DANGER WITHIN

UK, 1958, 101 minutes, Black and white.
Richard Todd, Bernard Lee, Michael Wilding, Richard Attenborough, Dennis Price, Donald Houston, William Franklin, Vincent Ball, Peter Arne.
Directed by Don Chaffey.

Danger Within is a World War Two prisoner of war camp story. It has all the ingredients familiar from the serious presentations of the prisoners of war stories in the early '50s: The Wooden Horse, The Colditz Story, Albert R.N. etc. However, this film comes at the end of the '50s, has a difference. It is also a murder mystery. The film focuses on the informer who is the cause of the deaths of British soldiers attempting to escape.

The film was directed by Don Chaffey, expert in many action features, who directed films in Australia including Ride a Wild Pony, Born to Run, The Fourth Wish. The film was co-written by Bryan Forbes and Frank Harvey. There is a strong cast of British character actors of the '50s.

1. An interesting prisoner of war film? mystery? Portrait of men in war conditions? Tensions in interactions?

2. Black and white photography? The atmosphere of the camp? The editing for pace and tension? The blend of seriousness and humour?

3. The title and the indication of mystery?

4. The group of British soldiers? Their organising themselves in military fashion? The Commander? The various men with their ranks? The leaders and the led? The Escape Committee? The Entertainment Committee? The older officers and their elitism? The blend of seriousness? Humour? The clashes with the authorities, both humorous and serious? The escape attempts? The humour with the sunbathing, football, the rehearsals for Hamlet? The background to the deaths in the tunnel, the informer?

5. How well-written was the mystery: the clues, the deaths, the suspicions, the unmasking of the villain?

6. The gallery of characters: David Baird as the straightforward hero? Huxley as the older officer in charge? Bunter-Philips? and his activities? Captain Byfold and his presence, escape, death? Pat Foster? The older officers like Major Marquand? Dennis Price and his rehearsals and concerts? Tony Long and his place in the group, the informer? The details of life in the camp?

7. The presentation of the authorities, the regime in the camp, the strictness of the Italian officers? The sadistic approach of Captain Benucci?

8. A picture of men in war, their strengths and weaknesses, comradeship, betrayals? The impetus to escape? Honour and loyalty?

DANGEROUS LIAISONS

US, 1988, 119 minutes, Colour.
Glenn Close, John Malkovich, Michelle Pfeiffer, Swoozie Kurtz, Keanu Reeves, Uma Thurman, Mildred Natwick, Peter Capaldi.
Directed by Stephen Frears.

Dangerous Liaisons is based on the play by Christopher Hampton (who served as co-producer and adapter of the film). Based on an 18th century novel Choderlos de Laclos, it is a portrait of evil and corruption in pre-Revolution France. This novel has been the basis for several film versions. There was an updated French version directed by Roger Vadim with Gerarde Philippe and Jeanne Moreau. Simultaneously with Dangerous Liaisons, Milos Forman directed Valmont with Colin Firth, Annette Bening and Meg Tilley. A further updating with an eye to the youth market was 1999's Cruel Intentions with Ryan Philippe, Sarah Michelle Geller and Reese Witherspoon. The same makers went on to a loose sequel, Cruel Intentions 2.

This film was directed by Stephen Frears whose movies before this included Bloody Kids, My Beautiful Laundrette, Sammy and Rosie Get Laid. He then went on to a prolific career with small movies in England (Liam, The Deal) with big budget features in the US, The Grifters, The Hi- Lo Country, It has an excellent cast led by Glenn Close, an Oscar nominee for her sinister performance as Madame de Merteuil. John Malkovich is overly American-sounding in his portrayal of Vicomte de Valmont. Michelle Pfeiffer also received an Oscar nomination for her portrayal of Madame d'Tourvel. Keanu Reeves and Uma Thurman were at the beginning of their very successful movie careers.

The film looks beautifully elegant - a surface glitter of morals and manners for depths of decline and depravity. The film was nominated for an Oscar for Best Film of 1988 - and it is an absorbing and fascinating, while repelling, study of human nature and evil.

1. A portrait of evil, its impact?

2. 18th century background: novel, a play of the 1980s? Pre-Revolutionary? France, locations and chateaux, interiors, decor, costumes? Sense of period? Period-style score?

3. The transition from stage to screen: portrait of characters, in situations? Use of close-ups, tableau? Characters within the atmosphere? Angles? The comment on characters and situations by the style of filming?

4. The title: liaisons, relationships with power, motivation and reputation? Dangerous for those involved, for those as victims?

5. The surface elegance of the film: the use of colour, beauty? Sophistication and manners? Mannered elegance? Catholic piety? on the surface? Deeper malice, malevolence, evil? The use of power? Deceit, cruelty, passion?

