays Jo with great vigour (and a touch of overacting) Joan Bennet is believable as the rather more self-centered Amy. Jean Parker is the ill Beth. Frances Dee is in the background as Meg. Spring Byington is Marmee. (The roles are played, respectively, in the remake by June Allyson, Elizabeth Taylor, Margaret O'Brien, Janet Leigh and Mary Astor.)

The film focuses on life in a small American town in the 19th century and is full of sentiment as well as American high-mindedness. This seems rather outdated, even quaint now -but reminds us American idealism.

1. The status of the film? Classic? Director and cast? A film of the early 1930s?

2. Black and white photography, style, re-creation of period? Musical score?

3. The title, the focus on mother and daughters - and father asking them to be Little Women?

4. The focus on 1864 and the background of the Civil War, men away at the front, patriotism? Mr March as a chaplain at the war? His absence, the importance of his letters, his return? Life in the town, helping the poor? School? The ending of the war and the late 19th century, the advances for women in publishing, going to New York, travel to Europe?

5. Jo as the central character, her strength of mind, Katharine Hepburn's performance? Reading to Aunt March, Aunt March's tyranny, her place in the family, ruggedness, the friendship with Laurie, going to see him, his grandfather, wanting the friendship with the grandfather?, Her love, for her sisters, for everything to stay as it was? The money and the gifts for Christmas, the gifts to Marmee? Giving the breakfast to the poor? The reward from their neighbour? Her play and enjoyment of performance in rehearsal? Her stories, reading them to her sisters, telling Laurie about the cheque? The friendship with Laurie - but her not submitting to romanticism? Losing Laurie? Her decision to go to New York? Meeting the Professor, the exhilaration of the life in the city? Her love for the family at home and concern about Beth's health? Her return home, Beth's death? Aunt March and Amy going to England? Amy marrying Laurie? His return home, their friendship? Memories of the past and the interaction and her helping Laurie to stand on his own feet? Her wariness about Meg's wedding, resigned to it? The Professor's arrival - a future with him? A woman ahead of her time?

5. Meg, demure, governess? Her role in the family? In love, her beau? Her marriage? Amy and her vanity, at school, her cartoon? The gift, buying the cologne for her mother? Flirtatious, at the dance, watching Laurie and Jo dance? Her opportunities, in love with Laurie, the trip to Europe, her marriage?

6. Beth, poor health, painfully shy? The dance and her watching from the staircase? The neighbour and his gift of the piano? Her joy? Illness, the death of the baby and her hiding in the closet? Her death?

7. Marmee, her place in the town, generous? The joy of the gifts, giving of the breakfast? The reading of the letters and the emotions? the daughters responding to their father's letter and trying to change? The household, the maid? The neighbours? Socialising? The return of her husband?

8. Aunt March and Edna May Oliver's comic touch? With Jo, visiting in New York, taking Amy to Europe?

9. The people in the town, the man with his sons killed in the war, the poor family and their cold, the death of the baby! Service of the poor?

10. American sentiment, belief in the family?

LITTLE LORD FAUNTLEROY

UK, 1980, 103 minutes, Colour.
Rick Schroder, Alec Guinness, Eric Porter, Colin Blakely, Rachel Kempson, Connie Booth.
Directed by Jack Gold.

Little Lord Fauntleroy has been filmed many times, including a version with Mary Pickford and later with Ricky Schroeder and Alec Guinness. This version of Frances Hodgson Burnetts novel was directed by John Cromwell for the Selznick Studios. Cromwell also directed such films as The Prisoner of Zenda, Abe Lincoln in Illinois.

Freddie Bartholomew is Ceddie - sentimental but a touch priggish. Dolores Costello is Dearest. C Aubrey Smith is in his element as the earl. There is enjoyable support from such veterans as Guy Kibbee as Mr Robbs and a young Mickey Rooney as Dick. The film was made in the mid 1930s, an entertainment for Depression times - with a touch of fable about relationship between the classes.

1. Entertaining version of a classic children's novel? The many versions? The quality of this version, in its time?

2. Black and white photography, Brooklyn and English settings? Musical score? The cast?

3. The title, impact for American audiences and the fascination with royalty? Mr Hobbs' criticism and his being won over? For non-American audiences?

