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 However, the focus of this film is on Hannah and her withdrawn attitudes, tantrums and a gradual appreciation of life.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?

LOVER COME BACK

US, 1961, 107 minutes, Colour.
Doris Day, Rock Hudson, Tony Randall, Jack Oakie, Edie Adams.
Directed by Delbert Mann.

Lover Come Back is the second of the three Rock Hudson-Doris? Day comedies, the first being the successful Pillow Talk. The screenplay is by the same writer, Stanley Shapiro (responsible some years later for A Very Special Favour, with Rock Hudson and Leslie Caron, which basically reworks the plot of this film).

Tony Randall is once again excellent in a daffy supporting role.

The film satirises the advertising industry, plays the battle of the sexes, has a great deal of humorous innuendo - and highlights Doris Day's career as a comedienne, the cold American businesswoman who has to be melted by the American male. Direction is by Delbert Mann, Oscar winner for Marty, maker of a number of serious features and a number of telemovies in the '70s and '80s. He was to direct Doris Day with Cary Grant in That Touch of Mink.

1. An enjoyable sex comedy? The 1960s? Now? Doris Day? comedy? Rock Hudson comedy? Their working well together?

2. The world of blew York, advertising agencies, hotels? Affluent style? Big business? The humorous credits? The songs - and Doris Day's singing? Editing and pace? Background humour - the commentary of the two convention visitors, the fish devouring the other in the aquarium etc.? Jaunty musical score?

3. The battle of the sexes - the establishing of Jerry as a wolf, idol, manipulator, successful on Madison Avenue? The contrast with Carol and her eagerness, busyness, dedication to her work, cold? The interaction of the two, mistaken identity, Carol really being taken in and her type of character being satirised? The satire on the wolf? The mutual falling in love, taming, comeuppance? The conventional happy ending?

4. Jerry Webster as a wolf, successful in his business, relying on his secretaries and briefing, his taking Miller out, Rebel and his promises, the council and his coaching Rebel, his getting away with everything? His relationship with Pete Ramsey? His control over him, the firm? Rebel and his doing the commercials with her? The hunting trip, the joke about the moose, hurrying back? The seeking out of Dr Tyler for a product? The chance encounter with Carol after the telephone call? The innuendo in his relationship with her, the seduction, his wanting to deceive her, humiliate her? The outings, learning how to dance, the suit, the beach? His being found by her in the apartment? His going to her apartment? The seduction scene? His being stranded? His resourcefulness in getting the product, presenting it to the council? The sum of money for the burning of the patent? The irony of his marriage to Carol, her walking out, but giving her the money, the baby and the happy ending? Rock Hudson's comic style?

5. Doris Day and her businesslike glamour as Carol, her ambitions, her failure against Jerry Webster, hiring the detective, the VIP campaign, her using Rebel and losing out? The chance encounter with Webster, her believing he was Dr Tyler, her charm, susceptible to all his stories about his noble family, about his innocence? Her own naivety being satirised? Her plans for the campaign? Falling in love with Dr Tyler, thawing, her enjoying the outings, the apartment, her getting the champagne and preparing to give herself? Her humiliation, taking him in, the hearing, the marriage, her wanting an annulment? The baby and the happy ending?

6. Tony Randall's comic style as Peter Ramsay - and the satire on the wealthy, wanting to be poor, psychoanalysis, blaming everybody else, wanting to make a decision, the moose chasing him, his plans for the firm, fear of his father, Dr Tyler and his purple face? His wanting to get out of everything? Handing over the money to Jerry? Satire on the wealthy executive?

7 Dr Tyler and his scientific background, fraud, his inventions, the mad scientist? His alcoholic invention?

8. Rebel and her glamour, being used by Jerry, the commercials for VIP and the humorous use of sex to sell a non-product? The comedy in the advertisements?,

9. The world of business - bosses, the council, their susceptibility to Rebel’s charms Carol's secretary and her having the ring ready just in case? The travelling convention men who were impressed by Jerry's relationship with women?

10. A sex comedy - jokes about sex, relationships? The icy American woman?, The American wolf? Glamour, nightclubs, strip shows? Seduction? - The ingredients of this kind of comedy from Universal Studios in the 1960s? Doris Day style comedies?

LOST IN AMERICA

US, 1985, 91 minutes, Colour.
Albert Brooks, Julie Hagerty.
Directed by Albert Brooks.

Lost in America was directed and co-written by Albert Brooks who takes the leading role. He appeared in Taxi Driver. He produced and directed Modern Problems. This film received good reviews in America - not so good elsewhere. Perhaps the film captures the young adult, upwardly mobile executive group and their pretensions. The film has a lot of irony - but is often gentle. Albert Brooks and Julie Haggerty (Flying High, A Midsummer Night's Sex Comedy) are an affluent couple who hope for promotion - but who decide, like neo-Easy Riders, to go out on the American road. It has fatal results, especially in the wife's losing their money and nest-egg at Las Vegas. For a time they try for temporary jobs in a small Arizona town. Ultimately they rejoin the rat-race. While the film has its humorous moments, offers a mirror to modern middle-aged and younger adults, it is a piece of slight American comedy.

