DON'T GO TO SLEEP

US, 1982, 93 minutes, Colour.
Valerie Harper, Ruth Gordon, Dennis Weaver, Robert Webber.
Directed by Richard Lang.

Don't Go To Sleep is an entertaining and somewhat eerie ghost. story. It focuses on an ordinary family, their clashes, the memories of the eldest daughter - and the youngest daughter seeing a accident with a death and her being possessed by her dead sister with dire consequences to the whole family.

Dennis Weaver is effective as the weak father, Valerie Harper as the strong mother. Ruth Gordon acts her wisecracking, seemingly slovenly, self as the grandmother. Claudette Levins is particularly good as the possessed daughter.

The film is designed for a television audience and so is not so strong on explicit violence or horror. It relies on atmosphere.

1. Entertaining telemovie? Ghost story? Family drama?

2. American cities, homes, family life, doctors, psychologists? Musical score and atmosphere?

3. The title and its reference to Mary, to the rest of the family?

4. The setting with the family, the car ride, concern about Mary, Kevin tormenting her, the introduction to Philip and Laura? Concern about Bernice? Her arriving first? The setting up of the new house? The memory of the accident? Recriminations? A new start?

5. The gradual focus on Mary, her clashes with Kevin, her being frightened, her not being able to sleep, the appearances of Jennifer, her fright and nightmares, waking, in Levin's room, sharing with him? The continued visits of Jennifer, their friendship, Jennifer's insinuations, the build-up to the killings? Mary going to the psychologist, her fending off his questions, her bluntness? Was she insane or not? Possessed by her dead sister? The murder of the grandmother, getting even or go on the roof, the electrocuting of her father, the confrontation of her mother? In her going to the hospital? The discussions with the psychologist? The psychiatrist and her being possessed by Jennifer and talking in both personalities? Trying to treat her well - and her mother's fear?

6. The sketch of Philip, his hard work, love for his wife, children, clashes with Bernice? His not being able to cope, drinking, Laura and her accusations? His concern about his children, the funerals? His drinking in the bath, his death? The flashbacks and his role in the accident? Laura and her strength, coping with the children, her angers, her grief at the deaths, her mother, the funeral, clashes with Philip, his death? Kevin and her grief? Her horror of Mary, falling down the stairs, the hospital? Going home? The flashbacks and her place in the accident?

7. Bernice, age, in the family, tormented? The memory of the accident and her role? Reaction, to Jennifer, Mary's jealousy, no affection? Her responsibility for Mary's reaction?

8. Kevin and his playfulness, antagonism, his playing with Mary, going onto the roof, her killing him?

9. Jennifer as the favourite, her death and resentment towards her family, trapped in the car? Playing on Mary's jealousy and hunt?

10. The psychologist, his interviews, questions, fencing with Mary? His reliance on the psychiatrist and her discovery of the two personalities?

11. Psychological drama? entertainment, horror story?

THE DOLLY SISTERS

US, 1945, 114 minutes, Colour.
Betty Grable, June Have, John Payne, S.Z. Sakall, Reginald Gardiner, Frank Latimore, Gene Sheldon, Sig Rumann.
Directed by Irving Cummings.

The Dolly Sisters is a fictionalised biography of two Hungarian sisters who succeeded in vaudeville in the early part of the 20th century. The film is one of the many Betty Grable vehicles so popular at 20th Century Fox in this time. The producers lavished costumes and decor on this film, making it an attractive '40s musical.

Betty Grable and June Haver are quite effective (presence and singing and dancing rather than acting) as the sisters. John Payne appeared in many of the Fox musicals and is adequate enough in the central role as Harry Fox. S.Z. Sakall enjoys himself in his perpetual uncle role.

There are many of the old songs like 'I'm Always Chasing Rainbows'. The Oscar-nominated song is 'I Can't Begin to Tell You'. Though the film has a dated 20th Century Fox's '40s look, it is still an enjoyable example of Fox musicals.

1. Enjoyment of the musical? The old songs? The show business story? The American dream? The days of vaudeville?

2. Colour photography, costumes and decor, staging of the songs, choreography? The importance of the musical score? The songs? Their thematic use for the plot?

3. The focus on the Dolly Sisters, their Hungarian background, coming to America, their opportunities, taking chances, going into vaudeville, the success with Oscar Hammerstein, going into theatres, the choices, going to Europe, Paris? The benefit at the end? The glamour of their career?