4. Brooklyn, the 1880s, Dearest and the death of her husband, her love for Ceddie? Their grief? Cut off from the family? Managing in New York City? The mother, the maid, her help? Ceddie and the gift of his bike? Riding along the street, the fight with the gang, the friendship with the police, friendship with Dick? Chatting with Mr Hobbs, especially about royalty? The old lady in need of money?

5. The news from England: The effect on the mother, her not being allowed to stay in the castle with her son? Her not speaking ill of the earl? All for Ceddie's benefit? The effect on Ceddie? Mr Tevercham and his handling of the situation? The gift of the money? Ceddie and his giving it to the old lady, the gift for Dick, the gift for Mr Hobbs, and the discussions about going to England?

6. The British Aristocracy, castles? The Earl, his age, his status, the gout? Cantankerous? With his-servants? Meeting Ceddie, Ceddie and his frankness? The Earl being won over? Their talks, meetings, sharing things? The Earl and Ceddie together? Ceddie with the Earl's gouty leg? The change of heart? The concern about his mother? Learning to become an Earl? Signing the document to help the people on the estate? their gratitude?

7. The false claim - the lawyer, the mother? Ceddie prepared not to be the Lord? The Earl and his anger? The confrontation with the woman and her lawyer, the awkward son? The irony of Dick seeing the picture in the paper, she being his sister-in-law, going to Mr Hobbs, their coming to England, exposing the fraud? The reuniting of Dicks'
brother with his son?

8. The Earl, the visit to Ceddie's mother, the breaking down of barriers after his refusal? Especially seeing her after the attempted fraud? Welcoming her to the castle?

9. The scenes of the village, the village people, relationship with the Earl, with Lord Fauntleroy? The warm and sentimental presentation of the differences between the classes - and the invitation to the wealthy to help the poor?

10. Dick, cleaning shoes, in New York City, gift to Ceddie, finding out the truth, coming to England? Mr Hobbs, the groceries, coming to England, being shown the pictures of the ancestors, changing his mind? The old lady in the street, the money and her gratitude?

11. Victorian melodrama? Warm and sentimental drama and comedy? The Americans and
their fascination with things British?

LIFE IS A LONG QUIET RIVER

France, 1988, 90 minutes, Colour.
Benoit Magimal, Valerie Lalonde.
Directed by Etienne Chatiliez.

Life is a Long Quiet River was very popular in its native France and popular throughout the world. It was the first cinema feature by former advertising film-maker Etienne Chatiliez. He co-wrote the screenplay with Florence Quentin. (Chatiliez went on to make a very successful feature, the ironic Tatie Danielle.) The story is somewhat tongue-in-cheek and fanciful.

It is revealed that a nurse, infatuated with the local obstetrician, twelve years earlier, on a Christmas night, had switched children for families, one rich, one poor. Twelve years later, again to spite the doctor, she decides to reveal the truth. Each family reacts in a different way. The rich family want to help their real son and send their daughter back to the poor family. They are full of right intentions, have the typical French bourgeois morality but unable to see what is going on with their daughter and her precocious behaviour, their eldest son and his selfish ,liaisons, their newly found son and his taking things from their house to his other family. The poorer family is also caricatured with gross behaviour, exploitive: the mother and her control, the father and his simply observing, the oldest daughter sexually promiscuous, taking the things that their son brings back to them and selling then. They are also somewhat racist and superior to their kindly Arab greengrocer neighbour.

While the film satirises both the middle class and the working class, it also has insight into characters with ironic touches. There are many amusing sequences, some satire on a modern priest, his campaigns for money and his style of hymn singing, guitar and all. The film raises issues of inheritance, of genetic influence, of social conditioning. The film could be called a satire of class distinctions.

1. Interesting and entertaining French comedy? Realism? fantasy? For French audiences? World wide audiences?

2. The first film of the director? His writing and directing (and commercial background)? The French city, the affluent world, the poorer world? The interaction between both? The seaside sequences? The musical score?

3. The title, the comment by the children that life is not a long quiet river and that one must expect all kinds of shallows, rapids and difficulties?

4. The focus on the Doctor, his work as an obstetrician? His wife and her watching television? The breakdown of communication between them? His drinking, going to work? The devotion from Josette? His spurning her? The flashback memories of twelve years earlier, Christmas night, her infatuation with him, his rejection? Her decision to switch the babies? The consequences? The irony of the doctor's wife dying, being buried? Josette and her advances? The doctor's collapse? Her taking him to the seaside and having him all to herself - despite his collapse?