6. Glenn Close's portrait of Madame: the opening with her applying the make-up, the sinister mile, her self-confidence? The explanation of her background, her hard life, her position in society? Her moral stances? Wealth, lovers? Her friendship With the Vicomte? Their meeting, the memories of the past, fencing, plotting together? The nature of her games, the revenge against a former lover? her deep-seated malice? Her entertaining her cousin and her daughter? Despising them? Cecile as victim? The nature of the revenge, Cecile as victim losing her virginity, as corrupted for her future husband? Her interest in the Vicomte's plan? Their conferring together, her demanding proof and letters? The visit to the opera, seeing the Chevalier Danceny, arranging for the music lessons, her entrance, introducing him to Cecile, during the lesson and turning up her nose? The furthering of the plot with the Vicomte and Madame d'Tourvel? The encounter with the Vicomte, still demanding the proof? Her haughtiness, seeing the Vicomte -in love, cruelty and mercilessness? Her theory of cruelty? Her story about the man using the excuse, 'Beyond my control'? Making the Vicomte subservient? His death? Her relationship with Danceny and using him against Cecile? Her achieving all her plans with Madame d'Tourvel's death? Her going to the opera, her being hissed and leaving? Her anger and weeping? The finale and the moral judgment as she took off her make-up and shed a tear? A wicked woman, her using Cecile and instructing her -in sexual corruption? Cecile growing up to be like Madame?

7. John Malkovich's style as the Vicomte: his age, position in society, a man in pre-Revolution society compared with a woman who had to struggle for her position like Madame? His past, his reputation? An elegant rake? His motive for corrupting Madame dTourvel? her goodness and piety and his resentment, the challenge? Madame as his equal or not? His finding no challenge in Cecile's corruption? Going to visit his aunt. Madame and her devices, the hypocrisy? Hunting and paying the poor family? To impress Madame d'Tourvel? Using his servant and the blackmail of the maid, getting the letters, discovering who was informing Madame dTourvel about him, his revenge on Cecile's mother? His not going to the sacrament - and explaining this to Madame? His truth and falsehood in his dealings with tier? Expressing passion, love, denying himself? Her asking to leave and his doing so? His arrangements with Cecile, Danceny and the key? His sexual conquering of her and blackmail? His initiating and using her? His liaison with and writing the letter on her back to Madame d'Tourvel? The irony of Emily's later meeting Madayne? The conferences with Madame and his achieving part of the bargain, Cecile pregnant as well? Cecile's miscarriage? Madame wanting the written proof? The Vicomte's return to his aunt's chateau, the interchange with Cecile and her mother? The walks with Madame d'Tourvel, the declarations of love, wearing her down? her fears, dismissing him in the night? Her finally succumbing to him, her passion? His victory? His rejecting of her, the 'beyond my control' story after four months? Her illness? His subservience to Madame? Danceny and Madame together, his insulting 14darie, the duel with Danceny, his being wounded? His commissioning him for a message to Madame d'Tourvel, his death? His giving in, the possibility of redemption?

8. Madame d'Tourvel and her virtue, censorious attitudes, at the Vicomte's aunt's house, the advice from Cecile's mother? Walking with the Vicomte, offering his service to the poor, her servant betraying her with the letters? The infatuation yet asking him to leave? His return to the house? Her strength and her weakness, her ambition, friendship, giving in, weeping, passionate? Her being hurt by his abandoning her? her illness, the bleeding, the hot glasses? Her death after the message from Danceny? Her tragedy in the corruption of virtue?

9. Cecile and her mother: Cecile emerging from the convent into the world, corrupt society, elegance? Her mother and her protection? The visit with Madame, going to the Vicomte's aunt? The mother writing the letters to warn Madame dTourvel? The opera, the music lessons? Cecile in love with Danceny? The corruption by the Vicomte as giving her her letters, the incident with the key? The sexual blackmail? Her going to Madame and Madame's corruption? The behaviour with the Vicomte? His corrupting her for her husband, for Danceny? Her writing the letter on the Vicomte's back? her pregnancy, the miscarriage? Corrupted - and a future Madame?

10. The Vicomte's servant, sharing in his master's evil, his malice? The corruption of Madame d'Tourvel's servant? The blackmail for the letters? Following and spying? Sharing in evil?

11. Emily as the courtesan, her liaison with the Vicomte, his writing the letter on her back, the visit and the encounter with Madame d'Tourvel and the Vicomte's story about her generosity to the poor?

12. Danceny and his music, in love with Cecile, the lessons, seduced by Madame, following her, his loyalty to her, yet his love for Cecile, the honour and the challenge to the duel, his fight with the Vicomte, delivering the Vicomte's message?

13. Why is a portrait of such evil so fascinating while repelling?

DALLAS

US, 1950, 94 minutes, Colour.
Gary Cooper, Ruth Roman, Raymond Massey, Steve Cochran, Barbara Payton, Leif Erickson, Antonio Moreno, Jerome Cowan.
Directed by Stuart Heisler.

