A DOCTOR'S STORY

US, 1984, 96 minutes, Colour.
Howard Rollins Jr, Art Carney, Uta Hagen, Viveca Lindfors.
Directed by Peter Levin.

A Doctor's Story is a strong telemovie - in the vein of so many films and television series about hospitals. However, this film is well written, has good actors in leads as well as character actors, focuses on the elderly and the new field of medicine and psychology, focusing on how to cope with old age. Howard Rollins Jnr (Ragtime, A Soldier's Story, T.V.'s In The Heat of the Night) is appropriately serious as the doctor concerned. Art Carney gives yet another of his seemingly effortless performances. There is good support from Viveca Lindfors and Uta Hagen in character roles.

The film has a recognizable New York setting, focuses on the experiences of ordinary people, highlights the plight of sons and daughters trying to deal with ageing in senility - but it also shows the need for medicine and psychology to try to better understand older people given the longer lives that the population now leads. Direction is by Peter Levin, director of a number of telemovies and Canadian features.

1. The title? Expectations? The tradition of films about doctors and hospitals? This film has a version of the 80s?

2.The telemovie, the audience and its response, the wide audience concentrating on drama, issues and characters? The film offering both information and entertainment?

3. The New York settings, the use of the streets and apartments for atmosphere? The hospital? Musical score?

4. The focus on Zac Williams as the doctor? The American doctors and their training, residency? Supervision? Ambitions, concern about medicine, concern about patients? Zac Williams and his interest in the elderly, his diagnosis and study. work at a teaching hospital? His interest in Harry Wicks and trying to support him? The criticisms of the authorities (and holding recommendations over him)? The pressure of Peter Wicks and the families concerns about their father? His reaction to Harry as a person, getting to know him, understanding him, understanding his medical and psychological condition? His concern about the other patients - Christina and her pain, the theory about the aneurism? His concern, the operation and her death? His getting the little girl to be a companion to the German woman - and to mellow them both? The difficulties of his home life - his love for his wife, children? His concern about his work and talking only about it? Exasperation on the part of his wife? The planned outings? The dinner - and his research, forgetting, being delayed, waiting for his wife, the clash? Try to listen to her complaints? Her moving out, his going to see the children, his wife's boyfriend and his being taken aback? His decision to win her again? His relationship with Wicks in the hospital, the assistant doctor and the attraction - and her offer? The voting interns and their falling in love? The characterization of the doctor as professional, as a man with problems? The final talk with Harry, his indication? Meeting his wife - and the possibility of a reconciliation? His being honoured by Harry - with his children present - and the final dance? Portrait of a doctor?

5. Art Carney as Harry Wicks - his usual stylish performance? Making Harry Wicks come alive? His background, his love for his wife, her death, his heart condition? Medication and the effect on his mind and memory? Senility? His mistakes, going back to the pharmacy to work, accusing people of stealing, even going back to the old apartment to court his wife? The exasperation of his son, the care of his daughter-in-law, Charlie? going to the hospital after falling over - and being chased by the family? Dislocating his shoulder and getting the brace? Talking with Dr Williams, his offhand manner, genial, getting to know him? The medications? In the hospital - and the threat of going to the home? His befriending Christina, defending, her piano playing, playing the piano with her, sharing and remembering, devices for remembering? Her death? The effect and his going to the Bronx to find his wife? The going, off the medicine - and his improving? His final threat for the hospital - and his getting the present for his son, remembering his birthday, talking about the past, apologising? The doctor’s care in understanding his physical and mental condition? A new lease on life? The final party and his praise of the doctor?

6. Peter Wicks, his concern, wanting to do the right thing by his father, doctors and medical advice, exasperation, the pressure on himself and his wife, the phone calls in the night, rescuing his father? Hostility towards Dr. Williams? The birthday gift - and the reconciliation? The sketch of his wife and her concern, their son?

7. Christina and her pain, the intern and the students, introducing herself before the initiate examination? Playing the piano, defended, her explanation to Harry about her life, the people that she had loved, her memories? The bond between the two, her pain, the operation and her death?

8. The German lady, her wanting to kill herself, by herself, cranky? The Hispanic girl, her cheekiness, going through the purse? The compact and the German lady giving it to her - as a memory of her mother? The cries in the night and her comforting the little girl? The growing bonds between the two?

9. The assistant doctor and her work, attractive to Zac, offering him to come home? The contrast with the supervising doctor and his permitting the experiment but holding assessment over him? The young doctors and their shyness, keeping company, falling in love? Their future? The other members of the staff, doctors and nurses, the operation?

10. Zac's wife, bringing up the children, feeling neglected by him, his being able to talk with enthusiasm only about his work? Her feeling hurt? The hopes for the outing, the dress, being stood up, coming hone late? Her desperate feelings and explaining things to Zac? Taking the children? His visits, her carefulness, the kids and the effect of their parents separation? Her going to work, her boss at hone and Zac's wariness? His trying to court her again - the possibility of reconciliation?