5. The de Quesnoy family? The father as a director of the company, his wife and her church connections? The visit of the priest? Charity, concerts and rehearsals? The regularity of their household (ravioli night on Monday)? Their children, their concern about Bernadette - and her dressing herself up and using makeup?

6. The contrast with the Groseille family (literally raspberry or gooseberry)? The father and the background of the Algerian war, out of work? The family and no money, the electricity cut off? Their relationship with Harmed and his wife? Roselyne and her sexual connections? Franc as a petty crook? Momo and his place in the household?

7. The news and the repercussions for each family? Their seeming to accept things at face value? Their moral decisions? Sending the children each to the other family? Momo and his place with the Groseille family, his going to the LeQuesnoys? Their welcoming him? His tidying himself up, behaving admirably with them? Taking things back home for the other family? The outings, the relationship with Paul? With Bernadette? The children handling their brothers and sisters? The Groseille family, the mother and her dominance, Roselyne and her sexual experience, calling for Paul, meeting him in the paddock, going out with him? Bernadette and her not wanting to be part of this household, her going back to her family, compulsive washing, not wanting to eat? Her running away, on the bus, the police getting her, her declaring that she is orphan?

10. The reactions of the parents: the middle class family and their wanting everything with decorum, the effect on the father and his discovering that Paul had sexual liaisons, that Therese, the maid, is pregnant? The mother denying this – but taking to drink? The Groseille family and their carrying on as normal?

11. Rumed, with the family, playing cards? His greengrocer shop? Friendly with Momo and the continued friendship after his change of fortune?

12. Themes of family, genetic influence, socialisation? The film's emphasis on social conditioning on the children? Exploration of French values, hypocrisies, prejudices, greed? The children and the next generation?

OXYGEN

US, 1999, 92 minutes, Colour.
Maura Tierney, Adrien Brody, Laila Robbin, Terry Kinney, Dylan Baker, Paul Calderon, Joe Morton.
Directed by Richard Shepard.

Oxygen is a police thriller with complications. The focus is on Adrien Brody as a psychopathic kidnapper who buries his victim. This is presented in a credible way that makes audiences empathise with the victim and her plight. She is played by Laila Robbin.

The film focuses on the investigation, led by policewoman Maura Tierney. However, she has her own problems in relationship to her husband, fellow policeman Terry Kinney, as well as alcohol addiction and her seeing a lover. As the film progresses, the criminal becomes more dependent on the policewoman, although he has a more vicious scheme to bury her after seeming to be acting as her father confessor. There is a grim ending to the film.

Dylan Baker has a small role as an FBI interrogator and James Naughton is the wealthy husband who is demanding the return of his wife. The film was written and directed by Richard Shepard.

1. The title, oxygen for breathing, victims buried alive, the need for breath of the harassed policewoman?

2. The New York settings, the police station, the city streets, the woods, cemeteries? Musical score?

3. The film as a police investigation? The role of the police, kidnapping, scouting the cemetery, the timing for arresting the criminal? Having to back off? Police chases? The nature of interrogations and their demands? The manipulation of the police by the perpetrator? The ultimate confrontation? The final shooting?

4. The kidnap situation, the woman walking her dog, accosted by Harry, put into the car, stripped, the grave dug, put in the coffin, her fears, the torch? 24 hours of oxygen? Her plight in the coffin? The demands of her wealthy husband?

5. The kidnapper, his personality, behaviour, sadistic, dealing with Frances and stalking and burying her. Her wealth and the ransom demands and hopes? His nickname, H for Houdini? His reaction to the investigations, his response to Madeline, dependence on her and her investigation? His ultimate plans for her?

6. The details of the kidnapping? Frances and her dog, the kidnapper’s pleasant approach, his hitting her, the car, the friend (and his giving the torch), the remote area, leaving the woman? 24 hours to find her? The emphasis on Frances and suffering in the box?

7. Madeline, her job and her success in her work? The investigation of Frances’ murder? Her police investigation? Her superiors, the FBI agents? Contact with the killer? The relationship?

8. Madeline’s personal life? Her relationship with her husband? His police work, alienation? Her drinking? Her taking a lover? H playing on her sado-masochistic behaviour?

9. Madeline’s husband? The marriage, past relationship, the failing relationship?

10. The drama of the chases, handheld camera?

11. The final confrontation and H’s motives for the kidnapping? The interrogation atmosphere? The setting up of a trap, the cemetery? His being buried?