1. The appeal of this kind of comedy? American audiences? Universal? The critical American acclaim? Less positive reaction elsewhere? Touching the American nerve? Sense of humour?

2. The re-creation of the Californian Yuppie world? The contrast with Las Vegas and the casinos; on the American road. Arizona and Hoover Dam, - the small American town, New York? A glimpse across the United States7 Environment and characters? Decor, clothes, style? Musical score and songs? The continued reference to films - and the enjoyment for film buffs?

3. The reverence for Easy Rider, the dropouts of the 1960s, their values, freedom, going on the road? The drug world of Easy Rider? The gambling world of Lost in America? The transition from the 1960s to the '80s; change, values? Survival? The quiet of the dropout world? The final decision to surrender and re-enter the rat-race? The counterpoint between the two worlds?

4. The title and its reference to the couple adrift in America? The loss of money? How are people of this kind lost in America?

5. David and Linda, the opening, their marriage, David's anxieties, Linda's response, the quality of their relationship? An ordinary couple upwardly mobile? The selling of the house, packing, their hopes? David's doubts? The build-up to the interviews? Their changing present - and their futures? Characters, man versus woman, the friendship and battle of the sexes? A comedy of worry?

6. David and his anxiety, dressing, going to work, the call about the Mercedes, the interview, his nerves, the realisation that he was to be sacked? The world of advertising, of Ford, of New York? His outburst and being sacked? His record, the meaning of the eight years in advertising? Hysteric response? Leaving the office, urging Linda to give up her job, the freedom of the road, the nest egg, the buying of the mobile house - the new Easy Riders?

7. Linda and her strength, her work, her hopes, leaving her job, love for David and going with him?

8. The farewell party - and the speeches, sincere and pretentious? The caravan, leaving, the exhilaration of freedom, doing what they wanted? The decision to marry again? The trip, Las Vegas - and its aura?

9. The room and the bribe to get in, the kitschy beds, the bellhop and his ignorance? David and his hopes? Linda going downstairs, gambling everything away? The dramatic impact of her gambling? Her glazed look, her obsession with the numbers, losing the money? The manager? David's interview with him, the ideas for a campaign, the manager not accepting them?

10. Linda and the effect, her being sorry, urging David to anger, her own upset, the visit to Hoover Dam, telling truths to each other, fighting, her going off with the hitch-hiker? David chasing? The clash and the fight?, The irony of their speeding - and the chatter with the policeman about Easy Rider and his letting them off?

11. The decision to settle in the town, their being broke?, The interviews about the job - David's high salary, the people in the town disbelieving him? The Mercedes and the driver going past, his conversation? His decision to take up the job (after not being able to do deliveries for the shop)? The antagonism of the kids, urging the traffic through? The boredom? The young manager and Linda's job? His doming home and reacting brashly? The experience of the town, the caravan park, the old people?

12. The decision to go back to New York, their humiliating themselves and the epilogue about their success?

13. The comic touches, visual, verbal? Irony? Wry comment on America? Gentle? Real? Feelings, opportunities, emotions and decisions?

THE LIZARD KING

Australia, 1985, 90 minutes, Colour.
John Hargreaves, Marie- Christine Barrault.
Directed by Geoffrey Nottage.

The Lizard King is an Australian- French co-production. It was directed by Geoffrey Nottage, a director of several ABC dramas including the telemovie White Man's Legend. It was written by Louis Nowra, who takes up the theme so popular in the literature and films about the Outback, themes explored in films like Walkabout.

The focus, however, is on a young Frenchman, reacting against his upbringing and coming to the opposite ends of the earth to traverse a desert and survive. His mother comes to Australia to find him. She teams up with a resisting guide. Her experience in the desert, as well as that of her son, has a transforming effect. It also offers the opportunity for an outsider to look at Australian cities and culture, the Outback, the landscapes and their effect on people who have settled in Australia.

Marie- Christine Barrault (Cousin Cousine' Stardust Memories) is effective as the mother and she is well-matched by John Hargreaves as the reluctant guide.

The film tries to blend realism with the mystique of the Australian landscapes and meanings.

1. Australian- French co-production, telemovie, intended audience? The mystique of Australia?

2. The work of Louis Nowra, the theatre, cinema? His exploration of Australian meanings?

3. The French perspective, seeing events and characters through Beatrice's eyes? The difference between French and Australian stories? Cultures? Rene and his leaving his well-known world and coming to another world? Setting out into the desert, surviving, finding a new world?

4. The title and the story of the lizard king? The myth? Beatrice telling it to Rene? Her telling it to Rhys? The Australian landscape as the lizard king - and the allegorical explanation to her search and the people that Rene encountered?

5. The Australian land and the landscapes: beauty, vastness, dry, hot, the colours, space? Humans dwarfed within these landscapes? The outback town and its life, the pub, the drive-in, the houses? The ghost towns? The dog fence for the dingoes? Camping out? The dry, the finding of water? The landscapes of reality, the landscapes of myth? Comparisons with the city of Paris, the city of Sydney (and the theatre in Sydney)?

