LEGEND

US, 1984, 94 minutes (114 Director's cut), Colour.
Tom Cruise, Mia Sara, Tim Curry, David Bennent.
Directed by Ridley Scott.

Legend takes up some familiar material of the 1980s.

Legend is a variation on the sword and sorcery genre. It was directed by Ridley Scott who began his career in commercials. His films include The Duellists, Alien, Blade Runner. He has an ability to create beautiful scenes with a wealth of detail. The narratives of his stories do not quite catch the visuals in their intensity, beauty or clarity.

There is a dramatising of the struggle between good and evil - in a faerie world. Tom Cruise seems rather too American as the hero. However, Tim Curry gives an impersonation of the Power of Darkness which is quite compelling. Among the goblins and creatures David Benent, the boy from The Tin Drum is effective as an elf.

Cinematography and the production design are excellent.

1. The perennial interest in fairy tales, the struggle between good and evil, chivalry? The drawing on the old stories, the sagas, mediaeval epics and folklore? Traditions of another world? For 20th century audiences? The appeal of these worlds?

2, The perennial delight of audiences in legends? Fables? The stories and the insight? The emphasis on the story - and audiences drawing their own conclusions? The traditions of the fairy tale, or folklore - audience appreciation of the conventions? Audience expectations?

3. Beauty and ugliness? The strange features of this faerie world? The forests, the castles? Magic? The beauty of the forest; the contrast with the Ice Age? The realm of the Power of Darkness? Unicorns, elves, goblins? The importance of the special effects? The action sequences? Musical score and songs? The emphasis on style?

4. The straightforward plot, the presentation of good and evil, beauty and innocence, wildness and civilisation, power and magic, the hero champion, her being bewitched, the eternal winter, the forces of light, light and darkness, conflict, the test and endurance of the hero, his quest and the achievement of his goal?

5. The effect on the audience of being swept into this world, accepting it, experiencing it, the delight of the story, the values?

6. The initial appearance of evil, the ugliness, ludicrous behaviour, appearance, manner? Darkness and the Powers of Darkness (the overtones of Disney's Fantasia)? A devil figure, powerful voice, arms, clothes, make-up - black and red, lipstick? The contrast with purity and innocence? The goblin, Jack and Lily? The unicorns? The capturing of the unicorns, the hacking of the horns? the power of the unicorn's horn? her being forced to kill the unicorn? The goblins and their response?

7. The Power of Darkness - evil, night and winter, the evil court, the mission, casting the spell on Lily, black, the struggle, the light flooding into the underground cavern? The Power of darkness and his father, his mission, failure and death? Killed by the unicorn's horn? The destruction of the symbol of evil?

8. Lily, the attractive princess, pure, delight, family and play, love for Jack, the unicorns - and her foolishness in touching the unicorn, fear, blame, the eternal winter? The ring in the pond? Losing Jack, the chase, her being caught; in the dungeons, the spell, being seduced to the Power of Darkness, the Sleeping Beauty emblems of spell, the ring, the Prince Charming and her being awakened from her spell, released?

9. Jack as ordinary young man, hero, strong, rough, innocent, the unicorns, his love for Lily, the ring and his discovery of the winter? The encounter with the elves? Their making him the champion, the armour, the goblins, the witch, the castle, the dungeon, light and the mirrors, fighting the Power of Darkness, his skills, the help of the elves, his diving for the ring and his awakening the sleeping princess?

10. The elves and their leader, their jokes, fierceness, riddles, testing Jack, help with the battles, Oona and her appearance, help?

11. The humans and their ordinary life, the homeliness of ordinary life, their being frozen?

12. The beauty or Spring-, the coldness of Winter? Light and darkness?

13. The perennial delight of fairy and folklore stories - how well do they translate to cinema styles of the 20th century?

LE PLAISIR

France, 1952, 93 minutes, Black and white.
Claude Dauphin, Gaby Morlay, Danielle Darrieux, Daniel Gelin, Madeline Renaud, Pierre Brasseur, Jean Servais, Jean Gabin, Simone Simon, Amadee.
Directed by Max Ophuls.