12. Variations on the police investigation thriller?

LETTER TO BREZHNEV

UK, 1985, 94 minutes, Colour.
Alfred Molina, Peter Firth.
Directed by Chris Bernard.

Letter to Brezhnev is a local Liverpool comedy, particularly well acted with sharp writing. It was a co-production with Britain's Channel 4. The film is particularly well acted by Alexandra Pigg in the central role of Elaine, the unemployed young woman of Liverpool who meets a Russian sailor, falls in love with him, continues her campaign to get permission to go to the Soviet Union and be with him - despite protest from her family and from officialdom. She gets good support from her friend, Therese, expertly played by Marg Clarke. While the film is local, of particular interest to British audiences, the humour and the humanity are sufficiently strong to make it of universal appeal.

1. Entertaining local comedy? Social observations of Britain in the 80s perspectives towards the Soviet Union - pre-Glasnost?

2. The Liverpool settings, the photography of the city, homes, streets, factories, clubs, the docks? The ugliness of Liverpool, the modern city? The musical score, the range of songs?

3. The title, the focus on Elaine and her love for Peter, her concern to see him, the letter to the President of the Soviet Union, Anglo-Soviet? relationships and tensions? The breaking down of barriers soon to come with Glasnost?

4. The opening with Elaine and Tracey, their friendship, background, work, Tracey's romantic attachment to Mick and her clashes with him? The background of factories, Theresa and her work at the chicken factory and her comments, style, clothes? The setting of the tone for the film?

5. Theresa and Elaine in the taxi, smoking the joint, the taxi driver, going to the club, warding off the men? Seeing the Russian sailors? The musical atmosphere, staring at each other? The meeting with Peter, dancing, falling in love - how credible? Sergei and Theresa as a pair? Leaving the club? The night together, Sergei and Theresa and their sexual liaison, the contrast with Peter and Elaine just talking? The next morning, the tour of the city, happiness together?' The sadness of Peter's return to the boat, Elaine in love, going into his cabin, the sexual encounter?

6. The aftermath with Elaine at home, writing letters to Peter, wanting to go to the Soviet Union? Friendship with her sister, their clashes, at home, the interviews with
the media? Theresa and her support? The clash with her parents, their not understanding? Her mother laying down the law? Going to the British embassy, the barriers put in her way? The decision to write to Brezhnev and Theresa's support? The return-letter, the ticket, the prospect of going? The foreign office official, his pleading with her, her sympathetic response, the photo of Peter with the woman and information that he was married? Her disillusionment, anger with Theresa when she goaded her but conceding that Theresa was probably right? The final decision to go, farewell to her parents, sister, Theresa , the airport? The prurient interview with the journalist at the car? Her future?

7. Theresa, her liking men, nights out, liaisons? Friendship with Elaine, good advice? Her work in the factory? Supporting Elaine, the interview? The farewell, at the airport her being convinced that Peter was not married, the final talk between the two - and Theresa's inability to move out of her own environment? The final close-up of Elaine leaving?

8. Tracey, the friendship with Elaine, at the club, Mick, their meeting again in the street, the clash between the two, the bitter words?

9. Elaine's sister, at home, friendship, support, wanting to be photographed by the interviewer?

10. Peter and Sergei, the mission of the Russian ship to Liverpool, the opening of the film and looking at Liverpool, on the town, at the nightclub, Peter gazing at Elaine, falling in love, Sergei and Theresa and their affair? The bond between Peter and Elaine, the city tour, in the cabin? His return to Moscow, the letters? The possibility of a marriage?

11. The background of Liverpool's night life, the clubs, Mick wanting money from Tracey? Her giving it to him? the clashes, rivalries, unemployment? Theresa and Elaine and the men in the bar, Theresa robbing them, chased? The precarious life of the unemployed and the factory workers?

12. The contrast with officialdom, attitudes towards the Soviet Union and people like Elaine's sister and Tracey mouthing public opinion, what 'everybody knows' about Russia and the Soviet Union? The official And his pleading, the trick with the photo?

13. The portrait of English life, characters who are part stereotyped but part-original, the universal appeal of the theme - and its relevance as regards the Soviet Union in the 80s?

LOVEY: A CIRCLE OF CHILDREN PART II

US, 1978, 100 minutes, Colour.
Jane Alexander, Ronny Cox, Helen Shaver, Danny Aiello.
Directed by Jud Taylor.