11. Popular themes - but intelligently and interestingly done?

DO I HAVE TO KILL MY CHILD?

Australia, 1976, 53 minutes, Colour.
Jacki Weaver, Brendon Lunney, Willie Fennell.
Directed by Donald Crombie.

Do I Have To Kill My Child? is a short feature co-written by Anne Deveson and the director Donald Crombie. Anne Deveson has worked extensively in radio and television with a focus on social and feminist issues. Crombie directed such films as Caddie, The Irishman, Cathy's Child. This film was made for International Women's Year, 1976, and had extensive screenings on Australian television.

Part of the impact of the film came from having Jackie Weaver as its star. She has a strong reputation as a comedienne and musical star - but she does an excellent piece of acting as Diane in this film. She is supported by Brendan Lunny as a pleasant, but over-bland husband.

There is an excellent supporting cast including Bette Lucas, John Orcsik, Willie Fennell, Lorna Lesley, Henri Szeps. While the film has a message, the Australian way of life in the country and in suburbia is effectively dramatised - leading to a whole range of discussion questions besides the main focus of the woman in the Australian home, motherhood, violence towards unwanted children.

1. The impact of the film? Message? Emotional impact? Urgency? An atmosphere of realism?

2. Its contribution to International Women's Year? Anne Deveson and her research, dramatic work?

3. The contribution of Donald Crombie - the man's perspective? Co-writing? Direction? The emphasis in his career on women's themes and women's performances?

4. The title as arresting? Indicating a theme? Diane saying it for the ending of the film - and leaving the audience with the question? The purpose of the film: the focus on women, mothers, children, family?

5. The effectiveness of the film with its brevity? Dramatising an issue? Strength of character delineation, establishing of situations, atmosphere and feeling? Audiences identifying with the characters and situations? The objectivity of the story? The subjective attitudes of the characters?

6. The Australian qualities of the film: feel, identification? The universal message?

7. The use of the country town, the school, home, country life and attitudes, the contrast with Sydney, the suburbs, the suburban sprawl, isolation, suburban hospitals? Visual clarity and detail? The audience immersed in the locations? The use of familiar music, light classical accompaniment?

8. The familiarity of the story? The insertion of sequences with Diane talking to the counsellor? The drama for the audience to identify with, assess? Comparisons with Diane's viewpoint in the telling of the story?

9. The common experience of families, difficulties? Differences and the particular touches of character, situation? The effect of parents on their children? Expectations, style? Pregnancy wanted and unwanted? Experience of birth? Masculine and feminine roles in family and in the house? In the work force?

10. The introduction to Diane and Ross: marriage, happy, the farewell from the school, the tribute to both of them, the emphasis on Diane's role - And the Kimbies gift? Their work as teachers? Their fondness for one another - the sequence in the car? Coming home - and Diane's mother babysitting? The prospects for promotion, moving to Sydney? Career? The family, the two girls? The parents and their influence? The hopes for the forthcoming son? Diane's pregnancy, attitude towards going to Sydney? Signs for caution in her reactions?

11. Their care for each other, Ross as, pleasant, impatient with Diane's shortcomings, taking for granted his male roles and stereotypes? Career, wanting a son? His hard attitudes towards Diane, making demands on her for support, not giving enough to her, advice - for her to pull herself together? The scene where he watched the funny television programme and told her she missed the funniest part while she changed the nappy? The visitors and the cream being off? His statements about his disappointment in her, rousing on her? The criticism? Insensitivity, sexual demands? His growing desperate? The experience of the fractured skull? The plan for the holiday? Diane and her place in the home, tensions, pills, pressures, good - but weak in the face of her mother, her mother's expectations, comparisons with her sister, her not wanting the baby, responding to Ross's pressures, her life at home, the housework, the incessant housekeeping, the girls and their crankiness - demands for ironing, staining tables etc.? Her not having any feel for Jamie's birth, her growing anger, the christening and the party afterwards and her reaction to the baby crying, the visit to the doctor and her asserting her anger rather than irritability, sticking the safety pins into the baby, the crying, the talks with her neighbour, locking herself out of the house in order not to harm Jamie, the growing desperation, the platitudes, the pills? The tension with the final bashing? The prospect of the holiday - and her not wanting to run away? Her stating the question of the title? A picture that husbands and wives could identify with?

12. The domestic scenes: cooking, washing, the girls, television watching, changing of the nappies, the crying in the night? The strain on father, the strain on mother?

13. The sketch of the daughters - ordinary, affectionate, withholding affection, demands?

14. Diane's mother and her talk, fuss, putting her daughter down, expectations, comparison with her sister, her comment on Diane's having given up religious support? Question of abortion? The father and his pleasantness, drinking, jokes, Diane's inability to talk with him? Diane's mother's offhand prejudiced remark about aboriginals?

15. The sister and her doing the right thing, her dull husband and his prospects? The friendly couple and their visits, support? Diane being humiliated in front of them? The religious background of the Australian family. the christening, the padre at the party, Diane's mother relying on religion for support, Diane and Ross having given it up?