Le Plaisir is a film by Max Ophuls. The celebrated French director (La Ronde) spent some time in the United States and made the thrillers The Reckless Moment and Caught as well as the classic Letter From An Unknown Woman. This film is a collection of three short stories from Guy de Maupassant. They focus on different aspects of love, pleasure, suffering, death. There is an excellent French cast which includes Claude Dauphin in the first story, Jean Gabin and Danielle Darrieux in the second and Daniel Gelin and Simone Simon in the third.

1. The work of Max Ophuls? His French perspective on human nature, manners and morals?

2. His cinema style? Black and white photography, moods, tableau? Musical score? Light and shadow, darkness?

3. The stories of de Maupassant? His interests, voice-over commentary?

4. The Story of the Mask: The inn, the dancing and its verve, the old man masked and his joy in dancing, the commentary on his behaviour, his collapse, the help of the doctor, his being taken home, his being revealed as old, his wife and her comments, memories, his desire to keep young? The doctor's response and his return to the dance?

5. The Story of the Brothel: Period, 19th century, Normandy, the town, the brothel, the owners, the men, the verve? Finding it shut? The women and their dressing up, going on the trip? The journey to the First Communion? Travelling in the train, the salesman, the woman and her disapproval, the travellers? The groom and his meeting them? Their coming to the town, in the family, their behaviour? Their participation in the religious ceremony? The importance of the First Communion? The rituals? For the girl making her Communion? Their enjoying the visit, the effect, the return? Everything back to normal? De Maupassant's comment?

6. The artist and his lover: the theme of love and death, the artist, his model, their relationship, tensions, the friend? The clashes, the planned marriage? The emotional response of the woman, her hurling herself from the window? her injury and the artist's devotion to her?

7. A French perspective on human nature?

LOVESICK

US, 1983, 96 minutes, Colour.
Dudley Moore, Elizabeth McGovern?, Alec Guinness, Christine Baranski, Gene Saks, Renee Taylor, John Huston.
Directed by Marshall Brickman.

Lovesick is a might have been successful comedy. It has excellent credentials - but unfortunately misfires.

The film is written and directed by Marshall Brickman, writer and director of the Alan Arkin satire Simon, and collaborated with Woody Allen on such films as Annie Hall and Manhattan (echoes of which are seen in the satire of life in New York). The film was one of Dudley Moore's many comedy vehicles in the early '80s (many of which were not particularly successful e.g. Wholly Moses, Six Weeks, Romantic Comedy). Elizabeth McGovern? (Ragtime, Once Upon a Time in America, Racing with the Moon) is a charming leading lady. Alec Guinness tries an impersonation of Freud. There are all kinds of guest spots ranging from directors Gene Sacks and Wallace Shawn to Renee Taylor and artist, Larry Rivers. John Huston also appears as a psychiatrist - Huston had directed Montgomery Clift in the film biography of Freud in the early '60s. Of some interest and enjoyment -but not successful.

1. A comedy, satire? Exploration of obsessions, psychology? Psychiatrists and their responsibilities? Transference? In the New York setting? The blend of comedy and satire?

2. Production values: the atmosphere of New York, the offices, apartments, the streets, theatre, art galleries, hospitals? Colour photography? Musical score? Special effects with Alec Guinness impersonating Freud?

3. The title and its amiable romantic tone? Indication of themes? Romantic comedy? Psychiatry?

4. The portrait of Saul Benjamin: Dudley Moore's pleasant interpretation? Adequate scope for Dudley Moore's style? His friendship with Otto Jaffe? The meeting with Chloe? Attraction, sessions, his falling in love, 'counter-transference'? Freud's materialising and giving him advice, asking him questions? Saul's obsession with Chloe, going to the theatre, seeing Chloe and Ted? His decision to have treatment? The visit to Dr Geller? His breaking into Chloe's apartment, the journal? His wife and her living with the artist? The psychiatrists gathering together to discuss Saul's behaviour, his suspension? Saul's erratic behaviour - going to the street people, the encounter with Marvin? The dinner, his self-defence, his helping Marvin and the Social Security money? Everything blowing up? Antagonism towards Chloe? His pulling the tablecloth from the table and going off to Mexico? A happy ending?