Lovey: A Circle of Children Part II continues the original film which was a star vehicle for Jane Alexander and Rachel Roberts. Jane Alexander portrays Mary McCracken?, the author of the books on whom the screenplay is based. She continues her work with handicapped children. Some of the children continue over from the first film: Rufus, Brian, Jamie. However, the focus of this film is on Hannah and her withdrawn attitudes, tantrums and a gradual appreciation of life. The film also focuses on Mary McCracken's personal life, her encountering Cal (Ronnie Cox) and the possibility of a new commitment.

Just as the first film was a moving account of a teacher working with children, so is the sequel. There are many fine sequences showing the potential for a gifted teacher to work with handicapped children who might otherwise never have a chance.

1. The impact of the original film? act on its own?

2. This film as a sequel? Its impact?

3. A telemovie style for a telemovie audience? Emotional impact and response? Identification with teacher, with children, with parents? Hope for the home audience? The school, Mary's home, Calls laboratory? A balance of the real world with the world of the school? The musical score for emotional background?

4. The title and the focus on Hannah, Mary calling her Lovey, no-one else calling her that? The circle of children - holding hands together, round their teacher?

5. The film's portrait of Mary McCracken? Jane Alexander's presence, and style? The beginning of the school year, Doris and her request about Hannah? Mary's refusal? The initial encounter with Hannah, the tantrum in the schoolroom, persuading her to come? Her manner and style with the three boys? her past experience with them? Her warmth, patience? Her understanding? The voice-over with her difficulties and plans? Hannah and the sitting in the closet? Mary's attempts to draw her out as well as cope with the other children? Brian and his brightness, helping him to cope, to go to Junior High School? Rufus similarly? Jamie and getting him to say his name? The enticing of Hannah from the closet? Her reading her background, her interview with her mother, encouraging her mother? Hannah coming out of curiosity, the dolls and her crushing the doll? Her tantrum with the lunch and the chairs? Her patience? Chasing Mary with her lunch? The gradual confidence? Cutting her hair, looking in the mirror, with the other children? Going on the picnic and her singing, joining with the others and looking at the fish, talking? The tantrum with the paints? The ups and downs of her moods? Learning the rules and the question of dessert - and her frantic mother worried about the blue dress? The present of the dress? The St. Valentine's Day gifts from herself and her mother? Her warmth towards Mary as teacher? Mary's satisfaction and patience? Her own experience - discussions with her daughter, doting? Pattie and the outings, people trying to fix her up with a date? The inspector and his promise about Brian, suggestions for her to meet Ed? The meeting with Cal, their friendship, the lift home and her resistance about involvement, the tennis game, the bond between the two? Outings? Talking frankly about their marriages? The visit to Calls office? Her stance on her children, his visit? The discussion about her future, the possibility of leaving the school? The rehearsals for Brian to go on the bus by himself? The story of the horse that had to be independent? The final party, her farewell? The achievement? The postscript about her work?

6. The portrait of the children: Rufus, Brian, Jamie? Their parents? The progress of each according to their capacities? Their treatment of Hannah, antagonism towards her, gradually welcoming her?

7. Hannah as d difficult child, the tantrum, going to the classroom, her not washing, the same dress? Sitting in the closet? Wildly eating her lunch? The background of her operation? Her brother calling her a retard? Her mother's concern? Gradually being enticed out, the games with the dolls - and her crushing the doll? The tantrum about the lunch, with the chairs? The tantrum with the paints? yet her curiosity bringing her out of herself? The picnic, her Joining the others wobbling the wharf, looking at the fish? Joining in the songs? Talking? Her appearance, her hair, the dress? The gifts? Her joining in, understanding the story of the horse? her achievement and Mary's achievement? her mother's contribution?

8. Cal and his friendship, background of marriage, separation, dating, involvement, the tennis, his inventions, laboratory, the distance between the two and Mary's choice? Discussing her situation? His going with her at the end?

9. Pattie and her concern, trying to date for Mary? Discussions about giving up in class? Elizabeth and her concern about her mother? The inspector and his interest? Doris and her help?

10. The picture of an educator: empathy, patience, questions, self-giving, devices for bringing, the children out of themselves, recognising their potential? The particular scenes highlighting a teacher's method?

11. A teacher and her not caring for herself? Others worried about her? The parallel with the children, and her growing up emotionally?

12. An interesting film? Entertaining? Inspiring?