17. The sketch of doctors - and the platitudes offered, the short time, interview? irritability rather than anger?

18. The effectiveness of Diane's monologues - to the audience and to a psychologist? The impact of the therapy, the need to tell the story, the needs manifesting themselves? The inadequacy of the television commercial prospects of a holiday?

19. The support of the neighbour - the visit to the party, listening to Diane, the walks, pleasant? Comparing notes?

20. The theme of child abuse: the children as victims and the effect on their lives? Parent patterns and Diane repeating her mother? Treating her children as her mother treated her? Depression and anger? The credibility of a mother loving and wanting to do violence to her child?

21. Men and women in Australia, their roles, support, attitudes of society?

DISPLACED PERSONS

Australia, 1984, 95 minutes, Colour.
John Wood, Dagmar Blahova, Steven Vidler, Annie Byron, John Orcsik.
Directed by Geoffrey Nottage.

Displaced Persons is an excellent telemovie produced by the Australian Broadcasting Corporation. It focuses on the World War Two refugees arriving in Australia by the end of 1945. The story has them victims of a mysterious disease and twelve of them held in quarantine with an Australian doctor and nurse. This microcosm enables the screenwriter, playwright Louis Nowra, to focus on characters, backgrounds, issues - especially the bewilderment of the incoming migrants as well as the xenophobia of the Australians. The screenplay is excellent in its observation of character and in its moving portrayal of sufferings in the concentration camps - given by actors and actresses speaking in close-up.

The acting is excellent - led by John Wood (The Last Bastion, The Empty Beach) as the doctor and Annie Byron (Fran) as the nurse. A cast with European backgrounds is able to communicate the plight of the refugees. There is an interesting performance by Steven Vidler (Robbery Under Arms, The Perfectionist) and a bearded and unrecognisable John Orcsik. Direction is Geoffrey Nottage (Women of the Sun, White Man's Legend). An excellent and moving telemovie, which can be compared with Sophia Turkewicz’s Silver City and Ben Lewin's The Dunera Boys.

1. The impact of the film: as history, the Australian ethos of the '40s, a humane portrait of refugees?

2. Production qualities: ABC telemovie, its expected audience? Style - locations, the use of Sydney quarantine facilities, the harbour? The atmosphere of confinement, the fences? Interiors? Day and night, darkness and light? The moving musical score - traditional themes, the counterpoint of Sydney in the '40s and the incoming refugees? Classical music? Australian songs?

3. The portrait of the group, the focus on the group? The focus on the particular individuals? Close-ups? Monologues?

4. The structure of the film: the group arriving, the Australian doctor and nurse and the crisis, the disease and the infection, the quarantine situation for all, the increasing deaths, the time of confinement, the closed world, relationships and reactions, the mystery, the resolution?

5. 1945 and the Australian situation: the dossier on European nationalities - and the prejudices expressed? The presumptions about refugees? Officials and their superior manner? Apprehensiveness about the refugees? Migration and rules, the quarantine? The importance of languages and translators? mutual ignorance? Australian insecurity about European superior attitudes? Guilty about the suffering that they heard of? Not experiencing the same kinds of suffering? Inadequate facilities? Australia as an unknown for refugees (and their desire to go to America)? The heat, the climate, Australian ignorance? Audiences appreciating this picture of Australia in 1945 in the light of the subsequent decades?

6. Dr Thomas and Nurse Evans - good at their job, capable, having to cope, professionalism, the puzzle about the illness, the compassion about the deaths? Dr. Thomas and his situation, confined with the refugees, trying to cope with the deaths, trying to listen sympathetically - to Anna and her sufferings in the concentration camp, to Krystyna and not understanding her whole story? Her death? The rules, having td collect the possessions to burn them? His own wife and children, singing Happy Birthday over the phone? The visits of Harris and the masked visitors? Discussions? Weariness, drinking? His becoming a father figure to the various refugees? The finale on the wharf and his discussion with Evans about the future? Nurse Evans and her loss of her husband, not being able to remember him, sympathetic character, trying to cope with the medical questions, the deaths, language? The encounter with Miklos and the beginnings of the affair, listening to the music? Her attraction towards Miklos? A welcoming Australian?

7. The group and its composition, the plane trip, the arrival, the individuals wanting to be in America? Illness, fear, not knowing languages? The Poles and their deaths? The various collapses? The old lady dying and her suffering? Her prayer? The agony? Krystyna and her love for her husband? Telling her story, his death, her slashing her throat? Irena and Teresa and their trying to escape, their selfishness, stealing, withdrawing into their own world? Teresa's bad translations? The meals, burning of the possessions? Irena's collapse, Teresa's grief? Alexander and his collapse? The end - and going off to face a future in Australia? The irony of the burning of their possessions and clothes - and their being in evening dress on the wharf to face Sydney Harbour?

