LATINO

US, 1985, 110 minutes, Colour.
Robert Beltran, Annette Charles.
Directed by Haskell Wexler.

Latino is a strong American movie on the Nicaraguan situation of the 1980's, the Sandinista government, the revolution after the Somoza regime and the American Contras. The film takes a strong stand against the Contras, against American policy and the sending of military advisors and is strongly pro-Sandinista. (In 1989, the Sandinista government was defeated in elections.)

The film was directed by noted Oscar winning director of photography Haskell Wexler (In the Heat of the Night). In the late 60's he directed Medium Cool, a look at the background of the election conventions in Chicago in 1968. The point of view is quite partisan, but deeply felt. The film stars Roberto Beltran (Eating Raoul, Scenes from the Class Struggle in Beverly Hills). The film might be compared to other movies about Nicaragua in the 1980's including Roger Spotiswoode's Under Fire and the Nicaraguan-made Alsino and the Condor.

1. An entertaining film, interesting? Partisan stance? Propaganda or not? The convictions of its perspective?

2. Audience knowledge of the 1980s and American foreign policy, Central America, the war in El Salvador? The revolution in Nicaragua in 1979? The Nicaraguan Contras and the strong military backing from the United States? Their presence in Honduras? The divided public opinion in the U.S. in the 80s?

3. The comparison with movies on Central America in the 80s? Haskell Wexler and his point of view, stances?

4. The title and its focus on Nicaragua and Honduras, the Latinos of Central America on Eddie and the various American Latinos, especially from L.A., and their involvement as military advisors for the Contras? The Contras as Latinos? Nicaragua since the 20s, 1979, the Sandinista movement for progress in farming co-operatives, the optimism in the countryside, the political stances of the Contras, their military background in the Somoza regime in the national guard, their being based in Honduras, raids into Nicaragua, American military advisors, anonymity, financial support? the picture of the U.S. military advisors, the Vietnam background and experience, Green Berets, their anonymity and Eddie's not wanting it but to die for his country, known as such ( the irony of his finally being stripped and taken away to death)?

7. Eddie, Los Angeles, waking him, family, the Vietnam, experience, the orders to go to Central America, his partner and their friendship, transported to Honduras, relationship with officers and commanders, with political personal? with the people in Honduras? Eddie’s attitudes, strong patriotism? Encountering the people in everyday life, the wealthy Hondurans and Nicaraguans and their luxury?

8. The presentation of American authority figures, political, diplomatic, military? The secret strategies against the Nicaraguan government, for the Contras?

9. The picture of the Nicaraguan villages, the inhabitants, the attacks, the violation of rights, men being captured, executions, young men being taken and trained by the military advisors?

10. The woman and her child, her work, widow, living in Honduras, Nicaraguan background? Attracted to Eddie, their experiences together, a possible family? The affair? The effect on her, on Eddy? Their talking together, his ambiguity and concealing his commands, operations? Her return for her father's funeral? The break between the two? Eddie in her house, her return, the possibility of a future? Her questioning his attitudes? Her decision to go to the village, in the co-operative? Her final stance? The American attack on the village, Eddie's capture, her sadness yet her stance as she watched him taken away?

11. Eddie and his partner, the hard attitudes, involved in torturing the young man, training troops? The relentless attitude, superiority? His death?

12. Eddy and the young boy, discovering him, exchanging language, Eddy's decision to teach him, train him? The young man concealing his loyalties working in the American camp? him? His triumphant return to the village?

13. The theme of American humiliation, arrogance, involvement, and taken to death? Audience sympathies, antipathies? Eddie as an ambiguous character?

14. The presentation of the guerrilla warfare in Central America, the Contras and their personnel, their fascist attitudes, cruelty? Villages and the defence? The political implications? The waging of the war in Central America? For whose advantage? The benefits?

LAST EXIT TO BROOKLYN

US, 1989, 102 minutes, Colour.
Stephen Lang, Jennifer Jason Leigh, Burt Young, Jerry Orbach, Sam Rockwell, Ricki Lake, Stephen Baldwin.
Directed by Uli Edel.

Last Exit from Brooklyn is adapted from the controversial novel by Hugh Selby. This is a grim film. Direction is by German Uli Edel, who made the drug expose feature Christiane F. It is set during 1952 Brooklyn Factory strike. It focuses on Harry, a minor union official, brutal with his wife, attracted towards the homosexual and drug sub-culture of the neighbourhood. It also focuses on Tralala, a prostitute on a complete downhill spiral of abuse and degradation. It also focuses on Italian worker Big Joe and the marriage of his pregnant daughter. These three characters are well played by Stephen Lang, Jennifer Jason Leigh and Burt Young.