Dallas is colourful western and a Gary Cooper star vehicle. It has a post-Civil War setting - Texas and the building up of Texas and its joining the Union. The focus is on a group of brothers who exploit the Civil War for their own wealth. There is a revenge theme as Confederate Gary Cooper tracks down the destroyers of his family property. There are complications with the cattle-breeders and the old Spanish aristocracy in Texas.

Gary Cooper is at home in this kind of film - and was soon to make High Noon. Ruth Roman is an attractive heroine. Raymond Massey is a familiar villain as is Steve Cochran. Leif Erickson has a more interesting role as the Boston Marshal , out of place in the West.

There is good colour photography, a Max Steiner score and direction by Stuart Heisler who directed many thrillers and romances during the '40s and action adventures in the '50s.

1. An entertaining western? The Civil War and its aftermath? The growth of the state of Texas? American heritage?

2. Colour photography, the atmosphere of Texas? The western town, the Spanish aristocracy? Action sequences? The musical score?

3. The title and the focus on Dallas? establishment after the Civil War? States?

4. The Texas towns? The South, the North? The United States?

5. Gary Cooper as Hollister? His riding into the film, the encounter with Wild Bill Hickock and his faked death? His encounter with Martin Wetherby? The decision to impersonate Wetherby and track down the Marlowe’s? His work in the town? Financing the City Hall? The discussions with Will Marlowe? The pursuit of Bryant Marlowe? The welcome by the Spanish family? His kissing Tonia? Their accepting him? His tracking down Bryant, turning him against Will? The southern soldier identifying him? His being imprisoned? The escape? The shoot-out with Bryant? The confrontation with Will? The truth about Will's burning his home down? Revenge, his final decision to hand Bill over to justice? The love for Tonia? Martin stepping back and returning to the East? Gary Cooper as a typical western hero?

6. Wetherby and the gentleman Marshal from the East? The encounter with Hollister? His attitude towards the letter of the law? Going along with Hollister? The family, Tonia? The money available for improvements in Dallas? His being saved by Hollister? His getting the pardon? His jealousy of Hollister? His moving out at the end and leaving Tonia and Hollister together?

7. Will Marlowe as villain, the rustling of the cattle, Bryant and his shooting? Will and his respectability in the town, the people afraid of him? Bryant as the outlaw? The taking of Hollister and his talking his way out of the situation? Turning brother against brother? The discovery of the truth? Will and the confrontation with Hollister in the burning house? Justice?

8. Bryant as the roughrider, his associates, his girlfriend and her tricking Hollister? The violent attitudes, shoot-outs?

9. The Spanish family, the traditions in Texas, the cattle being taken, borrowing money? Tonia and her support of Hollister, falling in love with him? Relationship with Martin? Her angry brother? The final siege and the father having to borrow the money? The happy reconciliation?

10. The popular themes of the West? The aftermath of the Civil War? The carpetbaggers coning in? The exploiters of the war situation? The need for the establishment of law and order?

DROP DEAD FRED

US, 1991, 103 minutes, Colour.
Rik Mayall, Phoebe Cates, Marsha Mason, Tim Matheson, Carrie Fisher, Ron Eldard.
Directed by Ate de Jong.

Drop Dead Fred sounds like one of those macabre multi-death thrillers of the 60s and 70s. However, it is not. Drop Dead Fred is a film by the Young Ones' Rick Mayall as a childhood companion of a lonely little girl. He also appears in her childhood life but re-appears in her adult life when she is in difficulties. Drop Dead Fred is the companion who is almost like the Ying Yang archetype prankster, joker. He doesn't take life seriously (enjoying, throwing, paint over an old lady and upsetting the child's mothers very well organized house). With the aid of special effects, he can be run over and flattened and make all kinds of appearances. He also disappears with characters talking to invisible people. So, there is a lot of invisible man kind of jokes and humour.

However, the film also has a serious undertone: Elizabeth will never be her integrated self unless she learns from Drop Dead Fred and begins to stand on her own two feet. In fact, as he disappears, we find her embracing him and then embracing herself. While the film is light weight and designed for the popular audience, Jungians might enjoy his visualising of some psychological themes. Phoebe Cates is strong as Elizabeth, the troubled adult. Marsha Mason is very strong as her controlling mother. Tim Matheson as the philandering husband. Bridget Fonda is his new girlfriend. Carrie Fisher is Phoebe Cates's best friend. Ron Eldard is the potential suitor. The film was directed by Ati de Jong who also directed at this time the Amazing Story/Twilight Zone film Highway to Hell (replete with mythological and psychological archetypes in a pop story).