4. The sketching of the characters of the sisters - Jenny and Rose and their rapport with each other, singing and dancing, their lives with their uncle, seeing opportunities, on the train as little girls, the meeting with Harry Fox, outperforming him, friendships, the audition for Oscar Hammerstein? Jenny falling in love with Harry? The choices, the marriage? The war and the separation? Letters? Her yearning for him? Opportunities in Europe and her separating from Harry? Tony and his attentions, the rash decision to marry? The build-up to the accident? The benefit and the reuniting with Harry? Rose and her attraction towards Irving, her career, worried about telling Jenny of the marriage? The benefit?

5. S.Z. Sakall and his comic style as the uncle?

6. Irving and his wealth, attentions to Rose, marriage? Tony and his wealth, in Europe, attentions to Jenny? The possibility of marriage?

7. Harry Fox, ambitious, boasting, performance, attraction towards Jenny, marriage, the war, active service, prisoner, release, reunited with Jenny? The crisis and her decisions, waiting at the train? His return and success? his fiancee, the preparation for marriage? her understanding him? Graciously bowing out to Jenny?

8. The staging of the songs, the glamour, the dancing? The venues? American, international? The final benefit? The final song?

9. The '40s and the perspective on vaudeville, the stage? The American tradition of the 20th century popular songs?

DOIN' TIME

US, 1985, 81 minutes, Colour;
Richard Mulligan, Colleen Camp.
Directed by George Mendeluk.

Doin' Time was one of the very many broad and raucous comedies that came in the aftermath of the extraordinary success of Police Academy. This time the shenanigans are in a prison. The ambivalent hero is caught in the act with an official's wife and is sentenced to jail. He experiences the usual entrance problems, the crazy people in the jail. However, the craziest of all is the administrator played in his Soap (and many other comedy style roles) fashion by Richard Mulligan. The jokes are broad, corny and frequently obvious. There is the inevitable crude touch. However, as raucous comedies go, this is better than many. It is indicative of the kind of popular humour coming from America in the mid-'80s, made popular by video release.

DOING LIFE

US, 1986, 100 minutes, Colour.
Tony Danza.
Directed by Gene Reynolds.

Doing Time is a telemovie produced by its star, Tony Danza, popular at the time in the television series Who's The Boss. He gives an effective performance as a streetwise criminal, arrested, condemned to death and then to life imprisonment, who takes up the study of law and is able to defend prisoners and himself. However, at the end of the film, he is refused parole because of the murder of which he was accused. He still practises law in prison as of the mid-'80s.

The film is set in New York in the early '60s, has the atmosphere of the streets, becomes an effective prison film as well as one about human dignity and rehabilitation.

The film is in the vein of Burt Lancaster as The Birdman of Alcatraz and James Wood as the criminal who studies law in Joseph Wambaugh's The Onion Field.

1. An effective telemovie? Audience? Re-creation of the American streets, prisons, rehabilitation? A prison reform film?

2. The atmosphere of New York in the '60s, the streets, the shops, homes? The prisons?

3. The impact of the film as a true story, the rehabilitation, the pessimism of the ending as regards Jerry still in jail.

4. The portrait of the young American man, on the streets, crime, justice, prison, life condemnation, change, education, service?

5. The streets and the tough young men, the police harassing them, Jerry and his pals, hassled, their poses, the crime - whether they did it or not? The arrest?

6. The world of lawyers, interrogations, prison rights, the judge, his bias in the case?

7. Jerry as tough, angry, the interrogation of the witnesses, the allegations of torture, his anger, parents, wife and daughter, the condemnation, the death row, the commutation to life sentence, the passing of the years, the details of prison life, his change of heart? The guards?

8. The law, study, the books, their being withheld, his not getting the proper help, his writing the letter and the case coming in his favour?

9. The interpretation by the prison authorities?

10. The change in Jerry as a person, experiencing prison, his wife going to Texas, the support of his parents and their financial help with the degree, the obtaining of the degree, the riot and the hostage negotiations and his part, his taking on cases of fellow prisoners, arguing in court, the prejudices of the judge, his winning and the acclaim?

11. His phone calls to his daughter, the visit of his grown-up daughter, the hopes of parole, the reasons for his losing parole?