8. Anna and her story, her marriage, love for her husband, translation work, the torture and her not giving information? Her interest in literature, the discovery of The Getting of Wisdom? Translating for the group? Detachment and involvement? Coping, the stealing of her watch? The relationship with Alexander - her hesitation, her breasts and the torture? The relationship, his collapse, her fears, the vaccine, the end and her reading Alexander's poetry? Alexander as socialist, in prison, a slave, sullen, wanting a suntan, Anna overshadowing him, the darkness of his life, his sexual inhibitions, moods, collapse and death? Teresa and the Poles, her bitter translations, stealing, the jam, withdrawing into her own world, the escape and her grief at Irena's death? moodiness?

10. The sketch of Christina and her husband, their love for each other, their death? Their story of escape, persecution?

11. The Czech woman posing as Dutch, the story of her father and his hanging himself, her having his shoes, their being burnt?

12. The Italians - Federico and his writing his letters, a narrative about what was happening, the letters going into the file? Italian exuberance - and Australia instead of America?

13. Miklos and his background, academic work, music, his being on the move, kicking the football? The relationship with Nurse Evans?

14. The German and his superiority, theories, the truth about his background and work, diseases, his being segregated, his wave at the end? His future?

15. The truth about the pilot, the pilot's daughter with her illness, the investigations? Harris and his attitudes?

16. War and its horror told persons and their memories, their stories? Refugees and their plight? Refugees and Australia - the contribution of the refugees with their experience, remembering their past, changing for the Australian way of life?

DEVIL IN THE FLESH

Australia, 1989, 99 minutes, Colour.
Keith Smith, Kate Caballero, Odile Le Clezio, Jill Forster.
Directed by Scott Murray.

Devil in the Flesh was written and directed by former film critic Scott Murray who has adapted the French novel, Le Diable au Corps, by Raymond Radiguet. The film is French in its style and manner - and the atmosphere of World War Two.

The focus is on a schoolboy in his final year, his infatuation with an Italian internee. The film treats first love, the infatuation and the selfishness and its effect on both the boy and the wife. The boy is played by Keith Smith with a certain detached and callow style. Katia Caballero is effective as Marthe. The film captures the spirit of the Australian countryside, the manners and moral tone of the 1940s. The Victorian countryside looks beautiful. There is a score by prolific French composer, Philippe Sarde.

1. The impact of the romance? The French source and style? Transposed to Australia?

2. The Victorian, countryside, the beauty, the vineyards, the towns? The French score?

3. The title - and the indication of amour and passion? Gallic passion transposed to Australia - and cooled somewhat?

4. The war, its perspective, the internees, the prospect of the call-up, the background to life in the 1940s, newsreel footage, the celebration of the end of the war? The significance of the war on this group of Australians?

5. The picture of Australia in the '40s: family life, professional careers, school life, vineyard owners, work in the vineyards? Manners? morals? The refined and restrained vision - in comparison with other stories of the 1940s?

6. The portrait of Paul: initially, boyish, playing with the little boy? Going to the station to meet Marthe, the picnic, his attraction towards her, asking her to put her hair down, the visit to the school and his response, seeing him at home, his father and his university career, present at his lecture, permission to go out? Relationship with his mother? Success in classes, at sport? His bike and his travelling around? Seen as a growing schoolboy - but with bike and cap? Seeing Marthe, looking for her home, pursuing her? The meal from school? Too young to have a drink? The various meetings, sharing interests, her art and his response? Falling in love, the directness of their talk? His attitude towards Ermanno? The first sexual encounter, his naivety, passivity? The successive encounters? The growing passion? His father knowing but not saying anything? His lies, saying that he was going out with his friend? The passing of time, Marthe's absence and his encounter with the model at the life class, the fumbling sexual encounter? The announcement of the pregnancy, his impassive response? His hurting Marthe, staying, the arguments, his growing immaturity? His father's challenge? The mother and the letter? Going round the hotels, his deceiving Marthe? Her leaving? The passing of the years, his going to take the paintings to Marthe, meeting Ermanno, seeing the child? The final tableau? Interesting character, sympathetic? The audience understanding his growing up, passion, relationship, responsibility?

7. Marthe and her art, coming to visit her family, Ermanno and his internment, her love for him, his absence and her falling out of love? The attraction towards Paul, the encounter at school, he meal, the shop, letting her hair down, the letters to him, encouraging him, giving him the key? The passionate affair? Her leading him on, the sexual encounter, sensuality? Telling the truth? His dictating the letter to Ermanno? Her age, the comparisons of age? her reputation and people's criticism? The break, her pregnancy and it effect on her, her feminine sensibility trying to cope with Paul's youth and immaturity? The humiliation of the hotels, her leaving? The final sequence with the baby? The lyrical aspects? Tragic aspects? The reconciliation with Ermanno and her telling him the truth?

8. Paul's parents, ordinary parents, civilised and refined, friendship with this father, the work in the vineyard, lecturing, knowing what was happening, his wife urging him to exert his authority? His attempts to take a stand? his sending Paul to Marthe at the end?