6. Beatrice and her concern, her grief about her son, the puzzle, the news, her coming to Sydney, her friends, her looking at the Fred Williams painting, going outback, hiring the car, the advice, the young girl and her friendship, the discussions with Rhys and her bad experiences with him, the clash, the breaking of the light bulb? The drive-in and her plea? The clash and his final acceptance? Into the desert? The clues and following them, the driving, the homestead and the family and their information about Rene, finding Oliver sitting alone, in his car in the desert, the old man and his report? Her conviction that her son was alive? The clashes with Rhys, the gradual mellowing, her return to Sydney? The party and the performance - the staging of the Watteau painting? Rhys' return? Going back, more at home in the desert, change of perspective? Falling in love, the sexual encounter in the desert? The sudden ending of their search? Her meeting her son, growing to understand, the change in him and in her? The memories of her early life, on the move, theatre, the abandonment by her husband? The small boy and his growing up? The story of the lizard king and the explanation?

7. Rene and the opening of the film, the people refusing to take the photo, his not having a compass, his friendship with Oliver, talking in French, sharing perspectives? In the ghost town? People seeing him? His return? The significance of his leaving home, surviving in the desert? The flashbacks to his early life and the explanation of his character?

8. Rhys in himself, his work with the dingoes, surliness, home, the drive-in, breaking the bulbs, reluctant to help? His coming to Sydney, growing attraction towards Beatrice? The ghost town, the sexual encounter in the desert? Going to the burnt-out homestead and the Gothic story of his parents, financial failure, madness, death in the fire? The change in him? Would he ever go to Paris?

9. The background of the Australian characters in the Outback? The police, the girl, the people at the homestead, the little girl and the doll, the old man?

5. An old story - in different form? The Australian Outback and the individuals lost and finding themselves? The theme of loss and gain?

LOVE LETTERS

US, 1984, 98 minutes, Colour.
Jamie Lee Curtis, James Keach, Matt Clark, Amy Madigan.
Directed by Amy Jones.

Love Letters was written and directed by Amy Jones. It is the story of young woman who comes across letters written to her dead mother from a man who had loved her for over 15 years. She is influenced by the letters, wanting some kind of passionate affair herself. She meets a married man, is exhilarated by the affair, but has to face the reality of its continuing or not, the reality of his wife and children.

The film is a strong vehicle for Jamie Lee Curtis, a film made soon after her prominence in the horror films after Halloween, Prom Night and Terror Train. She shows that she has a good dramatic screen presence. See was to show this in the later 80s in such films as A Fish Called Wanda and Blue Steel as well as in comedies especially on television. There is a very good supporting cast led by James Keach as the lover, Matt Clark as the heroine's alcoholic father, Amy Madigan as her friend. Rance Howard appears at the end as the lover in a way that brings the film to a satisfying conclusion. It is an interesting exploration of the emotions of a young woman.

1. The title, the opening and close of the film with the burning of the letters? Their being read throughout the film by Joseph, their tone, the reality of the love, their meaning and the influence on Anne?

2. The Californian settings, Venice, Los Angeles? Homes, the radio station? Wealthy Los Angels homes? Authentic atmosphere? The musical score, the songs of the past? Instrumental music?

3. The film as a portrait of Anne, Jamie Lee Curtis's screen presence and interpretation? Age, experience? At work at the radio station, love for work, ambition? Her visits to her sick mother, devoted to her, the clash with her father in the hospital ward? At the funeral? The impact of her mother's death, the friend at the funeral, her father's behaviour? Sharing with him, his drunkenness, wanting to be alone? Going through her mother's things, finding the letters and starting to read them, the consequences?

4. Anne's qualities as a person, her experience of life, sensitivity? Her friendship with Wendy, talking over Wendy's relationship with George? The pool game and confiding in Wendy, Wendy's advice? At the radio station, on air? Her work with Danny and helping him with his career? The programs? Meeting Oliver and attracted to him?

5. The surprise of finding the letters, the identity of Joseph? The audience hearing his voice as Anne read? Understanding the past, seeing her mother in a new light, seeing her father? Her developing the relationship, the passionate affair with Oliver, idealising it, the influence of the letters? Her relationship with Oliver , sharing with him, sexual passion, companionship, shared experiences? The dinner, the artist-friend and the intellectual discussions? Her feeling left out? The contrast with her father? The build-up to the confrontation, Oliver's visit to her, having made love to his wife, her being upset, into the bathroom, her wanting to express herself using the words of the letter?

6. The portrait of Oliver, a genial 40 year old, his approach to Anna, invitation to her with the drink, the beginning of the affair, telling her the truth about himself and his family? An affair at 40? The sensual affair? The reality of his other life, the photo of his wife and children? Passion with Anna, the effect on each, sharing? Wendy's warning to Anna?

7. Anna's decision, the influence of Wendy, the influence of her father and his wanting to talk, drinking, explaining about his cooking, being by himself, the wash-up and his anger? The possibility of the move to San Francisco, the pressure from the executive, her staying, Danny's return and his success? Her spying on Oliver's wife and child? Oliver's inability to break from his wife, Anna not wanting the truth but wanting a passionate declaration of love? Her decision to use the letters, no reply from Oliver, going to his house and the dramatic outburst, the reaction of the children, Oliver’s wife, of Oliver himself?