12. The impact of the ending, the emotional response to Jerry and his rehabilitation? Insight into the changes in a human being?

DRIFTING

Australia, 1975, 40 minutes, Colour.
Directed by James Ricketson.

Drifting is a short feature by James Ricketson. Ricketson made several shorts and TV documentaries during his study period and then turned his attention to this small feature. He later made the feature Third Person Plural, an exploration of human relationships which was somewhat avant-garde and relied much on discussion. While there is discussion about the human condition in this short film, the strength is in the characterisations and the interaction. It is one of many short features made with the auspices of creative funds and government aid during the '70s.

1. The impact of the film? For what audience was it made? Its reflecting the '70s and its issues? How well were these dramatised in a brief space of time? The quality of this film as a short feature?

2. The impact with the short running time? The cast? The work of film and television school students? An experimental feature? The director's background in documentary-making and television?

3. The quality of the writing: the delineation of the characters, the sketching of situations briefly and persuasively, the quality of interaction? The atmosphere of talk, the focus on talking heads - to what purpose? The goals of exploration of themes and characters? The drug background and its effect on minds, outlook, behaviour? The use of journeys? The world of study, commitment? Commitment and clashes? Jealousy, help, freedom?

4. The focus on Steven: his age, art, home background, drugs, Helen and his relationship with her, the quality of regard for her, live-in? The meeting with Guy and his effect on Helen and Steven? Friendship, love, jealousy? The nights out and the truth? His letting Helen go? Her return and the visit to the beach? The second attempt at success? Going on the trip: the decision for Steven to go on? What was he leaving behind, what would his trip mean for him in terms of experience, discovery? How well did Steven represent drifting - the focus of the film's title? What values did Steven represent in Australian urban society of the '70s? His future?

5. The contrast with the portrait of Helen: the world of study, her meeting with Steven and their discussions about art, life? Did she love Steven? The quality of their relationship as she lived in? How did she help Steven? Her statements of her own needs, freedom, her controlling of others? Guy? Her relationships with other men, her lies? Her returning to Steven and clashing with him? Her decision to go, come back? Possibility of a reconciliation? Why could she not go on the trip? Her work, her future? As symbolising the values of the young city woman of the '70s?

6. The contrast with Guy - the drug culture, his wandering and drifting, his rudeness, his work, friendship, self-preoccupation, his going away, coming back when he liked? His presence on the trip - and his inability to go further on the trip? Did the film make a judgment on him? His representing
the drifting style of the '70s?

7. How well did the film use Sydney and its locations, background? The style of young people in Sydney, their drifting? A counter-culture? Steven and his art, selling paintings, the world of study? This kind of society and
its authenticity, pretentiousness?

8. How well did the film explore themes - the talking heads, the amount of reflective discussion in the film? How did this blend with character drawing, creative tensions and relationships? Hopes? A short film of reflecting a period, insight?

DEPARTURE

Australia, 1986, 95 minutes, Colour.
Patricia Kennedy, Michael Duffield, June Jago, Serge Lazareff, Sean Scully.
Directed by Brian Kavanagh.

Departure is based on the play A Pair of Claws by Michael Gurr. Gurr has written his own screenplay, opening out his play. It is directed by Brian Kavanagh, best known as an editor of many Australian films. His directing work includes the early '70s feature A City's Child and the early '80s thriller Double Deal with Louis Jourdan and Angela Punch McGregor?.

The film is set in Tasmania and uses Hobart and Tasmanian locations to advantage. The film is realistic - but also stylised, especially in the performances of Patricia Kennedy, Michael Duffield and June Jago. Serge Lazareff's style is quite different and is jarring in the ensemble work. In fact, the film is probably too stylised - more suited to a television playhouse style. It is interesting in its exploration of characters, the satiric comment on attitudes in the '80s - as well as touching on some deeper themes of God and religion.

1. The impact of this drama? The theatrical background? Translation to cinema?

2. The Tasmanian settings: attractive, touristic style? The city of Hobart, the visitors? The buildings? Hotels? Theatre? The Tasmanian countryside? The authentic feeling? A context for the drama? The musical score: the excerpts from Verdi? Original music by Bruce Smeaton?