Much of the action takes place at night, a dark and mostly ugly world in which its characters are or let themselves be trapped. The film shows us the characters in their world without drawing explicit points. It's up to the audience to judge. Many audiences will find this slice of life, sleazy and brutal, too much. It is a pessimistic vision of the city.

1. The controversial novel, court cases and banning? The film adaptation? Slice of life? Issues of the city?

2. The German American production? German sensibility? Direction? Observation of New York from the outside? New York in the 50s?

3. The 50s in Brooklyn, night, the slums, the streets, the homes and apartments, dumping grounds, the factories? The hellish tones of the decor? The grim picture of Manhattan? Sets, clothes? Music of the era? Mark Knoffler's background music? Mood?

4. The title, the focus on Brooklyn, the way into Brooklyn, no way out?

5. Three stories and their being interwoven? The relating of each of the stories to the other? The images of each story? what overall impact?

6. The opening and ugliness of Brooklyn, Tralala and her prostitution, the pimp? The men, the gang, the victims, the set-ups and the robberies? Tralala being used? The relationship with Vinney? The sailor and sexual encounter? Vinney not going on with the robbery? Tralala going to Manhattan, ditching the soldier date, picking Steve? The pleasant relationship with the two? Steve and New York, going to Korea, sexual encounter, his falling in love? Leaving her the letter and no money? Her drinking? Allowing herself to be gang raped? Spook and his regard for her, coming to rescue her and care for her? Her complete physical and psychological and moral collapse?

7. Vinney as the pimp, the gang, picking fights with the sailors? The police, Harry vouching for them? Setting up the victims with Tralala? Georgette and his attraction? The link with the union bosses, the scab workers, setting the explosions? The escape? Seeing Harry proposition Joey, bashing Harry?

8. Harry and his work for the union, on guard, helping the gang and testifying? The strain of life at home, his relationship with his wife, the poor sexual relationship, his children? Going to the party, drinking and drugs, with
Georgette? The attraction towards Regina? Staying the night, the hangover? Being late, the picket breakers? Trying to defend himself, his being sacked? Regina? Drinking, seeing Joey, approaching him on the street, the gang bashing him and Joey joining in? His being left to hang? a kind of degraded
crucifix figure?

9. The unions, the bosses, their talk, plans, jobs? Speeches? Harry being called to account, his job, the warnings, the money? Giving him the sack? The comment on the union bosses?

10. Big Joe as a worker, involved in the strike, with the unions? His family and their Italian background? Some humour? Donna and her pregnancy, the rest of the family, the information about Tommy? The confrontation with Tommy, making demands on him? The preparations for the wedding, the wedding celebration? Joy, picking a fight with Tommy and reconciliation? And going back to work?

11. Donna, Italian background, Catholic, Brooklyn? Pregnant, love for Tommy? Place in the family, the preparations for the wedding, the water breaking during the trying on of the wedding gown?

12. Vinny, about town, work, friends, tough, relationship with Donna, wanting to do the right thing, the challenge by Joe, the build-up to the wedding, the fight?

13. Spook, the kids in the family, at work in the district, at play, the sordid atmosphere, his infatuation with Tralala, helping her at the end? Joey, with the group, Harry and his approach, joining in the bashing?

14. Georgette, the world of the homosexuals, drugs? The reaction of the gangs? The party, the drugs, Regina? The accident and Georgette being killed? (and the author, Hugh Selby, playing the part of the driver.)

15. A picture of America in the Truman-Eisenhower? years? Bleak, vision? The world of human suffering? An exploitative view or not?

LARCENY INC

US, 1942, 95 minutes, Black and white.
Edward G. Robinson, Jane Wyman, Broderick Crawford, Jack Carson, Anthony Quinn, Jackie Gleason.
Directed by Lloyd Bacon.

Larceny Inc is a pleasant B budget Warner Bros. comedy of the early 40s. It is a pleasant star vehicle for Edward G. Robinson who does a suave and polished comic turn. He is ably supported by Broderick Crawford, one of his goofy roles. There is a strong supporting cast which includes Anthony Ouinn as a scowling villain. Heroine is Jane Wyman, blond and very youthful at this period. Jack Carson is the genial hero with the comic touch - a variation on the role he seemed always to play.

The film is based on a play by Laura and SJ Perelman. It has a Christmas setting and is a blend of humour and wise cracks with the prison film and the criminal robbery. Direction is by Lloyd Bacon who directed so many similar films at Warner Bros.

1. Entertaining comedy? Prisons and criminals? Going straight? Crime?

2. Warner Bros. production, B-budget, black and white photography, prison and New York sets? Musical score? The Christmas setting?