9. The French family and their style, friendships? Marthe's friends, her confidante? The contrast with the girl and her being caught with the internee and the police taking him away?

10. School sequences, classes, the brothers and their treatment of the boys, sport? The boys in school? Paul's friend, going out with him, kissing in the cinema and his reaction, saying that he was out with him, his reaction to his sister?

11. The prisoners of war, helping with the vineyard, the singing at the meal, freedom after the war? prisoners? The newsreel footage about the Italians?

12. The people of the town, attitudes, moral judgments? The background of Catholicism, the brothers in the school, the parish priest? The lack of impact of the church on Paul and his behaviour?

13. Familiar romantic plot? The development of the characters? Exploration of European experience themes in an Australian context?

DEATH OF A SOLDIER

Australia, 1986, 93 minutes, Colour.
Reb Brown, James Coburn, Bill Hunter, Maurie Fields, Max Fairchild, Michael Pate.
Directed by Philippe Mora.

Death of a Soldier focuses on American military personnel in Australia in 1942 and the atmosphere of World War Two. Its particular focus is on Sgt. Edward Leonski and his killing of three women, his subsequent trial and execution.

The film is a re-creation of Melbourne in the '40s. It is a focus on a man with a disease affecting the brain and his murdering of three women. It is a study of a crime, authorities handling the situation in the atmosphere of war, capital punishment and criticism of capital punishment.

The film was a project of William Nagle who wrote the screenplay (as he did for The Odd Angry Shot). The film was directed by Philippe Mora (Brother Can You Spare a Dime, Mad Dog Morgan, The Return of Captain Invincible and the American films: The Beast Within, A Breed Apart, The Howling II).

James Coburn is good in the central role of the American officer. Reb Brown (Uncommon Valour, Howling II) is maniacal as Leonski, but is made more human as the film progresses and makes the audience react to the commission of crime and the victimisation in capital punishment. Bill Hunter (in a role similar to that of Rebel) and Maurie Fields are the Australian police.

The film looks good, has an atmosphere of World War Two, Melbourne in the '40s. (It is interesting to note that Emma's War, Rebel and Death of a Soldier were all made around the same time and focus on 1942.)

1. Interesting and entertaining story? Australian history? American military forces? The law, capital punishment?

2. Panavision photography, Melbourne in 1942: the city, the camps, rest and recreation, police and military? The authentic atmosphere? Newsreel excerpts? The re-creation of McArthur's presence in Melbourne? The battle between American and Australian soldiers? The musical score: the songs of the 1940s and imitation 1940s style?

3. The title of the film, the focus on Leonski, his execution, his execution as a soldier? The epilogue about the treatment of military personnel and justice?

4. The setting: the newsreel images of World War Two, the Pacific and New Guinea, Mac Arthur and the Philippines, his arrival in Melbourne, the response of Australians to the American presence, hoping for salvation? American rest and recreation, the camps, the brothels? The role of the American officials, the Australian police?

5. The U.S. and the Pacific war, Mac Arthur and his seeming like God, arrival, plans? The murders and American official reaction? Hysteria and good relationships? The preference for an execution rather than presence in an asylum? Mac Arthur's intervention and haste? Authorities preventing letters and cables back to the High Court of America? Leonski's case and the war effort?

6. The American authorities? James Coburn as Major Dannenberg? His police background, morale, the meetings, with the Australian police, his friendliness to Australians? The socials and the encounter with Margo, companionship, the affair, discussion of the situation about the murders, about Leonski, trying to get her to communicate with the U.S.? The police and the collaboration with the Americans? The effect of the deaths, the investigations, diplomacy? Dannenberg and his knowing the suspect was American? The Defence task? His having to take over? The interview with Leonski, Leonski's singing in falsetto, understanding him? The discussion with the Australian police and the information about Leonski's Leptomeningitis? His handling of the court situation, his being unable to persuade the court, objections raised to his points? Leonski thanking him at the end? The attempts to send letters, cables and phone calls? His stance about the murders and capital punishment? Margo's reaction? A man of integrity in the war?

7. Major Fricks: his authority, stances, bully boy tactics, treatment of the men, presence in the brothel?

8. The top brass of the American authorities, their information, decisions, presence of Mac Arthur, his influence, the decision for an execution?

9. The Australian police: their background, humour? Supervising? Patronised by the Americans? Doing their jobs, the investigations, the criminals, the men in the line ups, clues, tracking Leonski? Collaboration with Dannenberg? The information about the similar case and Leptomeningitis? Their presence at the trial? Bill Hunter's laconic style as Adams? Maurie Fields' humorous style as Martin?

10. Margo and Australian women, the response to the Americans, social background, comment on her social class, her engagement, the dance, the affair, her harshness about Leonski?