8. The picture of Maggie in the hospital her death, from the letters? The picture of her father? The hospital, the ring, the funeral? The dreams and the presence of her father, his saying she was just like her mother? The image of the gun and the shooting? The dream as part of her liberation?

9. The sketch of Edith and the children, relationship with Oliver, the hurt of the truth of the affair?

10. Wendy as good friend, concerned, helpless?

11. The world of the radio station, the financial appeals? the promotion of Danny?

12. Oliver's world, photography, photographing Anna, photographing the bedroom? The world of business?

13. Anna going to the cemetery, discovering the flowers, the man leaving, her pursuit? The meeting with Joseph, talking over the relationship, what might have been? The calming effect on her?

14. Anna ready to face life - with experience, sensitivity? To make the same mistakes? or not?

LIFEFORCE

US, 1985, 116, Colour.
Steve Railsback, Frank Finlay, Peter Firth, Mathilda May, Patrick Stewart.
Directed by Tobe Hooper.

Lifeforce is oddball science fantasy. It is based on a novel by Colin Wilson, author, philosopher, commentator: Space Vampires. It was adapted for the screen by Dan O’ Bannon and Don Jakoby. O’ Bannon was responsible for John Carpenter's eccentric Dark Star as well as Alien. He also directed the even more bizarre Return of the Living Dead.

The film takes the advantage of the 1986 arrival of Halley's Comet. An alien spacecraft is in its tail. Space explorers discover humanoids who are in fact vampires needing human energy to come back to life. They cause absolute mayhem in London and take over the city.

The film was produced by the Cannon Group, noted for their capacity for exploitation. While the themes are interesting, there is a great deal of extravagant violence and the emphasis is on sexuality, especially with the nude female anthropoid.

Direction is by Tobe Hooper (The Texas Chainsaw Massacre, Salem's Lot, The Fun House, Poltergeist).

1. Interesting science fiction? Science fantasy? The timeliness of a story about Halley's comet, for the mid-80s?

2. Production qualities: the effects for the space sequences, the spaceships? Halley's Comet and its tail? The humanoids and their control over humans? The corpses and the revivifying? The vampirising of humans? The energy being drawn out of the people in London? The special effects? Stunt work? Musical score for atmosphere?

3. The title and its sinister irony? The plausibility of the story? The vampires in the tail of Halley's Comet? The way that they came on Earth? Their revivifying themselves with the human life-force? A mutant human life form?

4. The basic situation: the Churchill orbiting and exploring Halley's Comet? The discovery of the ship? The boarding party? The remains of the alien creatures? The humanoid forms? The transfer to the Churchill? The contacts with Earth? The disappearance of the Churchill? No contact? The rescue party? The skeletons of the crew, the delivery of the humanoids to the European Space Research Centre?

5. Tom Carlsen and his leadership, the irony that he had escaped from the Churchill? The irony of his being left alive? His story about the vampires? His contact with the alien girl? The possibility of Scotland Yard using Carlsen for finding out the presence of the girl? Carlsen and the girl, seduction, being taken over by her?

6. The humanoids, vampires, the girl coming to Earth, her wreaking havoc in the space centre, taking over individuals, the ghastliness of the special effects? her wandering London, the sexual encounters, the draining of the life-force? The final confrontation - and its violence?


7. Inspector Caine and Scotland Yard, the old-fashioned style of the Scotland Yard police investigations? Link with Carlsen? Tracking the girl? The confrontation by Caine of them both and his killing them?

8. Fallada and his scientific investigations? His wanting to control humanity by science? His surviving? The vampires turning on him and destroying him?

9. The trappings of the space exploration film? Spaceships, research, communications?

10. The trappings of the horror films - in the Alien vein?

11. How seriously was the film meant to be taken? As science fiction? As science fantasy? As comment on powers from outer space destroying humanity? As horror material?

LES DARCY

Australia, 1988, 50 minutes, Colour.
Peter Phelps.

Les Darcy was one of Mike Willesee's Australians for his Bicentenary series. Darcy was a young and famous boxer during World War One. Billy Hughes, smarting under the defeat of his referendums for conscription, wanted Darcy in the armed forces. Darcy went to America to fight but was banned in many states. He had an infected tooth and died at a young age in the United States. It was said that 100,000 people attended his funeral in Australia.

Les Darcy was a fine-living young man, jokingly said to be a wowser in the screenplay of this film. He was a devout Catholic - something which also appears in the film.

Peter Phelps is very good as Darcy and there is a very strong supporting cast. A full-length film about Darcy was in preparation during the '80s but was never made.