3. The title and its humour, the crooks going straight after attempting larceny?

4. The setting of the scene: the baseball match in prison, Sing Sing, Maxwell? Leo as the Sinister villain? Discussions about getting out, the possibility of robbing a bank? Pressure and his conning the warden into giving him his suit, getting the overcoat?

5. Pressure and Judd and their friendship, each using the other? Meeting Denny, Judd's infatuation? Pressure's relationship with his daughter? Getting out, going straight? The plan about the racetrack? Going to the bank, the con talk and failing? Pressure? Help from the taxi driver? The gang reassembled, buying the leather goods? Smooth talking, the owner? Judd doing all the digging? the salesman and the new goods, the customers in the street, going to the official, his double-dealing them, it backfiring and his becoming a hero, party in the street? Denny and her Pressure, Jeff and his selling the goods? The accomplices getting interested in successful business? Going straight? Leo's arrival, his henchmen, the pressure, the plans for the break-in on Christmas Eve, dressed as Santa Claus? The build-up to the explosion, the police coming? The arrests and the criminals being imprisoned and the goodies going free? Edward G. Robinson in this particular style?

6. Broderick Crawford's comic touch as Judd, following on, baseball, getting out, the stooge, getting hit in the street and the insurance money, digging, loving Denny, continually imposed on?

7. The cab-driver, part of the gang, selling the fur? Getting interested, holding the shop, getting all the goods sold to him, selling to the customers? With the comedy of trying to get rid of the customers? Participation in the plot, the new beginning?

8. Penny as daughter, concern about her father, meeting, Jeff, the date, his pressure on her, their working together?

9. Bigelow, the gang, explaining the range, his attraction towards Denny, working with her, all the sales and the
advertisements, success?

10. Mr Bigelow and the people in the street, the subway digging, business in decline, the deals, getting out and his awkward return?

11. Pressure on the group, the Santa Clause disguise, the plan and their being arrested? officials wanting to buy the shop, the storekeepers, the comic crooks, the serious crooks, the soda jerk (Jackie Gleeson in an early role)?

LUCKY JIM

UK, 1958, 95 minutes, Black and white.
Ian Carmichael, Hugh Griffith, Terry- Thomas, Sharon Acker, Jean Anderson, Maureen Connell, Clive Morton, John Welsh, Reginald Beckwith, Kenneth Griffith.
Directed by John Boulting.

Lucky Jim is one of the Boulting Brothers' realistic satires of the late '50s (I'm All Right, Jack, Private's Progress). It is based on the famous novel by Kingsley Amis and satirises the status of university education, especially the new red brick universities of the '50s.

Once again, Ian Carmichael is presented as the English hero of the '50s - strong, weak, rebellious, self-seeking. There is good support from, an egotistical Terry Thomas as well as a bewildered Hugh Griffith as a professor. The film introduced Sharon Acker.

The film was popular in the '50s, it probably caught the atmosphere of the time. It has less impact in succeeding years but is a reminder of a style of British comedy of the period.

1. Interesting and entertaining? Comedy about intellectuals? About Britain in the '50S?

2. Black and white photography, the atmosphere of the new English universities? Musical score?

3. The title and its irony? Its focus on Dixon? His place in an emerging Britain? Intellectual Britain? The universities?

4. Ian Carmichael's portrait of Jim: responsible and irresponsible, his not going to meetings, his digs, his friends, his tutorials? His working for Welch, doing his research? The entanglement with Margaret Peel and his breaking it off? The plans for his giving the memorial speech? The comedy of his spending, the weekend at the Welches - as a servant, clashing with Bertrand, attracted towards Christine? The meal, the concert - and its mix-ups with the telephone call and the dog? His going out drinking and coming back noisily - with Margaret Peel, the statue with the bottle? Meeting Christine, attracted towards her? Her uncle throwing them together? The organisation of the ceremony and the fiasco with the pot-plants? The build-up to the speech and his stance as regards the speech? Its effect on him, his integrity, his future?

5. Hugh Griffith as Welch: at the university, busy, authoritarian, absent-minded, at home, his wife and her sternness, expectations, the music, the internal politics of the university? Using Jim? The build-up to the speech, his reaction to Jim's use of his material? The satire on university professors?

6. Bertrand and Terry-Thomas' style, his superiority, his talking psychologically, his novel, boring people, his relationship with Christine? With her uncle and his come-uppance?

7. Christine, with Bertrand, attracted towards Jim, dancing, coffee, the reaction to the speech? Future?

8. The personnel at the university: the authorities, their meetings and decisions, the ceremony and the satire with the group walking over the pot-plants the staging of the memorial speech, the fiasco?