11. The presentation of R & R, the brothels, the clubs, sex, drinking, the response of Australian women?

12. The American military camp, camp style?

13. Leonski and Gallo? The initial impressions of the GIs? Buddies? Going out, drinking? Leonski's odd mannerisms, the big man, his falsetto singing, walking on his hands on the bar, strange look, his lips, smile? The suggestions about the first death? The explicit presentation of the other deaths? His return to camp, talking to Gallo, sadness? Confessing? Being cheered up by the prospect of more drinking and girls? Exposing himself to the woman in the flat? His almost strangling the other woman? His wanting their voices? The line-up in the camp and his not being detected by the two women? Following the woman on the tram, getting her to guide him to the camp, his killing her and burying her? His wanting her voice and not sexual intercourse? The mud and his washing? The arrest and his confessing? Gallo and his concern, reporting him? The interrogation? The file on his family and his brothers and their records? Leonski, a soldier doing his duty? The voices - and his singing 'It's a Lovely Day Tomorrow'? The reaction of Dannenberg? In the court martial? His condemnation, thanking Dannenberg, his smile? In the cell, a naivety and innocence, simplicity? The effect of Leptomeningitis and drinking? The padre and the prayer? The visual impact of his execution? Portrait of a soldier, a criminal, a man affected by illness of the brain?

14. The victims, the girls around town, being picked up, his wanting their voices? The women who escaped? The final victim and her innocence and kindness?

15. The Australian reaction, hysteria, the extraordinary battle and killings between American and Australian troops? The media cover-up? The parliamentary discussion, McArthur's presence, Prime Minister Curtin's stances?

16. Crime and ugliness? Mental illness? Justice and expedience? Leonski as scapegoat? The message about capital punishment and the nature of a society which kills criminals?

DEAD-END DRIVE-IN

Australia, 1986, 88 minutes, Colour.
Ned Manning, Natalie Mc Curry, Peter Whitford.
Directed by Brian Trenchard Smith.

Dead- End Drive -In was a strong commercial success, focusing on a strange future (in the vein of Escape From New York, The Ultimate Warrior etc). It is geared to the youth audience with some social comment. However, the style is of the road exploitation film: slam-bang action, one-dimensional comic strip presentations, smart dialogue, the use of sex and violence for popular appeal.

It was put together by director Brian Trenchard -Smith, an expert in spectacular stunt work from The Man From Hong Kong, Death Cheaters, Stunt Rock, Turkey Shoot, Frog Dreaming. (The Man From Hong Kong, and Turkey Shoot are among films screening at the Dead- End Drive- In!)

The film opens with a prologue about the disasters of the late 80s and shows a totalitarian state with many youth unemployed in the early '90s. The drive-in is a compound for occupying youth - and possibly eliminating them.

The film has expert stunt work, relies on its sets and decor for the grimy future - all filmed around Sydney's Bunnerong Powerhouse and the suburbs around Botany and Matraville.

The film was based on a short story by Booker Prize-winner, Peter Carey.

1. The popularity of the film? The exploitation and themes? For a young audience? Australian? worldwide?

2. Panavision photography, Sydney and Botany locations? The roads? Night? The drive-in's squalor (and the films being shown)? Expert stunts, styles, effects? Musical score and songs?

3. The situation in Australia: the prologue, the catastrophes with the Bicentenary, South Africa, energy crisis? The squalor of the city? Role of Government? Police? Detention camps? The material for a pop fable?

4. The fable and story-telling: in broad strokes, broad situations, one-dimensional characters, striking incidents? The comic style and pictures painted in primary colours? A way of communicating themes at a popular level?

5. The cars, crashes, ambulanc2, TV and media, the police, tow trucks, pay-off? The Can Boys and their scavenging? Suggestions of a collapsed society? The glimpses of ordinary society with shops, streets?

6. The Car Eels and their appearance, gangs, scavenging? Unemployment, boredom? A violent and ugly city?

7. Frank and his size, his big car, truck? in action? With the police, the pay-offs? A code for Jimmy?

8. The focus on the drive-in? The focus on its title and the emblem of the star? Style? Jimmy and Carmen daring to go, in Frank's car? The encounter with Thompson? The film (Turkey Shoot? The irony of the film seen commenting on the action? Drive-in behaviour, youth, sex? The stealing of the wheels and Tom's pursuit, the irony of the police taking them? Reporting to Thompson, discovering the truth, being trapped? Settling in to live in the drive-in, sleep, meals, tickets? The crowd? Jimmy reacting while Carmen was absorbed? Looking after his car, stealing, the car smashed? Flaunting independence? Alienation? The gang and their types, using dirty tactics to beat Haza? The Asian? His stance? Thompson and his offering to help, the clash? , His plan to leave, watching, driving, stealing the truck, the crash? The shoot-out and Thompson's death? Carmen not wanting to go? The bid for freedom and the spectacular stunt? Driving along the highway? Character, type, symbol?

9. The contrast with Carmen? Her not wanting her parents to know where she was? The drive-in, sex? Her reaction to the situation, conformist, meeting the girls, joining with them, getting her hair done? alienation, sexual repercussions? planning to eat? Wanting to stay? Her discussion about her lack of a future? Her going to the meeting about the white group? Her not being able to leave?