1. Entertaining comedy? Children, family, family pressures, growing up? Imagined companions? And the psychological overtones?

2. The American family, the absent father, the strong mother, the broken marriage? Children growing up? The world of business? The musical score?

3. The strong American cast? The presence of Rick Mayall, his television, film and stage background? The British clown? His prankster and joker style? Verbal repartee, accent? His appearance - and colour scheme of hair and clothes?

4. The presuppositions of the screenplay: children and loneliness, imaginary companions, the more adventurous side of their personality, the making of mischief, the breaking out of control? Yet the prankster telling the truth, protecting the child? Disappearing when there is personal wholeness?

5. The psychological background, its insight, presentation through comedy - and the search for integration and wholeness?

6. The child, the past, the stories of childhood? The telling of stories? The present (and then the flashbacks to childhood, the revelatory flashbacks)? And the fantasy of seeing Drop Dead Fred?

7. The portrait of Elizabeth, her mother reading her stories? Nigel and Polly and the American household, the put upon husband, his love for his daughter, clashes and suspicions, the dominance of Polly? The burglars in the house, the police and his decision to leave? Elizabeth as abandoned? Controlled in every detail by her mother? Her mother putting Drop Dead Fred in the Jack-in-the-box box?

8. Elizabeth as still a child, her mother's control, the effect on her growing up? Her mother's easy manipulation of her? Her marriage to Charles, her love for him, his affairs, her seeing him in the car with Annabella? The break with him? His special pleading, her propensity to listen to him, her having to take strong stances? Her work, the court, getting sacked? Her being accident prone?

9. The jack-in-the-box, Fred leaping out, Elizabeth and her imagination, memories of mischief, breaking free? Talking things over with Fred? The mischief of his pranks? embarrassing her, with Mickey, with Janey? With her mother's house? Listening in to Charles and his conversations? The behaviour in the restaurant? His telling the truth?

10. Elizabeth and her transformation, defying her mother, at home, Charles and his double talk, her almost succumbing? Taking the prescription and the possibility of destroying Drop Dead 'Fred? Mickey, the dinner, the invisible man routines, the mayhem in the restaurant? Janey, the destruction of the houseboat? Going to her office, Janey trying to talk, to him and his eluding her?

11. Janey, friendship with Elizabeth, advice about relationships, her mother? The meeting, her affair with the businessman? The destruction of the houseboat? Her scolding Fred?

12. Charles, smooth charm, philandering, smooth talking, unfaithful to Elizabeth, trying to make a reconciliation, contacts with Annabella, unfaithful to her? Elizabeth discovering the truth? Annabella, the party, her seeing through Charles, her liking for Elizabeth?

13. Mickey, the memories of the past, the dinner and its embarrassment, his attraction towards her, Natalie and a future?

14. Going to the doctor, the waiting room - and the humour of the joke with all of the imaginary companions communicating with each other in the waiting room?

15. Fred as a character, as a type? His interventions, appearances and disappearances? A healing?

16. The ending, Drop Dead Fred with Natalie? And happy ending for Mickey and Elizabeth?

DOCTOR JEKYLL AND SISTER HYDE

UK, 1971, 97 minutes, Colour.
Ralph Bates, Martine Beswick, Gerald Sim, Lewis Fiander, Dorothy Allison.
Directed by Roy Ward Baker.

Dr Jekyll and Sister Hyde is a studio's version of Stevenson's classic story. Filmed many times with John Barrymore, Frederick March, Spencer Tracey, David Hemmings, it has proven a popular fable for the contradictions of good and evil within human nature.

This version, stylishly made in the Hammer manner has Ralph Bates and Martine Beswick as the two facets of Dr Jekyll. Much is given in the screenplay to the scientific beliefs of the 19th century, about progress, about playing God and having control over life. This time Dr Jekyll does experiments for seeking the prolonging of life and as experiments with male and female hormones. This results in his alter ego becoming a woman. In terms of psycho, it is-an interesting portrait of the complementarity and contrast between the male and the female, in Dr. Jekyll. Ralph Bates is good as the Ur-and-there is a strong supporting cast including Gerald Sim as the inspector, Lewis Fiander as the neighbour who becomes infatuated with Sister Hyde, Dorothy Alison. The film was directed By Roy Ward Baker, veteran British director who made a number of these horror films.

The film also combines the Jack the Ripper stories with Dr. Jekyll. (Jack the Ripper had been linked to Sherlock Holmes stories in murder by decree as well as with H.G.Wells in Nicholas Meyer’s Time after Time).

1. The popularity of Stevenson’s story? Portrait of human nature, good and evil? The Victorian setting? The tradition of Jekyll and Hyde films?

2. Hammer studios, production values, recreation of the Victorian era? Their horror tradition and giving the thriller horror aspects? Violence, visual, menace, suggested?
The musical score?