5. Chloe and her problems, writing, the theatre, relationship with Ted? Rehearsals? Her wanting new affairs? The up and down relationship? (Who was lovesick?) The journal, Chloe and Marvin? The fight and the reunion?

6. Alec Guinness' portrait of Freud - a humorous conceit, Freud's words, the corny humour (about Freudian slips etc)? The homage to Freud, the spoof of Freud's influence? The scenes between Saul and Freud?

7. The gallery of supporting characters - the range of eccentrics: the patients -the nymphomaniac, the frantic man, Mrs Mondragon, the gay patient, the silent man? The society people at Otto's party? The world of the theatre with Ted Caruso and his self-centredness, the people at the rehearsals? The people at the art gallery, the artist, the director? The street people, especially Marvin? The people at the hospital, the Social Security office? The range of psychiatrists at the dinner?

8. John Huston's sketch as the concerned doctor? His advice to Saul?

9. American interest in psychology, psychoanalysis, Freud? The influence on actors and actresses? Therapy? The satire on the influence of Freud? The satire on emotional and mental illness? While affirming the need for therapy?

LOVE FROM A STRANGER

US, 1947, 81 minutes, Black and white.
Sylvia Sidney, John Hodiak, Ann Richards, John Howard Isobel Elsom, Frederick Worlock.
Directed by Richard Whorf.

Love From a Stranger is a brief melodrama based on a story by Agatha Christie. It was directed by Richard Whorf, former actor who moved to direction (Till the Clouds Roll By) and then to production. The film stars Sylvia Sidney as a rather retiring heroine who wins money in a sweepstake and is courted by a mysterious stranger, suavely played by John Hodiak. With a setting in Devon, the terrorising of the heroine by the villain reminds audiences more of the stories by Daphne Du Maurier (in the 'Rebecca' vein). Entertaining of its kind.

1. Entertaining melodrama? Mystery? Period drama?

2. Black and white photography? The atmosphere of Devon (Hollywood style)? Night and day, light and darkness? Editing and pace? Menace and shock? Atmospheric score?

3. The title and its triteness, yet its summing up the encounter of Cecily with the stranger and her falling in love with him, becoming his victim?

4. Sylvia Sidney's style as Cecily? A retiring girl? Her exhilaration in winning the sweepstake? The encounter with the stranger? Her being caught up by his charm? The marriage? Arrival at her home? The atmosphere of Devon? The personal life, his closeness and reserve? Her believing him? Suggestions for suspicion? His absences? His room? The gradual harm to her? Her growing fear? The rain and the storms? her discovering the truth about him? His return and pursuit? Her being saved? The audience enjoyment of the heroine in this kind of distress drama?

5. The villain and his suave style? Audience suspicions about his identity? The background of the South American murderer? His appearance in England? The encounter with Cecily? Charm? Plausible story of his background? Marriage? His devotion? His secrecy? His gradual menacing of Cecily? Suspicions? Absences? The atmosphere of the storm; his menacing and chasing her? His being thwarted? Death?

6. The background of the South American murders, the newspaper items, the text books? The doctor and the discussions? The discovery of the identity of the murderer by the drawing? The heightening of suspense?

7. The atmosphere of the house, storms, the strange noises from the cellar, darkness?

8. Audiences enjoying sharing the terror experience of the heroine? Suspense and fear? Nightmares?

LOVE FINDS ANDY HARDY

US, 1938, 90 minutes, Black and white.
Mickey Rooney, Lewis Stone, Fay Holden, Cecilia Parker, Sara Haden, Judy Garland, Lana Turner, Ann Rutherford.
Directed by George B. Seitz.