3. The film's theatrical origins: characters, situations, strength of dialogue, dramatic tensions? Situations for discussion? The use of a range of exteriors and the opening out of the play? The theatrical style, the rhetorical style of most of the acting?

4. The title and the original play, A Pair of Claws? The change to Departure? The credits and the phonetic writing of the title? The occasion of the departure, its significance, timing, focus? The altering of the situation: the couple staying? The irony of the final sequence with the plane taking off?

5. The situation for Pres and Sylvia: their past, diplomatic work, life in Australia and overseas, age and experience, roots and rootlessness, home and moving, farewells, friendships, a re-assessment of their life, tension, unexpected crisis, stances, courage?

6. Pres and his memories, the glimpses throughout the film, the cover-up of the crime, the lurid touches of the death, the political hints? The flashback and the truth?

7. Michael Duffield's portrait of Pres: his background, his education, class, work, status, desire for a knighthood? His listening to the music, his memories? His being loved by Sylvia? The future, retirement, selling up, packing, going to Rome? His conscience? The puzzle about God and faith, especially as Sylvia expressed her faith? The packing up? The weekend, hotel and style? The arrival of Simon and the tensions? Frances and the memories of the past? The moments with Sylvia and their intimacy? The outings, the talk with S1mon at the swimming pool, disagreement with his politics, regret about the neglect of Simon in the past? Dinner at the restaurant, the countryside? The walk with Simon to the bridge, going to the football and its effect? The theatre and the enjoyment of The Importance of Being Earnest? The interruption of the play, the news, his confession to Simon and Frances? Having to cope? The awkwardness of the next day, keeping to himself, the editor of the paper and his intrusions? The golf with Simon? Sylvia's rules and keeping to them? Reactions? Frances' reaction against them? Simon's decision to publicly turn against him? The final night, sleep and sleeplessness? His reassessment of his life? Decision to go to the conference, in the car with Joseph? The portrait of a man, his past and his behaviour, the cover-up? His achievement? The future? Having to cope? His values?

8. Patricia Kennedy's portrait of Sylvia: her presence, age, experience, capacity for coping, decision-making? Packing and the music cutting her off from Pres? The flow of love and her reflections on it? Letting go of the house and possessions? Her support of Pres? The clashes with Simon? Her stances, her insinuating remarks? Simon's judgment about her love for him? The discussions? Frances and her friendship? Sensitive to her? Shopping with Frances, the choice of the scarf and the gift? Telling her of the flow of love? The outings the theatre? The news and her knowing about the past, her exercising,~ control? Establishing rules for the Sunday? The next day and her hostility to the press? Forcing everybody to behave according to the rules? Going to Frances' house and the gift of the tablecloth? Frances and her silence, her outburst, her hurt that Sylvia had not told her the truth, her breaking off and leaving? Simon's decision to go public? The night, her walking, her dignity - and her saying that she didn't read the papers? Her knowledge of the truth, the forgiveness of Pres7and her reaffirming this? The significance of her religious conversion, the nature of her faith, her belief in God? Her:-reliance on reason, the temptation to scepticism, the faith sustaining her?

9. Simon at the opening, the drive, tension with his girlfriend? His dreading the weekend? His own past, the memories of his parents' absence, loving and resenting them? Frances as an aunt, her bringing him up? His insinuating remarks about her - especially about her scrapbooks, as a widow? His comments on her love of the macabre? His being present on the weekend, talking, exasperated? The swimming pool and the talk with his father, his ALP stances, ambitions? Pragmatic? Principles? The walk with his father, taking him up to see the football? The theatre? Being merry with Frances and calling her by her first name? The news, his reaction? His love for his parents yet his own ambition? The golf sequence? The drive to Frances' house, the tablecloth? The editor and his intrusion? His decision to go public? The press conference (and watched by the editor), loyalties, love, ambition?

10. Frances and her place in the family group? Her bringing up Simon? Her love for her dead husband, her memories and talking about him? Widow? Nice, proper? The keeping of so many scrapbooks? The macabre situations? People commenting against her prayer books and hurting her? The phone call with Sylvia, their friendship, her arrival, the expectations of the weekend? The shopping and the gift? The theatre? Happy with Simon? The news of the cover-up and its exposure? Her silence, being hurt, agreeing to the rules about the day, becoming more isolated, the gift of the tablecloth? Her bursting out, commenting on the murder, blaming Pres and Sylvia, her statement about friendship being the sharing of everything, her fear of people's opinion? Her leaving? The effect on Sylvia? On herself?