1. The impact of Darcy as one of Willesee's Australians? For the Bicentenary celebrations? His significance?

2. Audiences' knowledge about Les Darcy, his reputation, memory?

3. Re-creation of the period, World War One, the boxing world, Maitland, Sydney, the United States? Costumes and decor?

4. The portrait of Les Darcy: age, background, skill in fighting, his friend and the bonds between them, his devotion to his mother, giving her the money, asking her advice, his relationship with his father? Going to Sydney, training, wanting to join up, the effect of the deaths of his friends at war? His Catholic background? Accusations of being a wowser? Friendship with Winnie, going out with her? His success? The effect of Billy Hughes' campaign against him? American managers, going to the United States, his hopes, training, pressures, the bands? His infected tooth, collapse, Winnie's arrival, his death? His funeral and Billy Hughes' support of him?

5. The sketch of his parents, ordinary people, their support of him? The question of joining up and the war? The advice of the Irish parish priest - that it was an overseas war?

6. Winnie and her mother, Darcy's friendship with them, Winnie's love for him, her going to America, at his death? Lily and her friendship?

7. His friends, his best friend and their work together, his managers, American opponents?

8. Billy Hughes, his place in Australian politics, his attitude towards the war, towards the British, his reliance on Claridge? His wanting Darcy to join up? His being thwarted? His manoeuvrings?. The bans in America? His press conference at Darcy's death - and hypocrisy?

9. Les Darcy's achievement as an Australian?

THE LAST WAVE

Australia, 1977, 106 minutes, Colour
Richard Chamberlain, David Gulpilil, Olivia Hamnett, Frederick Parslow, Nandjiwarra Amagula, Vivean Grey, Peter Carroll, Athol Compton.
Directed by Peter Weir.

The Last Wave made quite some impact on its release at the end of 1977. However, many audiences found it a difficult film. It certainly repays a second viewing. It is an interesting attempt to blend the modern urban world with the dream world and with the mystery of the Australian Aboriginal and his dream-time. Dreams provide a connection, although they spell impending doom and the end of an era Direction is by Peter Weir who made Holmesdale in 1971. His mysterious science fiction film, The Cars that Ate Paris, is interesting in retrospect considering Weir's interest in what is not completely natural. However, his greatest fame came with Picnic at Hanging Rock. It is significant that at the end of 1977 the book that Weir singled out as being impressive for his year's reading was Carl Jung's Myths, Dreams and Reflections.

1. Impact of the film? Originality? Audience interest and involvement? For Australian audience, non-Australian audience? How plausible was the plot? The blend of the world of the ordinary, modern late twentieth-century urban civilization and the extraordinary? The meeting of white and aboriginal worlds? Christianity, materialism, primitive religions, aboriginal religions The inter-penetration of civilisations? The inter-penetration of Australian law and "original law"? For good, for disaster?

2. Mystical interpretations? Supernatural, supra-natural ? The revelation about the cycles of nature, humanity, disasters and re-birth? The long traditions of mythology and this a an example, a place within that background?

3. The importance of the technical aspects: colour, desert and sea landscapes? The visualising of the sky, sea? clouds, sun, rain? The city buildings and streets? The ominous wet weather, the clouds on the city skyline, colours of the city. reflection of the sun in windows? Ordinary suburbs, wealthy suburbs, the Rocks area in Sydney and the Aborigines who live there? The contrast with Aborigines living in the city with their ancient heritage and the trains going across the bridge, the sound of planes? The contrasts with the ordinary world and the presentation of the sewers with their machinery, caverns? The caves with primitive religions? The effectiveness of the special effects, especially during the desert, the frogs, the black rain, the people drowning, the final wave? For the contribution of the music: the classical style, modern styles, Aboriginal background? Obtrusive/unobtrusive, atmospheric?
The final cataclysm? Its realisation at the end?

4. The focus on water - its absence in the desert, and the sudden rain and hail, the continual rain in the city, taps, drains, the realism of the rain, the symbolic use and the mysterious threats e.g. the water in the bath? Billy's death in water? How well was the symbol of water used? How frighteningly, menacingly?

5. The importance of dreams and their interpretation? The visualising of David's dreams - persons, objects, places? His fright and lack of sleep? David's background of premonition dreams as a child? His present dreams as premonitions? (The contrast with his daughter's dreaming of angels and her loving Jesus and her family?) The explanation given by the researcher the Dreamtime and its reality and symbolism? Chris's explanation of communication by dreams, messages given? Charlie's dream and the long subjective tracking shot through David's house into his room and the final presence of Charlie? Dreams as expressions of oneself? Of spiritual power? of mystery? the Aboriginal Dreamtime and all that it means, seasons and cycles, the last times? The Mulkrum and his participation in the dreams? David, the Mulkrum with his spiritual power?

6. The place of the stone, the blood, the mask? The owl? The explanation of mystery? Twentieth century audience response to mystery and realism? Response to symbol and ritual? To lore, laws, secrets and power? David's attack on his step-father as explaining away mysteries and not acknowledging that there was mystery? David as an embodiment of mystery?

7. The tone of the prologue: the Aboriginal, his painting and primitive presentation, the meaning of his painting and the transition to Central Australia, the creation of atmosphere, the desert and the school, the roads, the Aboriginals sitting around, the children black and white playing at the school, the harshness of the thunder, the crash and the ordinary behaviour and the sudden rain? The teacher trying to cope? The classroom episodes, the hailstones and the blood, the fear? The transition of an eruption in nature in the desert into the city and the emphasis on rain?