Love Finds Andy Hardy is the fourth in the Hardy series. By now, Mickey Rooney gets top billing. The focus is on him, the ideal youth for audiences of the late 30s. The focus is still also on Lewis Stone's wise Judge Hardy. Mother, Aunt Milly, Marian are all still present - though in the background in this film, especially with mother having to go to her dying mother's bedside.

Of particular interest in this film is the presence of Judy Garland. She portrays Betsy Booth, daughter of a musical comedy star, whose grandmother lives next to the Hardys. She comes for the Christmas holidays. Andy considers her a girl. She is attracted by him. They become good friends, she is able to make everything right for the tangles Andy gets himself into. She also gets a nice dress, goes to the dance with Andy, sings two numbers and leads the grand parade. However, she gallantly bows out as Polly Benedict (Ann Rutherford) reappears on the scene.

Also in the supporting cast is Lana Turner as the arrogant and self-centred Cynthia. Infatuated by Andy, she is more concerned about herself and unbeknowingly is tricked by Betsy into separating herself from Andy.

The film shows the concerns of young people in the late 30s, the importance of the buying of the car, money, girls, relationships. There is also some ideal sound sense talked by Judge Hardy.

The film highlights the popularity of this kind of youth film in its time and the perpetuation of the ideal American family.

LOVE AMONG THIEVES

US, 1987, 100 minutes, Colour.
Audrey Hepburn, Robert Wagner, Patrick Bauchau, Brion James, Samantha Eggar, Jerry Orbach.
Directed by Roger Young.

Love Among Thieves is an average telemovie entertainment. It is a caper movie, the robbery of Czarist-decorated eggs in San Francisco, pursuits to Mexico, mayhem with pursued and pursuers.

However, the film is of interest since Audrey Hepburn is the star. She is her glamorous self, a baroness, famous pianist, stealing in order to save her fiance who has been kidnapped - but, of course, is the victim of a plot. A bearded Robert Wagner is a rather smooth and suave hero-villain. Jerry Orbach
looks to be the villain but turns out to by the FBI. Patrick Bachau is the fiance who is the real villain, in cahoots with villainess Samantha Eggar.

There is enough San Francisco and Mexican glamour and location photography to make it an enjoyable pastime, even if it is not particularly original,. It has echoes of the '30s screwball comedy with the heiress and the hero on the run and in difficult situations. And at times the dialogue tries to be this tongue-in-cheek screwball humour. Direction is by Roger Young (Lasseter, Gulag).

1. Enjoyable caper telemovie? Familiar material? For the television audience?

2. San Francisco locations, Mexican locations? Outdoor action? Stunts and special effects? Musical score?

3. The title and its irony? The identity of those who are honest, those who are dishonest? The final ironies?

4. The focus on the robbery, the alarm, suspicions? Caroline and the contacts? The kidnapping? The plausibility of the flights to Mexico, the chases, the adventures in the Mexican town and countryside? The return to San Francisco? Plausibility of this kind of caper adventure?

5. Audrey Hepburn's style as Caroline: baroness, pianist, stealing, her friendship with Solange? Her concern about Alan? The robbery, the flight, the comedy of clashing with Mike Chambers in the plane? in the car? Their shared adventures? Her suspicions of him? Discovery of the truth about Alan? Trying to get out of Mexico? The clashes with Spicer? Arrests? San Francisco? Double cross? The finale - and the glamorous baroness ending happily ever after?

6. Robert Wagner's laid-back style as Mike, the screwball comedy interchanges with Caroline, sharing the adventures, rescuing her, the mystery about his identity, his disappearance, reappearance at the end?

7. Solange and her friendship, betrayal? Her relationship with Alan? The set-up for Caroline to steal? Alan and his contacts in Mexico? Their villainy?