11. The political situation, Joseph as the hatchet man, the minister resigning, the survivors? The editor and his job,
contacting Joseph, scenes in the office with the reporter, the phone calls, trying to get in touch with Pres, at the press
conference watching Simon?

12. The Australian themes, universal themes? Life and the quality of life, mistakes and responsibilities, forgiveness,
the consequences for self and others, the next generation? Facing up to reality and coping?

DEMOLITION

Australia, 1978, 87 minutes, Colour.
John Waters, Fred Steele, Vincent Ball, Belinda Giblin, Paul Chubb.
Directed by Kevin James Dobson.

Demolition is an action telemovie using the talents of John Waters. Written by Bruce Wishart, writer of several telemovies (Is There Anyone There, Plunge Into Darkness), the film has interesting ideas although they are not developed well, especially with the short running time of the telemovie.

The film takes up espionage themes, international terrorism, the use of science for espionage and echoes such stories as The Terminal Man, The Ground Star Conspiracy. Direction is by Kevin Dobson, director of The Mango Tree. The ingredients are interesting, aspects of the film engrossing, but, on the whole, it lacks credibility. Even the heroine, Belinda Giblin, seems abandoned in the Warragamba Lion Park - rather callous, though it may be partly in the themes of utter evil and people being abandoned to their fate. The strength of the film is in John Waters' performance and the attempt to explore international themes. A similar, rather ill-fated parallel, is Michael Thornhill's Harvest of Hate.

1. The impact of the telemovie thriller adventure? Audience interest, absorption, suspense? The effect on the home audience?

2. The qualities of the Australian production? The writing, acting, colour photography? The British sequences, the Australian atmosphere and the use of Sydney and its environment? Musical score especially the piano music? Was the basic plot plausible? Technological developments and their aberrations, human experimentation? Politics and big business using scientific and technological power? Victims not knowing how they are being used? International espionage and terrorism? The expendability of the individual? The cover-up of the truth? How well were these themes explored and presented? The structure of the film: the scientific mistake, the explanations about the powers and their using science, the choice of Peter Clarke as their guinea pig? The English background and the transition to Australia? The courier, his not knowing his mission, the various contacts, his uncertainty about the truth, the chase and violence? Romance? The futility at the end? What was the audience left with after its being immersed with Clarke in the mesh of intrigue?

3. John Waters as Peter Clarke? The Australian in England, his work in England, his role in espionage and as a courier, his piano skills? His being pressurised to return? The international contacts? His arrival, friendship with Eddie - and its later ambiguity, the encounter with Faith and the romantic bond and involvement, Korchik and his assistant and their continued chase? The violent encounters, the mystery? Clarke and his asserting his individuality - the irony of his memory being wiped out? His expendability? Our seeing him gazing at Sydney Harbour? The contemporary victim? The authorities - the scientists, the experiment, the decision about using the discovery? The purpose? Reprogramming people? Clarke and the choice of courier, Korchik as the intended, Clarke as bait? The callous betrayal?

4. The portrayal of these faceless businessmen? The decisions and their following them through? The irony of their defeat? The scenes of violent action, fights, chases, killings? Necessary for this kind of film? Atmosphere? Inherent violence in the situation?

5. Korchik and his assistant, their continued pursuit of Clarke, the showdowns e.g. in the warehouse, on the roads? The final ironies about Korchik and memory, reprogramming? Eddie and his friendship, his ambiguous role?

9. Faith as heroine, her flat, support, trying to understand Clarke, her presence in the lion park, the ugliness of her death and expendability? Parallelling that of Clarke?

10. The final ironies of the radio studio, the tape, Clarke hearing it and being affected by it, the experimental sound being obliterated?

11. The use of the thriller telemovie for exploring and dramatising international issues - for the home audience, briefly? Effectively?

A DANGEROUS SUMMER

Australia, 1982, 88 minutes, Colour.
James Mason, Tom Skerritt, Ian Gilmour, Wendy Hughes, Ray Barrett, Kim Deacon, Guy Doleman.
Directed by Quentin Masters.