8. The transition to David Burton: his work, looking at the rain? Richard Chamberlain's style in this performance? As a person, quiet disposition, serious? His background in law, corporate taxation, help with Aboriginal land rights? Reflective, introspective? Dreams, not sleeping? His behaviour at home, in his work? His manner towards the Aborigines? The background of his mother, her death and his premonition? His step-father - The album at the meal with the Aboriginals? His conversations with his stepfather about dreams and his accusation of his stepfather's explaining away mystery? A credible person for these experiences?

9. The portrayal of the Burton family: David arriving home, his daughters, the meals and the conversations? Their experience of the water coming from the bath? The details of their life e.g. tennis matches, picnics with their stepfather and playing with the hose? Fears at home? Their reaction to the rains? The bath, the frogs?

10. The transition to the Aboriginal atmosphere - themes with Billy Corman? Audience interest in the details of his presence in the sewers, his taking the implements, his fear, his being watched by Chris? The transition to the hotel and the musicians? The style of panning to the various musicians and the atmosphere of the hotel, the men drinking? The fight, the challenges? Billy Corman and his fear? Charlie pointing the bone and his death? The mystery for the audience?

11. The transition back to David and his playing tennis, and the contrast of worlds? The discussion with Michael about tribal Aborigines in the city? The Legal Aid office and David's interviews with the Aborigines? Their reticence? Their explanation of the death?

12. The significance of Chris's absence? The screenplay presenting Chris first of all within David's dreams? His significance within the dreams, presence in the house, beckoning, the stone? A premonition of what was to happen? Chris's character, his presence with the group? His warnings to David about what was to happen? The interviews in the street, threats? The bringing of Charlie to the house? His behaviour in the cell, his being threatened by David to tell the truth and his telling the story in the courtroom? His taking it back through fear? The importance of his awareness that he was to go back to the Dreamtime if he revealed the secrets? His decision to take David to the sacred grounds, the ritual of his death? The character of Charlie? His ominous presence and his pointing of the bone? His role as a magician and the explanation? His being presented in paint, in the dreams, as the owl and his presence outside the Burton house? His presence at the meal, not speaking English, the significance of David's coming from South America, from sunrise, his ancestors? His sitting in the room? His speaking English and asking who David was? His being puzzled by David's presence and unable to cope? The communication through dreams and the subjective tracking through the house? His presence in the cave at the end and the significance that David kills him?
13. The phenomena such as the black rain and the newspaper explanation, but the linking with the strange phenomena and the weather? Social chatter about trips being put off, tides changing, the baby-sitter and her parents' tour? David and his experience of greater mystery? His inability to sleep? The rains lashing his house? The questions of the Aboriginal world, law, the explanation by the lady at the Museum and her interpretation of the stone, explanation of the Dreamtime, of the Mulkrum? The possibility of tribal Aborigines in Sydney? The city getting rid of tribal atmosphere?

14. The importance of the experience in the court? Michael's giving up the case, David's conducting it, the interrogation of the Coroner and his explanations about drowning? having the Aborigines in the stand and David's losing control? The growing significance of David as a supra-human being? The importance of Charlie's asking the questions and then, asking David to explain himself? The build-up towards the climax and its sending his family away? The importance of Anne and her presence throughout the film, supporting David, distanced from him, knowing the explanations? (Also the social comment as a white Australian and not having met Aborigines, her encounter with Chris and Charlie, her fears with Charlie standing vigil outside the house? The children and their ordinary childish behaviour, their fear of Charlie as a witch?

15. David and his choices, Chris and the fulfilment of the premonitions, beckoning him, the tour through the sewage works? The transition from 20th century machinery to the caves underneath? Chris not going any further and his death? Comment on the visual presentation of 'primitive' religion and the link e.g. with Easter Island statuary and altars? Paintings and their contents, skeletons etc.? The significance of the drawings of the wave and the calendar? The revelation of the secrets?

THE LAST EMBRACE

US, 1979, 102 minutes, Colour.
Roy Scheider, Janet Margolin, John Glover, Christopher Walken, Sam Levene, Charles Napier, Mandy Patinkin.
Directed by Jonathan Demme.

The Last Embrace was an entertaining thriller when it was first released in the late 70s. It was obviously indebted to the private eye film stories of Raymond Chandler. It was also indebted to Alfred Hitchcock and his style – especially with the culmination at Niagara Falls.

Roy Scheider, very popular as a lead at the time, plays a bewildered man whose wife has died. He finds himself in mysterious circumstances after being released from an institution – being pursued and pursuing. He encounters a mysterious woman, played by Janet Margolin. However, she is in the tradition of the film noir and the femme fatale. Also in the cast are Christopher Walken and John Glover at the beginning of their careers as well as Mandy Patinkin and a number of character actors including Sam Levine.