8. Spicer and his seeming to be the villain, the irony that he was FBI?

9. A sufficient blend of wisecracking, tongue-in-cheek dialogue, glamorous characters, a caper, exotic locations, mix-ups?

LOCK UP YOUR DAUGHTERS

UK, 1969, 103 minutes, Colour.
Christopher Plummer, Roy Kinnear, Georgia Brown, Susannah York, Glynnis Johns, Ian Bannen, Tom Bell, Elaine Taylor, Jim Dale, Kathleen Harrison, Roy Dotrice, Vanessa Howard, Fenella Fielding, Peter Bayliss, Richard Wordsworth, Peter Bull, Fred Emery.
Directed by Peter Coe.

Lock Up Your Daughters is in the vein of Tom Jones and Joseph Andrews. It is a sex farce set in 18th century London. The atmosphere, costumes and decor are expertly reproduced.

The film has an excellent cast led by Susannah York, Tom Bell and, especially, Jim Dale. Christopher Plummer has to be seen to be believed as the fop lord.

The film is broad in its humour, has the elements of Restoration and post-Restoration sex farces. The film is tongue-in-cheek in tone.

The film was adapted from a musical version, with music by Lionel Bart. However, the music has been dropped for the film.

1. The mood and atmosphere of 18th. century farce? Restoration comedy, sex, manners and morals?

2. Colour photography, period, the re-creation of London? The absence of the Lionel Bart songs? The substitute Ron Grainer score?

3. The British tone of the film, language, comedy, 18th. century style? The strong cast?

4. The introduction and the night caller, the introduction to all the characters, the Who's Who with comment on them?

5. The sailors being let loose on London, the warning to 'lock up your daughters'? Adventures, crying 'Rape', police, trials, Mrs. Squeezum and her hypocrisy? The happy ending and reunion?

6. Foppington and his appearance, Christopher Plummer and his style, appearance, speaking manner? Nell and her entanglement? Hoyden and his betrothal? The morals and hypocrisy? The pie in his face? The escape, the visit to the Tumbleys? In court - and the succession of mishaps to the fop?

7. The gossip-writer, his wife, Hilaret and the sailor, Cloris? Escaping from home, their being caught, the attentions of Mr. Squeezum? Their framing Mr. Squeezum? The court interrogation? The happy ending? The reconciliation with the gossip father?

8. Squeezum and his miserliness, hypocrisy, his salacious wife and her luring-the men? The upheaval in the court?

9. The Tumbleys and their pretensions? Roy Kinnear and his humour? Kathleen Harrison and her fussiness? Hoyden as the busty young woman, the priest and his hypocrisy, the marriage, the mix-up - and the coincidental relatives and reconciliations at the end?

10. Lusty and his vivaciousness, talking to the audience, involved with Hoyden, the marriage, the happy ending and the reconciliation?

11. The sailors and their entanglements, in prison, the crying of 'Rape', Mrs. Squeezum, reunited?

12. The farcical aspects of the court scene? The overall raucous tone, comedy? The point of such farce for observing manners and morals?

LITTLE GLORIA - HAPPY AT LAST

US, 1982, 179 minutes, Colour.
Bette Davis, Angela Lansbury, Lucy Guttredge, Martin Balsam, Christopher Plummer, Glynnis Johns, Michael Gross, John Hillerman, Barnard Hughes, Maureen Stapleton.
Directed by Waris Hussein.

Little Gloria - Happy at Last is an interesting telemovie, lavishly made. It focuses on affluent American families in the '20s and '30s, especially the Vanderbilts. The film has given great attention to the style of the period in decor and costumes.

The film was directed by Waris Hussein (director of films in England like A Touch of Love, Melody, The Six Wives of Henry VIII, and telemovies in America - Callie and Son). The film has an impressive case led by Bette Davis as the matriarch, Alice Vanderbilt. Christopher Plummer has an effective role in the early part of the film as ailing playboy Reggie Vanderbilt. Angela Lansbury sustains the film as the competent Gertrude Vanderbilt. Lucy Guttridge is very good in the central role of Gloria Morgan. There are excellent vignettes from such actors as John Hillerman as a caustic gossip columnist and Glynnis Johns as Gloria's eccentric mother.,

The film is based on a best-seller by Barbara Goldmsith.