3. The title and the variation on the theme? The male and female within the one individual? Comparisons, contrast? The split personality?

4. The interest in science, experimentation, progress, the prolonging of life? Experiments, playing God, the consequent violence - and madness? The scientist as self destructive?

4. The character of Dr Jekyll his work, bodies, experiments, the fly, male and female hormones? His neighbours and their friendship, his isolation? Friendship with the police inspector? The Jack the Ripper murders? His setting down his memoirs, experiments.

5. Dr Jekyll's motivation? Science, personal ambition, psychological drives, sadistic drives, intellectual drives? The connection with the Jack the Ripper murders? Immortality? The experiments, the bodies? His injecting himself, the transformation to Sister Hyde (and the visuals to convey this)? Sister Hyde, sensual, vain, the mirror, dresses? Going out, provocative behaviour? Attraction to Howard? Seductive? Dr Jekyll coming back? Conscious of what he had done? The attraction to Susan, her concern, visits? Promises? The violence in his own room? The murder of the inspector? The blind man and the clues? His deterioration? Moving in and out? The pursuit by the police, the roof tops, his fall and death? His diary being consumed by fire? An interesting interpretation of Stephenson's character?

6. Howard, the Victorian gentleman, home life, Susan? The mother? Susan and her attraction? The concern about Dr Jekyll? The seductive behaviour, their responses?

7. The blind man, the Jack the Ripper murders, hearing the footsteps, the puzzle, the confrontation?

8. The inspector, his behaviour, investigations, friendship with Dr Jekyll? His death? The police, the searching, the interrogation? The pursuit of Dr Jekyll?

9. The body snatchers, their role in 19th century society, supplying bodies to the Doctors for experimentation?

10. The world of the slums, the taverns, the prostitutes, the drinkers, the singers? Victims of people like Dr Jekyll and Jack the Ripper?

11. The popularity of the theme? An interpretation of the 70s?

DOCTOR JEKYLL AND SISTER HYDE

UK, 1971, 97 minutes, Colour.
Ralph Bates, Martine Beswick, Gerald Sim, Lewis Fiander, Dorothy Allison.
Directed by Roy Ward Baker.

Dr Jekyll and Sister Hyde is a studio's version of Stevenson's classic story. Filmed many times with John Barrymore, Frederick March, Spencer Tracey, David Hemmings, it has proven a popular fable for the contradictions of good and evil within human nature.

This version, stylishly made in the Hammer manner has Ralph Bates and Martine Beswick as the two facets of Dr Jekyll. Much is given in the screenplay to the scientific beliefs of the 19th century, about progress, about playing God and having control over life. This time Dr Jekyll does experiments for seeking the prolonging of life and as experiments with male and female hormones. This results in his alter ego becoming a woman. In terms of psycho, it is-an interesting portrait of the complementarity and contrast between the male and the female, in Dr. Jekyll. Ralph Bates is good as the Ur-and-there is a strong supporting cast including Gerald Sim as the inspector, Lewis Fiander as the neighbour who becomes infatuated with Sister Hyde, Dorothy Alison. The film was directed By Roy Ward Baker, veteran British director who made a number of these horror films.

The film also combines the Jack the Ripper stories with Dr. Jekyll. (Jack the Ripper had been linked to Sherlock Holmes stories in murder by decree as well as with H.G.Wells in Nicholas Meyer’s Time after Time).

1. The popularity of Stevenson’s story? Portrait of human nature, good and evil? The Victorian setting? The tradition of Jekyll and Hyde films?

2. Hammer studios, production values, recreation of the Victorian era? Their horror tradition and giving the thriller horror aspects? Violence, visual, menace, suggested?
The musical score?

3. The title and the variation on the theme? The male and female within the one individual? Comparisons, contrast? The split personality?

4. The interest in science, experimentation, progress, the prolonging of life? Experiments, playing God, the consequent violence - and madness? The scientist as self destructive?

4. The character of Dr Jekyll his work, bodies, experiments, the fly, male and female hormones? His neighbours and their friendship, his isolation? Friendship with the police inspector? The Jack the Ripper murders? His setting down his memoirs, experiments.

5. Dr Jekyll's motivation? Science, personal ambition, psychological drives, sadistic drives, intellectual drives? The connection with the Jack the Ripper murders? Immortality? The experiments, the bodies? His injecting himself, the transformation to Sister Hyde (and the visuals to convey this)? Sister Hyde, sensual, vain, the mirror, dresses? Going out, provocative behaviour? Attraction to Howard? Seductive? Dr Jekyll coming back? Conscious of what he had done? The attraction to Susan, her concern, visits? Promises? The violence in his own room? The murder of the inspector? The blind man and the clues? His deterioration? Moving in and out? The pursuit by the police, the roof tops, his fall and death? His diary being consumed by fire? An interesting interpretation of Stephenson's character?