A Dangerous Summer (originally The Burning Man) is a film which might have been. Ambitious in cast and production values, the final result is a truncated effort. It is difficult to know where the blame lies. During production, Ian Gilmour was injured and many sequences had to be delayed by some months. Perhaps the producers gave up.

The cast is potentially strong: Tom Skerritt (M*A*S*H, The Turning Point) is the token American. James Mason has a pleasingly suave role. Wendy Hughes appears to advantage but then is murdered. There is strong support from Ray Barrett, Kim Deacon and Guy Dolman. James Mc Elroy produced, the screenplay is by writer David Ambrose and director Quentin Masters (who spent some time making features in England). The main attraction is the spectacular Panavision bushfire footage which was authentic material integrated into the plot.

However, the final result is a kind of whodunnit or whydunnit set in Sydney and the Blue Mountains with spectacular bushfire footage.

1. An Australian thriller? Entertainment value? Authentic atmosphere of the city, Blue Mountains and bushfires?

2. The production values: colour Panavision photography, the mountain settings, the city, the beach (and the special effects for Sophie's death)? The spectacular bushfire material and its integration in to the film? Special effects? Musical score?

3. The thriller genre and the conventions used? Double-dealing in big business, insurance detection, the noble hero, the suave villain and his seduction of the hero's daughter, murder and mayhem, confrontations? Types and stereotypes?

4. The plausibility of the plot: the American architect, his being used by his wheeler-dealing partner, investigations and murder, the fires and the spectacular bushfire, romance? Sufficient for this film?

5. Howard Anderson as the American, reasons for coming to Australia, partnership with Julian Fane, his integrity with his plans and his project? Love for his daughter? His suspicions after the fires? Attitude towards Steve? The interrogation by George Ingels, by Sophie McCann? The suspicions, the confrontation with Fane, the return to the Blue Mountains, the final confrontation with Steve? The attempt to save his project? The total destruction?

6. Steve Adams as a credible villain? Smooth-talking, relationship with Maggie? Audiences suspicious of him? His relationship with Fane? His violence, the stalking of Sophie and her murder? His presence on the site? The final burning? The suspicious behaviour and the way that it was signalled?

7. James Mason and his suave style as George Ingels and his investigations? His presence on the site before the burning - credible? Audiences anticipating more from his character? Sophie McCann? and her investigations? Computers? Help from her friend? The sexual ambiguities about herself and her room-note - but little made of them? The beach scene, Steve stalking her, the violence of her death at the beach? More expected of her character?

8. Julian Fane and his wealth, yacht, big business in Sydney, double-dealing and deceit?

9. The background of the people in the Blue Mountains, the way of life in the town, Webster and his care for putting out bushfires?

10. The conventional action sequences? The impact of bushfires, the inferno with the apocalyptic touch, the destruction? Spectacular visual effects?

11. A curious contribution to the developing Australian industry? A satisfying thriller?

DAD RUDD, M.P.

Australia, 1940, 83 minutes, Black and white.
Bert Bailey, Connie Martyn, Yvonne East, Fred Mac Donald, Ossie Wenban. Valerie Scanlan, Alec Kellaway, Frank Harvey, Grant Taylor, Jean Robertson, Barbara Weekes, Ronald Whelan, Letty Craydon, Marshall Crosby, Joe Valli.
Directed by Ken G. Hall.

Dad Rudd, M.P. was the last of Ken G. Hall's Cinesound features. It was completed as World War Two broke out. It is the third of the sequel/spin offs from Hall's originally successful On Our Selection in 1932. There were farm high jinks and comedy in Grandad Rudd. The family took a more sophisticated step from the country to the city with Dad and Dave come to town. With this screenplay, the Rudds come right into the 1940s. It is a far cry from Steele Rudd's original pioneer stories. However, the film is entertaining and has been likened to the Andy Hardy series in the United States.

Bert Bailey retains his strength of presence and contributed with regular Cinesound writer Frank Harvey to the screenplay. He has the opportunity at the end to make a very rousing speech about the future of Australia - it would be patriotic and hopeful at the best of times but was especially impressive for morale-boosting at the beginning of World War Two. Fred Mac Donald continues his humorous role as Dave. Connie Martyn had taken on the role of Mother in Dad and Dave Come to Town and she continues it here. She is much younger than Mum in the previous two films. The screenplay tinted with the marital relationships of the sons. They are made much more available in the latter two films.