However, the film is also interesting in the light of the director’s subsequent career. It is one of the earliest films directed by Jonathan Demme, after his apprenticeship to Roger Corman. During the 1980s he made Something Wild and then went on to great success with his Oscar-winning The Silence of the Lambs as well as Philadelphia. He also did remakes of Charade (as The Truth About Charlie) and The Manchurian Candidate. However, his documentary on Haiti, The Agronomist, is well worth recommending as an example of interesting film-making without the intrusion of the director.

1. The popularity of the American thriller? The genre of the private eye? Popularity over the decades, literature, cinema? The title and the overtones of Chandler - love, death, betrayal?

2. The film as a homage to the work of Chandler and the other specialists in private eye stories? The references to Hitchcock both in theme, visual imagery, imitation? A satisfying derivative of Hitchcock's style?

3. Audience acceptance of the genre and its contrivances? The artificiality and its enjoyment? The blend of realism with the conventions? How much did this film rely on the conventions?

4. The gaining of audience interest, the atmosphere of the puzzle and mystery, identifying with Harry? Black comedy, social comment, romance? Ironic comment on American society, characters, corruption? Justice prevailing? Betrayal underlying the finding of justice?

5. Roy Scheider's style as Harry? The tough private eye type? The atmosphere of the opening, the restaurant, the shooting, Dorothy's death and Harry's grief? Seeing him as he recovered, his release? The immediate attempt on his life? His interview with the agency, his rejection, the cold calm of the head of the agency, the orders for Harry to be killed?

6. The quick picture of intelligence agencies - personnel, impersonal approach, presumption of right, playing God with people's lives? To what purpose? In the name of justice?

7. The introduction to Ellie? The sub-letting of the flat, the puzzle at her presence? The attraction? Student? The atmosphere of ease with her, overtones of mystery? The build-up of the relationship between Harry and Ellie? The irony when the truth was revealed - expected because of the Chandler examples?

8. The notes, threats? The background of information and research? Books and libraries? Universities? The buildings? Books and photos? The Hebrew background?

9. Dave and his working for the agency, his motivation, the attack in the bell tower? A deadly and dramatic interlude in the development of the plot?

10. Ellie and her relation to Peabody, his rooms at the university, research? The beauty and atmosphere of the university by contrast with New York?

11. Sam as the friend of the private eye, straight out thirties and forties books and films? His contacts? The discovery of the truth about the brothel?

12. The picture of Ellie at Niagara, disguised as a prostitute, the lurid and vivid presentation of her sexual relationship and murder? The influence of her grandmother and the brothel? Revenge? Credible motivation?

13. Harry and his intensity, worry, the effect of the attempts on his life, the puzzle, friendship with Sam, relationship with Ellie, their becoming lovers? The discovery of the truth and Ellie's part in it?

14. The build-up to the confrontation at Niagara Falls: its length, drama, Ellie and the truth, trying to save herself, Harry and his disillusionment and disgust? Her death?

15. The private eye film, seventies' style - cinema recognition of the tradition, paying homage to it, using it? The director calling his film a dark romance - a picture of individuals in society, American society and its hypocrisy, origins, cover-ups? The value of this kind of contrived film as entertainment, as social comment?

THE LEAGUE OF EXTRAORDINARY GENTLEMEN

US, 2003, 111 minutes, Colour.
Sean Connery, Naseeruddin Shah, Peta Wilson, Tony Curran, Stuart Townsend, Shane West, Jason Flemyng, Richard Roxburgh, Max Ryan, David Hemmings.
Directed by Stephen Norrington.

Because the main characters in this extravagant adventure are literary figures, most of the critics seemed to be expecting some kind of literary and literate film. What with Alan Quartermain from King Solomon's Mines, Captain Nemo from 20,000 Leagues under the Sea, Tom Sawyer, The Invisible Man (or, at least, someone who stole his formula, both Dr Jekyll and Mr Hyde, Dorian Gray (and eventually his portrait) and one woman, Jonathan Harker's wife, Mina, who had, of course, been vampirised by Dracula. And the villain is... well, only by seeing the film will you find out who that literary villain is (and an excellent choice it is at that).

But... The screenplay is based on what were once were comic books and now are Graphic Novels. Author Alan Moore has had his graphic novel on Jack the Ripper filmed under the title From Hell. Graphic novels are not strong on words. It is the simple and straightforward image that counts. So it is here (with pounding sound engineering to add to the atmosphere). The characters all display their idiosyncrasies (with explanations for those who are wondering who all these people are and why they have been summoned). The enjoyment is in the imagining of their interactions.

It is 1899 and a villain called The Phantom has developed tanks and other weapons of mass destruction. He is using them to provoke an arms race and then a war between Britain and Germany. His contemporaries are stuck in the more single combat, bright uniform ideas of war and to imagine a world war seems infinitely fanciful. The M of 1899 summons this league to stalk the Phantom and thwart his ambitions.

An old priest friend once remarked that in movies, he liked a good stoush. This is a film with stoushes galore, and them some. It is full of explosions and mayhem, which makes dialogue sometimes superfluous. After all this is a motion picture of a graphic novel. Sean Connery is himself as Quartermain (but acknowledging he now needs glasses for long distance shooting). Captain Nemo is Indian (which reviewers assure us is genuine. Stuart Townsend is appropriately Wildean and dilettante as Dorian Grey. Jason Flemyng has to double as the slight Jekyll and gross makeup that makes him look like an ancestor of The Hulk.