9. Support from minor characters: Margaret Peel and her obsession about Jim? His roommate and drinking friend? The Welsh friend and his wheedling his way into authorities' attitudes?

10. Verbal humour, situational humour, farce, satire? The effectiveness of the satire in retrospect?

THE LOVE WAR

US, 1970, 74 minutes, Colour.
Lloyd Bridges, Angie Dickenson, Daniel J. Travanti.
Directed by George McCowan?.

The Love War is not a film about romance or marriage or divorce but a science fiction telemovie. Directed by George McCowan?, director of many telemovies (The Ballad of Andy Crocker), the film has Lloyd Bridges and Angie Dickinson as space aliens and an alien empire in a struggle with earth. The film has as its background the post-nuclear wars of two planets and the decision that representatives of the planet bail out the future of the Earth on Earth. Bridges plays his normal self an engaging character as hero of the battle. He encounters the attractive Angie Dickinson and relates well to her, a performance of an alien trying to be human. (His son Jeff Bridges did a similar thing in the engaging Starman.) Doomed since Angie is actually is alien opponent

The film is a piece of Americana - but with the science fiction background of the 1970s. Among the supporting cast is Daniel J. Travanti (later of Hill Street Blues).

1. An entertaining telemovie? Science fiction?, in contemporary America? Credible drama and science fiction?

2. The countryside, the way of life in the '70s, aliens inserted into this kind of atmosphere? Special effects for the aliens? The stunt work for the battles and, crashes? The quality of the cast, to give the plot credibility?

3. Earth and its environment? The planets, their developing technology, nuclear issues, the clashes of the planets? the decisions to have representatives do battle? Earth as the battleground for the aliens? The future of Earth in this galactic atmosphere of war? The irony of the title in the relationship between Kyle and Sandy - its ultimate irony?

4. The picture of contemporary America: the roads, the towns, hotels, police? Aliens able to insert themselves into this kind of atmosphere? Kyle's awkwardness, his stilted stilted speech? His ignorance about human feelings? The encounter with Sandy, and his learning from her? The irony of Sandy's skill in inserting herself into the human condition?

5. The portrait of Kyle as a being, his charm? Using his wits? The cat-and-mouse techniques of chase and hide? His being able to eliminate his pursuers? The encounter with Sandy, the humanising of Kyle, his trust? His reliance on her? The tension of their relationship? The irony of her being the enemy? His defeat?

6. Angie Dickinson's style as Sandy, girl around situation, friendship with Kyle, humanising him, the quality of the relationship? The effect on her? Her mission - and her success in seducing him, persuading him not suspect her, getting his trust? Her decision to fight for her planet?

7. The supporting aliens, their disguises, their human behaviour, the battles - along the line of gangster and western films? Audience enjoyment of these conventions? American action?

8. The pathos of the ending - the betrayal of Kyle, Sandy's betrayal? Me aliens and their victory? The consequences for Earth?

9. The value of science fiction fables? The possibility of looking at human situations through the eyes of aliens? The quality of this film as science fiction?

LOVERBOY

US, 1989, 98 minutes, Colour.
Patrick Dempsey, Kate Jackson, Robert Ginty, Nancy Valen, Dylan Walsh, Barbara Carrera, Carrie Fisher, Kirsty Alley.
Directed by Joan Micklin Silver.

Loverboy is a strange choice for director Joan Micklin Silver, director of the movie Hester Street and the charming Crossing Delancey. This is a French-style sex farce, an amoral attitude towards life and sex.

It is a star vehicle for Patrick Dempsey who starred in The Woo Woo Kid and Can't Buy Me Love. Kate Jackson and Robert Ginty are his parents, Kirsty Alley and Barbara Carrera and Carrie Fisher are women lover boy helps.

The film focuses on a young man in college, his summer break, his being attracted (unaccountably) to older women and his servicing them as he delivered pizzas. At times the farce is frantic, reminiscent of French bedroom farce. However, the film is thin and silly rather than charming. The moralising is ending tacked on - which just touches the surface of what had gone before, to Loverboy's surpriser.

1. Sex comedy, sex farce?

2. The amoral tone? Randy and his attitude towards life, relationships, The moralising at the end, his facing Jenny, explaining what had happened, giving the money back?

3. Los Angeles, homes and high society, fashion? Musical score?

4. The opening with Randy as punk, the party, his friends and their partying, Jenny and her disgust? Her attack on him? His poor grades? Keeping Jenny secret from his parents? His father and his work, not knowing Jenny, and taking her case?