Grant Taylor is the romantic lead and Chips Rafferty made an uncredited appearance in the fireman sequence. With political campaigns, elections, double-dealing and the question of darns, the film continues to be relevant not only in its nostalgic salute to the good old days but in its presentation of perennial political fights.

1. The entertainment value of the film? Its place as the final film in the series? Popularity, greater sophistication and the Rudds coming into the 1940s? The nature of the changes from the original conception and characterisation through the series?

2. Cinesound production values and their improvement through the '30s? The picture of the farm, the city sequences, interiors, political campaigning? The special effects with the dam and the flood?

3. The tradition of the pioneers in the Rudds? The origins as hicks and hayseeds? The transition to respectability and for Dad to consider Parliament and political influence? The continuing of the themes and style of Dad and Dave Come to Town?

4. The character of Dad - patriarch, his ruling his family? Somewhat more genial than in previous films? His retirement? His clash with Webster about the dam? His being insulted by Webster and his decision to stand? The comedy in the visits to town - especially sharing the room with Dave? The invitation to Webster's party and his success with the stories? The sabotage to his campaign? His ultimate victory?

5. Bert Bailey and his contribution to the series? Characterisation of Dad? His age and reputation by 1940? The impact of the content and style of his 'Australia is great' speech? Its effectiveness at the end of the film? The rhetoric, the way that it was filmed - close-ups and angles? The parliamentary response, the family response - and the audience sharing it?

6. Dave and the rest of the family and the regular comedy? The highlight with the fire brigade trials? The comedy with Dad as Magistrate and the hearing of the case and his insulting the woman? Webster in the dock?

7. The underlying serious themes: society, financial deals, campaigns and dirty tricks?

8. Tim Webster and his love for Anne? The difficulties of the clashes between the family? Clashes? The danger for the collapse of the dam? Ferrying the voters across? His contribution to Dad's victory?

9. The comedy with Entwhistle? Alec Kellaway's variety with comic roles? The effeminate manner? Remarks and expressions? His place in the earlier film? His presence at the Rudds', his work with the fire brig~ ade, his being put in jail, the hearing before Dad, his participation in the campaign and his role as manager, his shrewdness in getting the models to coffee from the shop to help in the campaign? Their leading all Webster's audience out to Dad's speech?

10. The blend of comedy, melodrama, politics? A picture of Australia around 1940?

DIMBOOLA

Australia, 1979, 94 minutes, Colour.
Bruce Spence, Natalie Bate, Max Gillies, Bill Garner, Tim Robertson.
Directed by John Duigan.

Dimboola is famous as a jolly, vulgar piece of theatre restaurant - participative entertainment. Jack Hibberd's play is now a comedy of three days in a country town (viewed by journalist Vivian Worcestershire-Jones? (from guess where?) - and ourselves from similar/different angles). There is a wedding and reception plus the preparations, problems and Australian (very) traditions and rituals.

Beautifully photographed in Panavision, made by serious director John Duigan, engaging music by George Dreyfus, the film is firmly in the ocker comedy heritage: Alvin Purple/Don's Party. Showing us ourselves humorously, coarsely and with subtle critique (more on reflection after than during), it is a matter of taste - but check your memory on your last wedding reception.

1. The ocker comedy tradition? Broad humour, mockery, lovable Australian ugliness? The interplay of humour, stupidity, satire? Genial crudity? The impact for Australian audiences? Non-Australians?

2. The reputation of the original play? The music-hall background, audience participation? A satisfying adaptation? The expanding of the plot and extending it over several days?

3. The use of Panavision, colour, D1mboola locations, the presentation of the town? landscapes? Interiors and exteriors?

4. The contribution of the score? The band and the band themes? The songs and the humorous singing? The flavour of the songs sung by the three girls? The humour of the rock interlude at the wedding? 'Red River Valley', 'Animal Crackers', traditional waltzes?

5. The structure of the film: three days in Dimboola: the preparation for the wedding, the bucks' party and the shower tea? The conflict and the breaking of the engagement and its reparation? Problems? The marriage and the wedding reception? The finale in the motel and the 'no worries' comment?