10. The gang: Dave and his size, leadership, tough, the two-up games, swagger? Haza and his ugliness, the dirt, Don and his stammer? Their acting tough, contempt for others? The arrival of the Asians and their bigotry? The urinal sequence? Mouthing White Australia cliches? Their attitudes towards the girls? The girls' group, girl talk, hair and fashions etc.? Beth and her helping Carmen to settle in?

11. Thompson as the manager, at the gate, pleasant, his computer, sinister reaction to people and the rules of the drive-in, his contact with government and police, the computer lists and the drive-in's filling up? Wanting to help Jimmy? Telling his story? Giving Jimmy away? The shoot-out and his death?

12. The police, the government, cars, the Asians being brought in?

13. The Asians and White Australia Policy - the satiric presentation of the bigotry and platitudes?

14. Themes of youth, unemployment, future? The drive-in as a Microcosm? Exploitation? Action? A film for youth, '80s style?

DOT AND THE BUNNY

Australia, 1984, 81 minutes, Colour.
Voices: Drew Forsythe, Ron Haddrick, Anne Haddy, Barbara Frawley, Ross Higgins.
Directed by Yoram Gross.

Dot and the Bunny is one of about a half a dozen sequels to Yoram Gross's successful animation fantasy, Dot and the Kangaroo (1977).

Gross has taken the original Dot and her search for the kangaroo Joey to make contemporary stories with messages for children - preservation of animals, anti-war, the environment etc.

The films offer the same formula - naturalistic backgrounds, epsecially Australian flora and fauna, which are then animated so that the animals come alive and can act, talk, sing. The result is generally delightful, especially for smaller children.

Gross uses direct animation, reminiscent of Disney and Hollywood cartoons. He has excellent character voices led by Barbara Frawley as Dot and such characters actors-as Drew Forsythe, Ross Higgins, Anne Haddy. This film offers many lessons in Australian animals. It has a touch of anti-war in its final sequences.

1. The popularity of the series? Delight? For younger children? Adults?

2. The style of animation: natural backgrounds, the beauty of Australian landscapes, variety? The range of Australian animals? - transition to animation - talking, acting, singing? The blend of fantasy and reality? Dream?

3. The effectiveness of the message about nature, about being oneself, violence and war?

4. The original adventures of Dot? Going home, dreaming, walking through the bush, the encounters with the variety of animals, a human along with the animals, her search for the Joey, her friendship with Funny Bunny, her experience of the bush, of the islands and the relics of World War Two?

5. The range of animals and the Australian bush: the use of Banjo Paterson's poems about the animals that Noah forgot? The recitations and songs? Delight, instruction? The koalas and their eating a sleeping habits, the comparisons between wallabies and kangaroos, the photography of the birth of the little kangaroo and its journey to the mother's pouch? Rabbits? The nature of a platypus? The flying foxes, marsupial mice, bandicoots, crocodiles and turtles?

6. The character of Funny Bunny and the friendship with Dot? The loss of parents by the rabbit, the search for a mother? The various ways of pretending to be a kangaroo - ears, tail, hopping etc? The comedy? Songs? Self-acceptance? The kangaroo accepting Funny Bunny as her child?

7. Split-screen effects for the range of Australian types as Dot and the Bunny walk through the bush? The visit to the aborigines and their caves? World War Two in the Islands, the relics of war, memories, the message against war?

8. An entertaining way of appreciating Australia?

THE DUCHESS OF IDAHO

US, 1950, 98 minutes, Colour.
Esther Williams, Van Johnson, John Lund, Paula Raymond, Clinton Sundberg. Guests: Red Skelton, Eleanor Powell, Lena Horne.
Directed by Robert Z. Leonard.

The Duchess of Idaho is an entertaining piece of 1950s fluff - very much of its time, but its ingredients are still entertaining.

Director Robert Z. Leonard (The Great Ziegfeld, Pride and Prejudice) seems to be having a holiday with his MGM star cast. In fact, the basic situation is a holiday. Paula Raymond (very good as the repressed secretary who saves her boss from embarrassing fiancees) is aided by her roommate, Esther Williams. The boss is John Lund, acting 'the other man' yet again. Lund is quite good and suave at this role (and here is assisted by Clinton Sundberg as his irritated valet and cook).

Esther has the opportunity to do some swimming as well as some comic routines. Van Johnson, a bandleader during the vacation at Sun Valley, provides the romantic interest. There is a lot of farcical misunderstanding and wrong interpretation of identities. Needless to say, all's well that ends well. Esther even has the opportunity of becoming the Duchess of Idaho by being able to dance with Van, each supporting a potato with their forehead! There are some guest spots by Lena Horne who sings, Eleanor Powell who tap-dances and Red Skelton who crowns the Duchess of Idaho - with a brief but very funny intervention.

M.G.M. made this kind of musical comedy with great flair during the '40s and '50s. Fashions and styles change, but this is still the amusing material used in situation comedies and telemovies.

Enjoyable of its kind.