5. The sketch of Randy's parents: Joe and Diane, married 20 years, their concern about Randy and his studies, the courses, making him go to work, the mistaken information about the coat from Alex and Tony, thinking that he was gay, misinterpreting the suitcase with Jenny's clothes, their concern? The work, the father out at night, the fights? Diane and her stress, getting the phone number, going to the motel, her backing out, Tony delivering the pizza and chasing her on the bike? The party, the, fights and reconciliation?

6. Randy and his age, living with Jenny, at college? The summer job, his eyeing the girls, following the woman into the shop, the encounter with Ellen, sending the clothes, giving him the money, the sexual encounter, the goodbye? His decision to make money for his course -from women? The Japanese woman and her story about her husband? His many attempts to see Joyce, her wanting only dancing, his learning how to dance for her? Monica and the photography, her muscle-building husband? The collage of the other women? The effect? Sal as the bookkeeper?

7. The change in Randy, sexual experience, in understanding women, tender, leaving the rose, dancing like Fred Astaire? His phone calls to Jenny and her change of heart? Sal at the shop, his support of Randy's plan, keeping the accounts? Tony with the girls, the encounter with Diane, chasing her? The owner and his prosperity? Jory, his claiming Jenny, sneering at Randy, approaching Jenny and her rejection of him? The irony of his being mistaken for the sex man, being beaten up by the husbands?.

9. The point being made about the women, their behaviour, the payment, cheques?

10. Harry, his relationship with his wife, Joe building the factory, the water, having to stay the night there, Joe's secretary there, answering the phone? The damage, Diane misinterpreting? Harry returning, the robot and his wife? Going to Dr Palmer, the operation, the irony of his concern about his wife? Going to find the muscle-builder? Avenging themselves?

11. Randy, his stances, fears, the dreams? The effect, the farcical situations Going with the Pizza, discovering his mother, wanting to save her? Meeting Jenny, her upset? His confession to her - and her response? Change of heart, giving the money back?

12. American farce, situations and timing? What had Randy learnt? His future?

LOULOU

France, 1980, 110 minutes, Colour.
Isabelle Huppert, Gerard Depardieu, Guy Marchand.
Directed by Maurice Pialat.

Loulou is the work of noted French director Maurice Pialat. A prolific director, his work is little seen outside France. With the famous stars in this film, he had a breakthrough in international exhibition.

Pialat works in detailed realism, focusing on the underprivileged and poorer classes. His films are also set in the provinces and provincial towns. The film focuses on characters and detail rather than developing a strong plotline. In this way he gives insight into human nature as well as commenting on French society.

Both stars had appeared in many films in the late '70s and work well together.

1. The acclaim for the director and his films? His reputation? Contribution to French cinema? The popularity of his stars? The way that they worked together?

2. Cinema style: locations, life in the provinces, the towns, the details of urban life? Colour photography, use of locations? Score?

3. Audience expectation from the stars? The quality of their work?

4. Gerard Depardieu's performance as Loulou: his size, appearance? His name - and it being slang name for a yob? Class background, interests, the confines of his world? Relationship with women? Macho style, self-absorbed? Bars, fights? the encounter with Nellie, living with her, the flat? hanging around, the robberies? The visit to Nellie's family? The seeming flirtation and the clash? The break with Nellie? A narrow world, limited horizons?

5. Isabelle Huppert's portrait of Nellie? Her relationship with Andre, the reason for her breaking it? Her passivity and dependence? Bourgeois background? The encounter with Loulou, the excitement? The bars, hanging around with him, the robberies? The sexual liaison, her spending so much time in the flat? Her visit to her family, her shock at Loulou's behaviour? her pregnancy? The decision to get an abortion and leave Loulou? A drifting woman? Her society background? Expectations? Her future?

6. The contrast with Andre and his relationship with Nellie? Educated, work in the advertising agency? The specific contrast with Loulou the jacket and his attempts to appear macho?

7. The abortion crisis - Nellie's attitude, decisions? The contrast with Loulou and his emotional reaction?

8. The sketch of Nellie's family, their behaviour, the meal and the meal as a way of commenting on behaviour?

9. The world of the bars, the petty gangsters?

10. The impact of the realism? An audience involved in this kind of world? Empathy? Understanding?

LOTTIE LYELL

Australia, 1988, 50 minutes, Colour.
Odile le Clezio, Bob Ellis.
Directed by Ben Lewin.

Lottie Lyell is one of the short films in the Bicentenary series on significant Australians. It is a focus on the actress Lottie Lyell and her relationship with director Raymond Longford. The film particularly focuses on their making of the classic The Sentimental Bloke.

Odile Le Clezio is persuasive as Lottie Lyell. There is an interesting supporting cast including a cameo role by Bob Ellis as C.J. Dennis. His wife, Anne Brooksbank, wrote the screenplay. Direction is by Ben Lewin (The Dunera Boys, Rafferty's Rules, A Matter of Attraction.) The film highlights the pioneering work of Lyell and Longford and the Australian film industry.