1. An entertaining and interesting telemovie? For American audiences? Non-Americans? Interest in the plot, characters, situations? The visual flair of the film?

2. Production values: re-creation of period in the United States, Europe? The lifestyles of the rich? The strong attention to period detail? Contemporary musical score? The length of the film and the sustaining of interest?

3. Americana: the facts about American families, their behaviour, standards? Their dreams and ambitions? Consequences? Success and failure? The differing generations? Power, manipulation, selfishness and their consequences?

4. The title and its irony? The family background, G1drials birth, upbringing, custody case? Her experiences in later life and coping with the controversies? The failure of reconciliation with her mother? The irony of the title: happy at last..., if ever?

5. The portrait of the Vanderbilts: their status as an East Coast family, their name, pride? wealth, business interests, political and social influence? Mansions? Typical? 'WASPS'? Their narrow attitudes e.g. towards Catholics, Jews? The matriarch and her dignity, severity, love for her children, understanding them, willingness to relent? Her love for Gloria? Reggie as the affable middle-aged man, divorced, charm, ill-health, gambler? Gertrude and her competence, kindness, pride, wanting to do the right thing? Bette Davis' style as Alice; age, dress, her not favouring Gloria, meeting her, change of heart, later helping her?~ Her grief at Reggie's death? His charm and her understanding it? Her confrontation with Gertrude about her life? The impact of her death? Reggie as affable, charming, serious? Falling in love with Gloria? The hope for the child, the will? Gloria's plans for travel and Reggie's death?

6. Gertrude and her style: sophisticated, wealthy, a sculptor? Her husband, advisers, affairs and her private discretion? Discussions with her mother? Her belief in the family, supporting it? Interest in little Gloria, concern about her upbringing, minding her, decisions about her education? Discussions with the trustees, the judge? information from the nurse? Investigations and court case? Her motivation?

7. Gloria as young and ingenuous? Her experience? Her travelling upbringing, her sisters and their affluent marriages and divorces, her mother and her notions of grandness, living at the Waldorf, Spanish ancestry and nobility? Her pushy mother? Separated from the diplomat father? The Catholic tradition in name? Gloria falling in love, meeting the Vanderbilts. lyrical interludes with Reggie, the marriage, plans, the will and his debts, the birth of their daughter? Her coping with his death? Under-age, inability to cope? The support of her sisters? Her mother and the growing antagonism?

8. Gloria and her daughter: legal arrangements. the judge? Doing her best but inadequately? Her love of travel, wealth, Europe? Loving her daughter - but at a distance? Thoughtless. affluent lifestyle, scandals? Servants' animosity? The parallel with her sisters, the influence of her mother? Distance from the Vanderbilts and feeling inferior to them? Her ousting her mother from her home? Employing the nurse and Gloria’s affection for the nurse? A build-up to confrontation?

9. Little Gloria as a pampered and favoured baby, heiress, news headlines, pampered? Always seen as special? The Vanderbilts, the travel to Europe? England and her dislike of tastes? Her schooling, writing letters home, an eccentric little girl animosity towards her mother? The bond with her nurse? The Catholic baptism, saying her prayers (and later not being able to remember then, well)? Her return to America and the Lindbergh kidnap headlines, her phobia about kidnapping, nightmares? The visits to the various doctors, the health regimes? Her attitudes being poisoned by the nurse? Fearing her mother? The nurse and little Gloria running away?

10. Maureen Stapleton's portrait of the nurse: employed, Irish, narrow, strong Catholic? Sleeping in the same room as little Gloria for years? Bitter, possessive, despising the mother? Poisoning the daughter's mind? Keeping in touch with Laura, the venomous letters? Influence with Gertrude? Taking little Gloria away? Her hostile reaction to being sacked? Her viciousness in the court? What harm had she done Gloria?