6. Howard, the Victorian gentleman, home life, Susan? The mother? Susan and her attraction? The concern about Dr Jekyll? The seductive behaviour, their responses?

7. The blind man, the Jack the Ripper murders, hearing the footsteps, the puzzle, the confrontation?

8. The inspector, his behaviour, investigations, friendship with Dr Jekyll? His death? The police, the searching, the interrogation? The pursuit of Dr Jekyll?

9. The body snatchers, their role in 19th century society, supplying bodies to the Doctors for experimentation?

10. The world of the slums, the taverns, the prostitutes, the drinkers, the singers? Victims of people like Dr Jekyll and Jack the Ripper?

11. The popularity of the theme? An interpretation of the 70s?

DOWNTOWN

US, 1990, 96 minutes, Colour.
Anthony Edwards, Forest Whitaker, Penelope Ann Miller, Joe Pantoliano, David Clennon.
Directed by Richard Benjamin.

Downtown looks like a lower key Lethal Weapon. However, it has a bit more credibility in its picture of crime and corruption in Philadelphia suburbs, the rich to the harsh downtown station. It also has more humanity, both sentiment and humour. Anthony Edwards is quite good as the naive by-the-book rookie who learns from Forrest Whitaker. At times the film goes for stunts and chases, but one has a better feeling about it than some bigger budget crash bangs. Director is actor Richard Benjamin (My Favourite Year, Racing with the Moon, The Money Pit, My Stepmother is an Alien, City Heat).

1. Entertaining police drama? Police buddies? Police work in the city? Racial and class tensions? Civic Corruption?

2. Philadelphia, the exclusive suburbs to Diamond St, downtown? The world of the slums? The piers? Authentic neighbourhoods? Stunt work? Special effects? Musical score, songs, mood?

3. The title, Downtown as a place, as a mentality, as a place of punishment? The real world of police work? The song and the final rap music?

4. Anthony Edwards as Alex: young, by-the-book, his relationship with his partner and quoting the regulations? The initial encounter with his wife and its joking tone? His chasing Sweet, trying to book him? The reaction of the authorities, the transfer downtown? His relationship with his wife - his work, sharing about his police activities, his friendships, his fears? Going downtown, arriving in the middle of the siege with its dangers and its comedy? The way that he was treated? The boss and hit swearing? Denise and taking him as hostage - and being revealed as the police? Going out with Denis, Denis's not wanting him to go? The building, the woman on drugs, his being stripped and laughed at? His car being destroyed? Going by bus to work (and getting to know the passengers and greeting them)? His ideas, going uptown for computer work? His partner driving him downtown, his death, grief, consolation by Laurie? Denis and the work, their fight, the interrogation of the fat man and his squashing Alex? The boss and his exasperation? Denis's family, his wife, the kids, the beach boy records and surfing? Drinking with Denis, Denis talking? Seeing Sweet at his car - and further threats? Smart police work, following up the leads? The discovery of the gang, the chase and his diving into the car? Computing the information, he and Denis being shot at? With his wife and her confrontation about the danger? His plan, the boss anti the plan, Going to the wharf, slashing the car, being caught, hanging on the machine, the threat of death? Sweet and Mr White? The fight with Mr White, driving dangerously and surviving? Visiting Denis in hospital? In hospital finally with him and playing the music? His apprenticeship as policeman?

5. The contrast with Denis, his role during the siege, seeming to be a criminal, outsmarting the attackers? Tough, the neighbourhood, black? Mourning for his dead partner? His wife confronting him? His relationship with his wife, the family, the kids at table, cranky with them, going out to drink with his mates? Having to cope? The party, Alex’s presence, the beach boys? Drinking and explaining the situation to Alex? His hostility, the episode of Alex being stripped: handcuffing him to the file the fat man and the interrogation and threats? (And Alex laying down the law about rules)? Their working together, discovery of the gang, computer work, his observations on the affluent precincts, being shot, in hospital, his wife's support? In hospital with Alex - and finally shotting the beach boys record? Portrait of a policeman?

6. Sweet, smooth talk, disregarding the rules, speeding, his father being a cop (and his reaction against it)? His arrogance, having the police in his pay? His schemes with Mr White? The racket? Encounters with Alex? At the pier, smooth talk, going to give the charity speech, the chase and his being arrested?

7. Mr White as sinister, his relationship with the gangs, using them, murdering Alex's partner, watching Alex, discussions with Sweet, shooting at Denis and Alex, the final threats, the final chase - and the gory ending?

8. Laurie and Denis's wife as policemen's wives, understanding, the dangers, fears? The children?

9. The boss and his swearing, exasperation, tough, following through at the end? The other members of the precinct and the final raid?