1. The choice of Lottie Lyell as a Bicentenary Australian? The impact for Australian audiences?

2. A quality telemovie, brevity, focus? Australian-oriented?

3. The early decades of the century in Sydney, the inner city suburbs, flim locations and the musical score?

4. The making of The Romance of Margaret Catchpole and the making of The Sentimental Bloke?

5. The portrait of Lottie: strong, interest in films, the making of Margaret Catchpole and the relationship, Longford's wife, living with him, his showing her the book of The Sentimental Bloke, the search for and the bargaining with C.J. Dennis and the producer? Going to the music hall to find Arthur Taucher? her illness? The collaboration (and her giving directors advice), the portrait of Doreen, the success of the film, her death - and it being too late for her to marry Longford?

6. The portrait of Raymond Longford: strong, his estrangement from his wife and the relationship with Lottie;
Margaret Catchpole and its success? Interest in The Sentimental Bloke, searching for money', the decisions and the bottle bargain? His skill as a director? Advice from Lottie? The visit to his family, hostility of his son, his wife's leading the neighbours to think she had a husband, the refusal of the divorce until too late? Lottie's illness and death? His decline as a director?

7. Longford's wife and her position, Catholic background, the hostility of her son?

8. Question of reputations? Lottie and Raymond going to parties, society attitudes to their relationship?

9. Australian film-making: Margaret Catchpole, The Sentimental Bloke: the market scenes, Romeo and Juliet, the wedding, the ending the making of a classic?

10. Their contribution to Australian cinema?

THE LOST BOYS

US, 1987 97 minutes, Colour.
Jason Patric, Kiefer Sutherland, Corey Haim, Diane Wiest, Corey Feldman, Barnard Hughes, Edward Herrmann, Jamison Newlander, Alex Winter.
Directed by Joel Schumacher.

The Lost Boys is a vampire comedy thriller aimed at the teenage market. It was produced by Richard Donner,(The Omen, Superman the Movie), who also directed The Goonies. The film relates very much to this latter - a group of young boys, adult adventures given the teenage touch. Direction is by Joel Schumacher (St. Elmo's Fire).

The film has a glossy look, lots of songs, comic horror special effects - and quite a good cast including Diane Weist and Edward Herrmann. Jason Patric and Jami Gertz have the hero and heroine role, the film is stolen by Corey Haim as the young brother, Corey Feldman and Jamison Newlander as Rambo-like teenagers, Kiefer Sutherland is the head vampire and Barnard Hughes is Grandpa.

The film does not take itself too seriously - but has some comments about contemporary youth, about American towns, about horror traditions.

1. Enjoyable film? Vampires? The American way of life? American teenagers? Family? Serious and humorous?

2. The atmosphere of the American town of Santa Clara, California, the coast, hones, shops, the outskirts, cliffs and caves? The importance of stunts and horror special effects? The musical score and the wide range of songs used?

3. The title and its focus? The youngsters of Santa Clara and their disappearance? Michael and Sam caught up in this atmosphere? The youth cult and weirdness? Redemption from these lost cults?

4. The focus on the family, Lucy and the divorce, her decision to go to California, her father? Michael and Sam? The atmosphere of the town? Friendly, hostile? The disappearing teenagers? Their settling into the home? Their relationship with Grandpa? His wise comments? his eccentric behaviour? His stuffing of the animals? His gifts?

5. The focus on Michael and Sam? Michael as the teenage hero? Meeting the boys? Attracted towards Star? The tough gang and David? The going to the underground hideout? David's friends? The drinking of the blood? Michael's transformation? His becoming more like a vampire and Sam's reaction? His reflection, flying, outside the window? Michael and Star? The child vampire? The plan to kill the chief vampire? Michael's reaction to Max? His clashes with his mother? The plan to attack the cave? The tests? The rescuing of Star and Laddie? The clash with the vampires? The excitement in the house? Michael and David and the confrontation? David's death? Lucy and Max? The revelation about Max? The help of Grandpa? Michael being transformed? The humour with the contrast of Sam and his friends, Edgar and Allen, the comic books, the warnings about the vampires, their Rambo dress and style? San and his mother, Michael, Star? Getting involved in the adventures? The help of his friends? The final fight with holy water, arrows and stakes? The happy ending?

6. The vampire gang: David as leader, his friends, their hovering around the town, the carnival, in the dark? Traditional vampire effects? Modern youth with the punk touch? Their vampire behaviour - jumping off the bridge? The cave, the drinking of the blood? The menacing? Star? The build-up to the attack, the confrontation, the fight and deaths?