The twist may be a bit obvious, but it is the identity of the obvious that is intriguing - as long as you know your literature of the time.

1. The dramatisation of a graphic novel? The comic strip style of characters, action, coincidences, quests?

2. The filming done in Prague, standing in for London, for Venice and Paris? African sequences? The atmosphere of 1899, the subdued and dark colours, the end of the century? Fears of war, hopes for the future and for peace?

3. The imagination of the plot, the league, the characters from fiction, each with their own distinctive personality, the background of the literature in which they appeared? Their status in the 1890s? Their being brought together for a mission? An enjoyable flight of fancy? A league of extraordinary gentlemen - and woman?

4. The opening, the tanks, the robberies, the brutality of the Fantom? The robbing of the Bank of England - the destruction of the dirigibles and Britain and Germany blaming each other? Their being dressed in the respective uniforms? The headlines which presage World War One? The Fantom and his discussion of World War One, imagining the unimaginable, the audience knowing that it actually happened and that these were the two main protagonists?

5. The transition to Africa, Nairobi, the huts and the magnificent hotel, the British inside and their drinking, the young man seeking Alan Quartermain, mistaking Nigel for him, the discussions, Quartermain owning up? The proposition to come to England and serve the Empire? His ironic comments about patriotism? The attack on the hotel, the killing of Nigel, the fight, Quartermain deciding to join the quest? The irony that the messenger was in league with the Fantom and that he had sent the gunman? The skills of shooting - especially with Allan Quartermain having to wear his glasses to shoot long distance?

6. His arrival in England, going downstairs, the meeting with M? The explanation of the risk of war? The quest to protect those going to Venice for the international meeting? The arrival of the members - the humour of the Invisible Man, his having taken the formula, a thief, unable to become visible again? Captain Nemo and his Indian background, accused of being a pirate? Mina Harker and her marriage to Jonathan Harker, her becoming a vampire because of Dracula? Their going to see Dorian Gray, his dwelling-place, his resistance, the attack in his house, his agreeing to be part of the expedition? The irony of Tom Sawyer arriving as a special American agent and infiltrating? The decision to hurry to Venice, using the Nautilus?

7. The Nautilus, its appearance, its power, its interiors, the Indian background? The group going to Paris, tracking down Mr Hyde, the hulk-like monster in action, his gradually being reduced to Dr Jekyll and his respectability? The proposal that he be part of the group?

8. The voyage to Venice, the suspicions that the Invisible Man was a traitor? Dr Jekyll and his looking in mirrors and talking with Mr Hyde, images of a kind of schizophrenia? The battle between good and evil within the one person? Quartermain and his helping Tom Sawyer as a kind of apprentice (and substitute for his dead son and others blaming him for the death of his son)? The pulling and shooting on the water? The loyalty to each other?

9. The arrival in Venice, the carnival, the people in costume, the merriment? The irony of the explosions, the domino effect of the collapsing buildings? Each using their skills, especially Quartermain, to stop the destruction of Venice? The confrontations, Quartermain discovering the Fantom, the interchanges and his escape? Eventually discovering that M was the Fantom?

10. The strategies to stop the destruction? The Nautilus, the explosions, Dorian Gray being the traitor? The quick-wittedness of the group and their being saved, Mr Hyde going down into the water to release the flooded bulkhead? The message from the Invisible Man and the map and their going to China?

11. In China, the discovery of the village, the scientists being trapped there who had been taken away at the beginning? Each of them planning a strategy to take over the palace, destroy the weapons, confront the enemy?

12. Quartermain and Sawyer and their going to the building, casing it, stopping the explosions, the confrontation with M, Dante his assistant? The Invisible Man and the henchman taking samples from each of the extraordinary league so that they could use them, especially for disguise? Quartermain and his being confronted, Sawyer with the knife? The shooting, the stabbings, the stoushes? M and his running away, and Quartermain helping Tom Sawyer to shoot him at a distance? The irony of the samples all going under the ice?

13. Dorian Gray, his complacency, the dandy? His having been a visitor to Eton when Quartermain was at school? The famous portrait? The past relationship with Mina, her getting revenge on him, his staking her and thinking he had killed the vampire, her rising, stabbing him - and the portrait deteriorating?

14. Captain Nemo, his crew, the rescue of the scientists and their families? The Invisible Man and his help, but his being burnt?

15. Dr Jekyll, the confrontation with Dante, his taking all the chemicals and becoming a monster? The fight, Hyde becoming Jekyll, the explosions and the destruction of Dante?

16. The accomplishment of the mission, the death of Quartermain, their going to Africa, the funeral - and the significance of the witch doctor, his chants, the movement in the grave?

17. The pleasant irony that M, and the link with British Intelligence, turned out to be Professor Moriarty?

18. The characterisations, the manners, the costumes, the décor, the distinctive elements of each of the extraordinary league?