10. The work of crime, police, corruption, having to cope and administer justice?

DOUBLE STANDARD

US, 1988, 90 minutes, Colour.
Robert Foxworth, Michelle Greene, Pamela Belwood.
Directed by Louis Rudolph.

Double Standard says that it is inspired by a true story. It is a story of a bigamist and how he managed two families. Robert Foxworth plays the lawyer who eventually becomes a judge, a weak man who is led into situations and is unable to extricate himself. He finally sets up two separate families and is, of course, exposed to the hurt of members of both families.

The story seems credible from an emotional point of view. However, one is asking throughout the film how this lawyer and then judge is able to support a family of three and then a family of seven children. However, given this the film is telemovie style exploration of themes and characters - and is of some interest, especially as one wonders how the plot will be resolved.

1. Interesting telemovie? Characters, dilemmas, resolution of problems?

2. St Louis, affluent households, ordinary households? The credibility of the behaviour of the judge, of the setting up of the two families?

3. The title, and its moral stands?

4. Leonard, his relationship with his family, his children, Joan? The boy with his disability and the efforts made for him to recover? The birth of the new baby?

4. His needing a secretary, the interviews, the meeting with Virginia and her forcefulness? His motives for employing her? Her devoted work? The prom, the dress, escort? Her pregnancy, the news at Christmas? The birth of the child? His dilemma, Virginia wanting to keep the baby, his persuading Sharon that they should adopt it? His persuasiveness with Joan? The growing up of the child within the household? Accepted by the boys? Joan's not being able to have any more children?

5. Joan and the family, the devoted wife, lover for her husband, the bearing of the children, her fears about disability for the youngest child, care for David? Her husband's career? His nomination for judge, the coming election? His successful career? Her acceptance of Sharon into the household? Her initial hurt but persuaded to stay with Leonard? Meeting Virginia, Sharon's arrival at the home, the revelation of the truth, her disbelief? The separation from her husband?

6. David's training? His studies, achievement, the help pf his father? and acknowledgement of his father? The disappointment with the truth, yet his continued support, not knowing whether he could forgive his father?

7. Virginia, ambitious, persuasive? The program? Her pregnancy? The baby, loving it, deciding to keep it? Allowing Sharon to be adopted? The care with the documents so as not to reveal the truth? Wanting the baby back? Leonard's legal manoeuvres? Going through the form of marriage? The passing of the years, the birth of the seven children? The contrasting household, Her love for Leonard and the children? Her concern at illness, intruding into the family? The exposure of the truth? Her grief at Sharon's death? Her ultimately marrying Leonard?

8. Sharon and the children growing up, the narrow life, no relationship, being allowed out? Leonard's cover-ups? The billboard advertising? candidacy? Allowing her to go to camp, changing his mind? Her reaction, wanting the job, the address and her finding out of the truth? The blow, hurt, going to him in his chambers? His going to the caravan, the car pursuit, the accident, her death?

9. Leonard as a weak man, loving both women, unable to make a firm decision? His handling of the double life? His behaviour judge? Encountering with the judge who did the second wedding, the painter? His being unmasked and his inability to do anything positive? The post script that he married Virginia?

10. The credibility of the characters, the situation, moral laws, personal hurt, the resolution?

THE DOOLINS OF OKLAHOMA

US, 1949, 90 minutes, Black and white.
Randolph Scott, George Macready, Louise Allbritton, John Ireland.
Directed by Gordon Douglas.

The Doolins of Oklahoma is an efficient action-packed western directed by Gordon Douglas who was to make a number of western and action thrillers during the 50s and 60s. It is also a star vehicle for Randolph Scott who was to make many B Budget but effective westerns during the 50s.

The film takes up the theme of the outlaws, giving some explanatory background to the reasons for the cowboys becoming outlaws after the invasion of the farmers in such territories as Oklahoma and pushing the range further west. the film focuses on the Dalton gang, its being massacred by law enforcement agents, and Bill Doolin forming another gang. The moral of the story is very strongly that crime doesn't pay. However, Randolph Scott endows the character of Bill Doolan with some moral strength, a man seemingly forced into being an outlaw by the law, by his gang. George Macready has an effective role as the pursuing Marshall.

1. Interesting and entertaining western? Of the 50s? Perspective of the cowboys and outlaws?

2. Black and white photography, small budget, locations and atmosphere, the west of the 1890s? Rousing score?

3. The title, the focus on Oklahoma territory and its history, the gangs, the outlaws and the Doolin gang?

4. The focus on Bill Doolin and Randolph Scott's screen presence? The attack by the Dalton gang on the town and their being killed? His surviving, the encounter with the marshall and discussions about shooting in the back? The betrayer of the gang and Doolin shooting him in self-defence? Having to leave the town? Meeting the other members of the gang, reforming the gang, their robberies, motivation? Their hiding out in the town? The marshall pursuing them? The breaking up of the gang for three months, Doolin and his going to the town, escaping the law, going to church, meeting Elaine and her family, the decision to stay, buying the farm: and ousting the owners with so much money?