7. Star, the heroine, attracted to Michael? Eddie? The rescue and the fight?

8. The mother, the divorce, love for her children, their erratic behaviour, trying and her having to cope with teenage children? father? The job, meeting Max, his invitation to the home, the family testing him out and his passing the test? her attraction towards Max and the final revelation that he is the
head vampire?

9. Grandpa, his animals and their being stuffed, The final saving of the family?

10. The picture of the American town? Families? Youth? The symbolism of the gang and their vampire power in getting control of people and destroying them? The going against the usual vampire genre insofar as hero and heroine can be rescued?

LADY IN THE LAKE

US, 1947, 105 minutes, Black and white.
Robert Montgomery, Audrey Totter, Lloyd Nolan, Leon Ames.
Directed by Robert Montgomery.

Lady in the Lake is a mid 40s-melodrama based on a Raymond Chandler novel with his private eye Philip Marlowe. It was one of several films of Marlowe made at this tine: Murder My Sweet with Dick Powell, The Brasher Doubloon with George Montgomery. Humphrey Bogart in The Big Sleep. Later versions included Robert Mitcham in Farewell My Lovely and the Big Sleep re-makes, James Garner as Marlowe, Elliot Gould in The Long Goodbye and Powers Boothe in a television series.

Robert Montgomery directed this film as well as acting as Marlowe. It is famous for its device of having the detective's perspective of himself - the detective being seen only in narrative explanations and then, during the film, only in reflections and shadows. While the film is imaginatively made the screenplay is rather pedestrian. Audrey Totter has to emote as the enigmatic Adrienne Fromsett. The supporting cast includes Leon Ames and Jane Meadows in a melodramatic role. The film is an entertaining murder mystery in itself - but is interesting in comparison with the other versions of Marlowe at the time and later.

1. Interesting murder mystery? Private eye thriller?

2. Production values, black and white photography, California of the 40s? Los Angeles and the city locations? The musical score - mainly choral background?

3. The effectiveness of the subjective techniques, everything from the perspective of Marlowe's view? The narrative inserts with Robert Montgomery talking to the camera? Marlowe being seen only in reflections?

4. The mystery, the identity of the lady in the lake, the identity of the killer? Sufficient clues, satisfying investigation, solution?

5. Robert Montgomery as Philip Marlowe - the hardboiled detective, in sunny Los Angeles(compared with the dark and seedy backgrounds of so many other films)? In need of jobs, his answering the request of Adrienne Fromsett? Explanations, his own attitudes towards the case from the narratives and his facing the audience? The involvement with Adrienne, the puzzle about Kingsby? His own short story and the publication? verbal fencing with characters? Puzzle about Kingsby? Going to see Lavery, the interview, his being knocked out? Set-up and arrested? The attitude of the police? The clashes with De Gamo, the hostility? The interviews with the chief? Reporting back to Adrienne and her manipulating him? Falling in love? The other visits to Lavery - and the landlady present, her histrionic turn, finding the dead body? Being arrested? The frame-up by De Gamo and the clash? The interview with the chief - being interrupted by his humorous and homely chats on the phone? Following the clues, going up to the summer resort? The identity of the lady in the lake? Leaving the rice track for Adrienne to follow? De Gamo following him? The confrontation with Mildred, the revelation of the truth, the killings? The chief and arriving after the event? Adrienne? The solution of the murder? His character and style as a private eye?

6. Adrienne Fromsett as the femme fatale type, her work for Kingsby, editing, verbal fencing, seductive? Audrey Totter's style of acting - especially for the camera as Marlowe's eyes? Her jealousy, manipulating the plot, ambitions to marry Kingsby and get his wealth? The search for Kingsby's wife? Urging him to find Lavery? The mystery of her relationship with Lavery? The Christmas party and Marlowe's arrival, the confrontation? Her reaction to his being in jail, ambiguous attitude towards the case? The final discussions, her guilt or innocence, the rice and her being able to follow? her giving up on Kingsby? Lavery, the mystery of the telegram, tennis professional, his southern accent, manner, attitude towards Marlowe, the attack on him?

7. The landlady, her carry on? Her being revealed to be Mrs Kingsby? Back to the camera, demanding the money - and then the true reason that she killed? The links with DeGamo? Her marriage, alleged murder, her committing murders? The confrontation and her death?

8. De Gamo, the crooked cop, antagonism towards Marlowe, framing him, following him, clashes, with the chief, the finale and the revelation of the truth, his death?

9. The chief, the stereotype of this kind of movie, the human touch with the attitudes towards Adrienne, the humour of his phone calls to his wife and daughter about Christmas?