11. Laura and her eccentric manner, behaviour, way that she brought up her children, lack of support from Gloria, keeping in touch with the nurse, turning on her daughter, exposing her to scandalous accusations, friendship with Gertrude?

12. The custody trial: the lawyer, wanting the truth from Gloria, behaviour in the court, legal aspects, scandal and evidence, servants' testimony? The impression that he made? His lack of success in the case?

13. Maury as a chorus commenting on Gloria's behaviour? The bitchy gossip columnist - being at society functions, his manner of speaking, wit, incisiveness? His dictating his articles? The changing opinions via his chorus comments?

14. The judge, the pressure of the case, his cantankerous behaviour, sympathies, growing erratic comments, the history of madness?

15. The decision of the court, the effect on little Gloria? The effect on her mother? On Gertrude, on the nurse? Happy at last - and the final information given?

16. The audience interest in the doings of families with wealth and in high places? The glamorising of universal problems? Exploration of behaviour, manipulation and motives?

LIONHEART (LIONHEART: THE CHILDREN'S CRUSADE)

US, 1987, 104 minutes, Colour.
Eric Stoltz, Gabriel Byrne, Nicola Cowper, Dexter Fletcher, Nicholas Clay, Sammi Davis, Paul Rhys.
Directed by Franklin J. Schaffner.

Lionheart is set at the end of the 12th century in France. It focuses on a young French nobleman, the atmosphere of chivalry and crusades. Disillusioned by his uncle's death in battle, Robert the young hero leaves and gathers together a group of children, especially Paris orphans, who are trying to escape the Black Prince who will sell them into slavery to the Saracens. Meeting Richard the Li6nheart and going on the Crusades is the hope.

Filmed in Hungary and Portugal, the film looks very handsome. It is directed by Franklin J. Schaffner who won an Oscar for Patton but who made a mediaeval saga in the mid-'60s, The War Lord. Eric Stoltz (Mask, Some Kind of Wonderful) is probably too contemporary American to be persuasive in the lead. However, Nicola Cowper and Dexter Fletcher, English stars, are much more convincing. Gabriel Byrne (Defence of the Realm, Gothic, Christopher Columbus) is sinister as the Black Prince.

While the ingredients make for stirring pageantry, the film does not quite have the spark that it might have. It is enjoyable entertainment but still mild.

1. A presentation of a 12th century pageant, history? The message about war, children, slavery?

2. The re-creation of the 12th century atmosphere? Hungary and Portugal locations? Period, decor? The stirring mediaeval score?

3. Audience presuppositions about history, chivalry, the Crusades, was and peace?

4. The atmosphere of war, holy war and the Crusades? The clash between Christians and Muslims? The upheaval of the Crusades in Europe? The children and their involvement in the war and its repercussions? The confrontation between good and evil?

5. Robert and the initial vigil, his becoming a knight, loyalty to his father, his place within the family - the banquet, the love of his mother, his uncle Charles and his loyalty? The prospect of the Crusades? Robert in battle and the fight? Charles' death and his disgust? His leaving?

6. The impact of the battle? Robert's departure, his new quest, meeting Michael and his sister? Becoming friends, travelling the roads? Going to the monastery, overhearing the Black Prince and his defiance of Christ, piercing the statue of Christ on the cross, the killing of the abbot? Meeting Hugo and taking the page with them? Going to Paris and the plan to join Richard the Lionheart?

7. Michael and his sister, the carnival, the throwing of the knives, the thieving, running? The sister and her power of control over the wolves and animals? Being found by Robert? Sharing his experience?

8. Paris and their being robbed, the underground, the discovery of the children, their leader and his illness, the challenge and the wager, their lives being spared, the feast, the leader and his hopes, Robert and his mission with the children? The irony of the leader of the orphans being the brother of the Black Prince? His memory of the Crusades, his brother turning against him, their confrontation and the Black Prince killing his-brother?