5. Becoming settled, married? The group reforming, the pressure on Doolin the marshall's finding him? Regrouping with the gang, the train robbery? The price on his head? The pursuit of the law, the escape from the town, holing up, the deaths of the gang? Doolin and little John going to the farm, encountering Elaine, the plan to escape, the horse stampede, his being shot? Sympathetic portrait of an outlaw? the waiter, knowing the gang, coming along, sharing in the experience of Doolin? escaping with the horses? The motivations of the gang, money, greed, the use of their money? Doolin and his giving so much money to the town?

6. The Marshall, a fair man, the pursuit of the gang, shrewdness in tracking them down, using his agents? The census visit, tracking down Doolin, the final confrontation? The Marshall's voiceover?

7. Elaine and her family, God fearing people, the church, her love for Bill? Discovering the truth and her being hurt? Her parents and their reaction? The deacon saying that Doolin was a deadman? Elaine receiving the escapees, the plan to go to Colorado, the death of Doolin and her grief?

8. The themes of the American west in the 19th century, the range and cattle, the cowboys the coming of the farmers, the bankers, civilization and law and order? The dilemma for the cowboys and their becoming outlaws?

DINNER AT EIGHT

US, 1989, 95 minutes, Colour.
Lauren Bacall, Charles Durning, Ellen Greene, Harry Hamlin, John Mahoney, Marsha Mason.
Directed by Ron Lagomarsino.

Dinner at Eight is a remake of the 1933 MGM classic with such stars as Lionel and John Barrymore, Marie Dressler and Wallace Berry, Jean Harlow. It is glossilly updated to New York of the late 80s - with all kinds of in references. However, the characters, while appearing more glamorous than their 30s counterparts, nevertheless give 80s versions of the trials of their predecessors. There is a focus on the problems of the contemporary world, in the atmosphere of preparation for a lavish and snobbish dinner. Lauren Bacall has the opportunity to be waspish - especially in the famous line updated to computers that she says to Ellen Greene at the end. John Marley is very sympathetic as Oliver Jordan. Marsha Mason has a good role as his hostess wife. Charles Durning is his usual self. Ellen Greene (Little Shop of Horrors) takes on the Jean Harlow role and Harry Hamlyn gives a modern television hero version of the John Barrymore character.

1. Entertaining comedy drama? Remake of 30s classic? The parallels, the updating?

2. Telemovie style? Glossy and sophisticated? 80s frankness? For the wide television audience? New York locations, interiors? The strong cast?

3. The title and the focus on the dinner, the invitations, the preparations, the significance for Millicent Jordan?

4. The focus on Millie, her social aspirations, the English aristocracy coming to a meal? Her guest list? The criteria? Her ignoring her husband's business problems and his health? Her daughter's romantic problems? Clashes with Carlotta? Her concern about the meal, the aspic, the fighting amongst the cooks, where to put the shrubs? The aristocracy bowing out? substitute guests? Her phone calls? The beginnings of the dinner, the orchestra and their bandages? Her having to focus on Oliver, coming to her senses, her acknowledging her flightiness, reconciliation?

8. Oliver, his business background, his health? A genial man, memories of Carlotta and joy to see her? Packard and his threats? The loss of his firm, the share, Carlotta and her selling her shares? Wandering in the rain? The angina attacks? Preparation for the dinner, his health, the collapse, reconciliation with Millie? Coming down and Pacards telling him about the takeover plan?

6. Paula, relationship with her parents, engagement to Ernest, the affair with Larry, his drug taking, her moving away, waiting for him to come to dinner, his not coming, trying to tell her parents, the confrontation with Carlotta? Coming to her senses? With Ernest?

7. Carlotta, her bitchy style, her novels? Manner and infuriating way of speaking? Her wit? Friendship with Oliver, clashes with Millicent, his secretarial assistant? The question of the share? Her return, her drinking? Coming to dinner, the confrontation with Paula?

8. Packard and his wife, the southern style, boisterousness, deals, trying to squeeze Jordan? Confrontations? His wife, television, her having an affair with the Doctor? Her background? The brittle marriage, the invitation, their going to dinner? Her threatening to tell the truth? Her winning out, Packard telling the truth? The comedy of the dumb chorus girl?

9. Larry and his fading career, his age? Difficult with producers? The affair with Paula? The buying of cocaine, taking it, clash with Paula? Max and his trying to get him a job, his arrogance, the arrival of the producer, his
boorish behaviour? The collapse, his taking the pills and killing himself?

10. A cross section of society? Contemporary problems? The focus on the dinner and the finale as the guests went into dinner at eight?