10. Kingsby, the affluent publisher, his wife disappearing, his relationship with Adrienne, his finding out about the private eye, clashing with Adrienne?

11. A film noir of the mid-40s - with a different style?
___

THE LADY IN THE LAKE

US, 1947, 105 minutes, Black and white.
Robert Montgomery, Audrey.Totter, Lloyd Nolan, Tom Tully, Leon Ames, Jayne Meadows, Dick Simmons, Morris Ankrum.
Directed by Robert Montgomery.

Raymond Chandler, who worked in Hollywood on such films as Double Indemnity, was very popular as novelist in the 1940s with his private eye, Philip Marlowe. And this popularity continued in succeeding decades.

Dick Powell had appeared as Marlowe in Murder, My Sweet, George Montgomery in The Brasher Doubloon and Humphrey Bogart in The Big Sleep. This time it is Robert Montgomery, something of a hard-boiled Marlowe, somewhat stolid in his manner, with sardonic repartee, writing short stories, given a murder case with its ambiguities, his personal involvement and getting knocked around, and a romance.

One of the things that distinguishes this film is its subjective technique, Robert Montgomery directing, acting the part, with the camera on him several times as he introduces the story and several commentaries throughout, but otherwise the camera becoming his eye point of view, with the consequences that the rest of the cast had to do a different performance, speaking directly to camera as if speaking to Marlowe, and the camera roving round rooms with Marlowe’s point of view.

Audrey Totter seems to be a femme fatale, an editor at a publishing firm for lurid short stories. She is glamorous, seductive, an object of suspicion. Leon Ames the portrays the publisher, with Lloyd Nolan the detective, Jayne Meadows is the ultimate villain.

The plot is not one of Chandler’s best but it suffices as an interesting entertainment, but one wonders how Marlowe would come across in a different performance from that of the blunt Montgomery.

1. The popularity of Redmond Chandler novels? Of Philip Marlowe as private eye? The popularity in 1940s and the various film versions?

2. Robert Montgomery’s contribution, performance, direction?

3. MGM production values, black and white photography, city settings, publications, police precincts, cells? Musical score?

4. Characteristic technique of POV, the viewpoint of Philip Marlowe, subjective, the performancs required from the cast with the camera looking directly at them and they at Philip Marlowe, the techniques of Marlowe appearing in a mirror, his shadow?

5. The popularity of film noir at this period?

6. The introduction, Philip Marlowe talking directly to camera, his work as a private eye, his writing the story, submitting it? Going to the interview? The flirtatious secretary? Meeting Adrienne? Her appearance, manner, style, her name with the capital A? Kingsby as the boss, her influence? The discussions about the story, Marlowe and his quips, the responses, wanting to employ him to find the publisher’s wife?

7. Philip Marlowe, his personality, direct, ironic humour, the touch stolid? His career, work is detective, the writing, the possibilities for a future in writing? His roving eye? The relationship with Adrienne, hot and cold, attacks, her being upset?

8. Adrienne, the situation in the publisher’s office? Audience suspicions of her? Her relationship with the boss, wanting to marry a millionaire? Her being thwarted by Marlowe? Her consciousness of his attraction to her?

9. The complications of the case, Marlowe going to see Chris Lavery, the gentleman from the South, knocking him out, the frame up with the crash and the alcohol, Marlowe going to prison, the Detective and the clash, Kane and his being in charge? Adrienne wanting to go to the lake, the news about the body in the lake, the identity, her marriage, the past, in the city, associated with her nursing work, the death of the patient, the grief of the parents, the infatuation of the detective, his covering for her, the disappearance?

10. Going to Lavery’s apartment, seeing the owner, gun, her story, leaving, his promise to get the money, the discovery of Lavery’s body, suspicions, especially on Adrienne? The possibility for Kingsby to be the killer?

11. Adrienne, irritated with Marlowe, firing him? Kingsby, the discussions, employing him to find his wife?

12. The further attack on Marlowe, the crash, finding the drunken man, putting his identification in his pocket, in jail?

13. The discussions with the Detective, the clashes, angers?

14. The police chief, more sympathetic, the questions? His talking to his daughter on the phone, the homely touches and his wariness about Marlowe?

15. The finale, Kingsby’s wife wanting money, the arranged meeting, the rice leaving the track? The Detective and his getting the information, arriving first, the identity of the woman, the confrontation, the insane arguing that she was good and then urging the detective to kill Marlowe, Marlowe’s move, the
shootings and the deaths? The arrival of Kane? Resolution of the mystery?

16. The possibilities for Marlowe and Adrienne in the future?

17. How satisfactory as a dramatisation of Chandler’s novel?