9. The Black Prince as villain: audiences first impressions, with the abbot and his death, the defiance of Christ? The story of the Crusade and his being corrupted? Dressing in black? Symbol of evil? The Saracens and their gifts and his arrogance with them? His plan to get children for slavery? Finding Robert's spur and wanting vengeance? The pursuit of the children, killing his brother, the massacre of the village, the ambush, and the children defeating his warriors? His tricking Matilda and the others with the flag on the castle? The final confrontation with Robert? The fight between good and evil to the death?

10. The importance of the journey and the quest, the blind boy and his helper, seeing the journey as going to Paradise? Robert knighting Michael and giving appointments to the others? Yet their equality and classlessness? The visit to the joust and the atmosphere of the tournament, the irony of Matilda being the winner? Her defiance of her mother and father? The clash with Robert and her being defeated? Joining the group? The carnival and the robbery? The village with the plague? Surviving in the forest? Their fighting and defeating the Black Prince's soldiers? Their ingenuity - and the tricks of the carnival? Their being captured by the Black Prince? Being freed?

11. Michael's sister and her intensity, love for Robert, her fears, sadness? Jealousy of Matilda? The reconciliation? Her final happiness with Robert? Matilda and Michael, supporting characters, their place in the quest? Love for each other? The other characters in the group and their personalities, contribution to the journey?

12. Themes of chivalry and battles, Richard I and his role in the Crusades, family reconciliations, adventure? The perennial themes of good and evil, journeys and quests and chivalry?

LIKE FATHER, LIKE SON

US, 1987, 96 minutes, Colour.
Dudley Moore, Kirk Cameron, Margaret Colin, Catherine Hicks, Patrick O'Neal, Sean Astin.
Directed by Rod Daniel.

Like Father, Like Son is yet another vice versa comedy. This time it's surgeon Dudley Moore and teenage son Kirk Cameron. It's a bit: if you've seen one, you've seen them all. Dad discovers what it's like to be his son, son appreciating,-father. It is amusing but predictable. 1987-88 saw a number of this kind of film including Vice Versa, 18 Again and the much more successful Big with Tom Hanks.

1. The popularity of the vice versa theme? Plausible? Fantasy?

2. Los Angeles, the desert sequences, the musical score?

3. The premise, the prologue in the desert, the experience of the vice versa? The desert, the journey into the desert to find the antidote, the resolution? The ironic ending?

4. The doctor and his work, his relationship with Ambruster and his ambitions, his sexy wife and her advances, Amy and her idealism? His decisions about his future? The change, his being in Chris's body, at home, his reaction to his son in his own body, credit card? Going to class, his superiority, the track and the running, the date, getting advice from Trigger, his blowing his son's chances in the athletics? His going to the interview in his son's place? The change back? The meetings, the future at the hospital, Amy's support? Telling off Ambruster? The reconciliation with Chris?

5. Chris as teenager, bored by his father's taking him over medical matters, his own boring class, his skill at running, the possibility of a date, the clash with the athlete? Friendship with Trigger? The change? In his father's body, going out with the credit card, the night out, at home the loud music, enjoying himself at the hospital, having to punch the patient, at the vote and at the board meetings, his taking principled stances, Amy's support, his apprehension with Ambruster's wife and her advances, the fire, into the desert, fainting at the birth? The change and trying to support his father and rectify the situation? His understanding his father?

6. The sketch of Trigger, his friendship, advice? Able to help in the crises? Taking them into the desert to get the antidote?

7. Ambruster and his power, his hold over the doctor, his wife, Amy, the committee work, the vote?

8., People's reaction to the changed doctor: the interns, the patients? The reaction to the different Chris in class? The coach, his failure at the race?

9. The parallels of the two stories, each learning, the resolution? Chris's final speech? The end?

10. The irony and the athlete experiencing the vice versa?


11. A humorous fable?