DROP-OUT FATHER

US, 1982, 90 minutes, Colour.
Dick Van Dyke, Mariette Hartley, George Coe, William Daniels.
Directed by Don Taylor.

Drop- Out Father is an American telemovie showing the picture of the American rat-race, competitiveness, the possibility of changing one's lifestyle for oneself and family. It is fairly contrived - but relies on the presence of Dick Van Dyke as the drop-out father. There is a strong supporting cast including Mariette Hartley as his wife and Monte Markham as his philandering friend.

The film treats its social problem in the popular American telemovie style, for the widest audience. Direction is by former actor and director of many films and telemovies, Don Taylor.

1. Interesting and enjoyable telemovie? American style? Social problem and dramatising it? For the widest possible audience?

2. Connecticut and New York settings, affluence, the home in the country, work? The change of venues?

3. The dramatising of a contemporary problem, the credibility of characters, situations, behaviour, resolution? Title and its emphases?

4. Dick Van Dyke as the central character: his age, experience, comic touches? The morning and getting ready for work, hectic, smoking, on the run? At work, the advertisements and the campaigns? The advice from Tony? His wife, love for her, the affluent style? His children: the oldest away studying but wanting to do pottery, the daughter and her boyfriend with their Indian names and behaviour, the younger son and his wanting to be in a rock band, Elizabeth and her youth, her wisdom? The hectic pace of life, hectic work? The repercussions?

5. The impact on the father, his decision to drop out, eleven days in his room, not shaving, reading, relaxing? The reaction of the family? Coming out, not being persuaded to change? His imposing his changes on the family, their reactions? Elizabeth and her supporting him, going to New York? Walking the city, the old apartment, cleaning it up and painting it, his decision to become a photographer, his success? The reluctance of his wife, her coming to visit? Christmas?

6. The wife, the memories of the past, her complacency in her wealth and routine, her girlfriends at the club, their reaction to the husband dropping out? Anxiety, getting the fireman? her reaction to her husband? Not going with him? The discussion with the women at the club, her shock at their part-time prostitution? Her choice, going to her husband, a new career? Christmas?

7. The sketch of the children, their being spoilt, opportunities, money? The potter and his success? The daughter and her reaction, Indian style, boyfriend? Getting married and changing to ordinariness again? The boy with the rock band, meeting the black musicians, trying out with them? Elizabeth and her observations, her going with her father, sharing with him?

8. The boss, the firm, offerings of money, reactions?

9. Tony and his lifestyle, dating, women, advice?

10. The women friends in Connecticut, their rich and empty life, drinking, sex?

11. The Christmas dinner, the family joining together, the resolution of the questions?

12. Themes of busyness, the rat-race, competitiveness, opting out, doing what one likes and is good at? Self-fulfilment?

DO NOT FOLD, SPINDLE OR MUTILATE

US, 1971, 73 minutes, Colour.
Myrna Loy, Helen Hayes, Sylvia Sidney, Mildred Natwick, Vince Edwards.
Directed by Ted Post.

Do Not Fold, Spindle or Mutilate is a telemovie from the early '70s, early days in telemovie production. It is an amusing crime story. However, it is principally a vehicle for its stars: some of the major dowager actresses in Hollywood in the '70s - Helen Hayes, Myrna Loy, Mildred Natwick, Sylvia Sidney. They all have the opportunity to display their talent, the film taking advantage of their experience and reputations, their manner and presence in old age. The younger star of the film is Vince Edwards (Ben Casey) as a manic murderer.

While the film's plot is not particularly new, it is quite nicely done. The old ladies enjoy their friendship, are out for some thrills in marking in a computer dating card - with murderous results. A blend of the thriller and the comic touch.

1. Interesting and entertaining telemovie? Crime thriller? Comedy?

2. The California gloss: apartments, streets, restaurants, police stations?

3. The reputations and experience of the stars? Their screen presence? A delightful idea in bringing them together? Their sparking off each other?

4. Plausibility of the plot: elderly ladies, filling in the form, the contacts from Weston, the murder, contact with the police, the confrontation with Weston? The screenplay playing with the crime and murder genre?

5. The focus on the ladies: Sophie T: leadership, initiative, filling in the form, getting the group together, the phone calls, the letters, watching Weston, going to his place, the interview with the woman from the bar, the police, the confrontation, outwitting Weston? Evelyn, her relationship with Sophie, her caution? Shelby and her prim and proper style, fainting, the obscene message and her keeping it secret, wanting to be daring? Elizabeth, her eagerness, egging people on? The filling in of the form, going to the restaurant, their concern about the waitress, the letters, phone calls, the appointment, the interview, the police, the house and the siege, the finale?

6. Weston and his intensity, his talking to himself? Madness, obsession, phone calls and letters? Wanting to meet the fictitious character? Misunderstanding the girl in the bar? Killing her? Covering his tracks? The confrontation with the women, their outwitting him? The dangers?

9. The police, concern, exasperation?

8. The moral of the story? The ironies?