6. The insertion of the character of Vivian Worcestershire-Jones? Seeing Dimboola through his eyes and comments? The focus on his arrival and highlighting the countrified nature of Dimboola and its people? His encounter with the various people and their reaction to him as a Pom? As a writer, observer, reactor? The culture clashes? His participation In the various events -from the disguise for the shower tea, to the observation of the bucks' party, to the reconciliation, to the wedding and its reception? His farewelling the audience at the end? How entertaining a character? The humour of his name? His observation on Australian men and their behaviour and customs? Australian women? The humour of his disguise as a women, the comic sequence of his striptease? His friendship with Maureen and making a pass at her? Dancing at the reception? The encounter with Shirley before he left?

7. How humorous and insightful the social observation? The country town, its people, its ways? The contrast with city life? Crassness and crudity? Genial customs? How typical? Australian? The final comments on Dimboola?

8. How successful is broad genial humour for gaining audience identification? Audience reaction to the image of the ugly Australian? Response to satire?

9. The portrait of Morrie? His appearance, height, manner of speaking? Bruce Spence’s particular comic style? His love for Maureen? The friendship with Dangles and working with him? The mates, the young men of the town? Seeing him at the station, at Vivian's arrival? His relationship with his parents and the question about Bayonet? The bucks' party and his drinking, the stripper, the photo of the intercourse? His being covered in gold? His passing out? The morning after and the encounter with Maureen? Her breaking things off? Her reaction to his explanation and his inability to give it? The parents and their reaction? The encounter with Father Patrick? The response to the reconciliation and the going ahead of the wedding? His participation in the wedding, rehearsing his speech outside and its being broadcast, the actual speech itself after his falling into the cake? His enjoyment of the wedding reception? The 'no worries' at the motel? An ocker type, how humorously presented? How sympathetically? An ordinary Australian young man from a country town?

12. Maureen and her personality? Strength of character, the opening with Morrie in the car, her presence at the shower tea and the receiving of the gifts and Vivian's intrusion? Seeing her at work at the paper? Her bond with her parents? The interview with Vivian? The discussions with him and his making a pass at her? Friendship with Shirley? Her reaction against Morrie and his behaviour, her being persuaded to reconcile by Father Patrick? The wedding, the reception and her fierce loyalty and pride with Morrie?

11. The portrait of the two parent groups? The Delaneys as country people, their discussion, the pig in the bedroom? Morrie's parents and the discussions about Bayonet? His mother's drinking and the talk about the fling - in comparison with the bucks' party? The father and his anxiety? The humorous sequences of the tests? The presence of both parents at the wedding, at the reception, the various speeches especially Maureen's father and his conventional Australian cliches?

12. Dangles as an Australian ocker type? Working with Morrie? The bucks' party and his organisation, paying the stripper, being dressed in the ballet tights? His being a ladies' man and going off with the three girls down by the river? Advances to Astrid? The reaction of Morrie after the bucks' party? Presence at the wedding? His rejection by Shirley and going off? The various other mates and their presence at the bucks' party - especially the big man and his fighting and knocking people out?

13. The woman of Dimboola: Shirley and friends, with Maureen, relationship with Vivian? The three girls at the cafe, their work, their singing rehearsals? Their attitudes towards sex, the evening out with Dangles? Morrie and Maureen discussing the breaking of the engagement? Presence at the wedding? At the reception? The end and their reactions?

14. Bayonet as a character and his appearance, scavenging? His reputation? Singing? The arrival on the bike, the invasion of the reception? Sitting on the roof at the end?

15. The satire an religion: the vicar and his primness, presence at the gambling, his courting the middle-aged woman, pushing her on her bike, his watching Astrid dance and the reception?

16. Father Patrick and his gambling, friendship with the people in the town, his part in the reconciliation, conducting, his drinking at the reception and his speech, the collapse?

17. Astrid and her selling the papers, her relationship with the Chinese boy, her dancing at the reception? Her father and his being the MC?

18. The hotel at Dimboola, the people at the bar, the woman at the piano and her songs and style?

29. The doctor and his smoker's cough, the nun, the conducting, his sleeping during the wedding? The good news during the reception?

20. The set piece of the shower tea, Vivian's presence and notes, being exposed? The set piece of the bucks' party, the shed, the drinking, the stripper, the boys watching, her being paid extra? visit to the bar at the hotel? The set piece of the wedding and its conduct? In the Church, people's reaction and humour? The focus on the reception with the people, the way they were dressed, the music, the rock music to the
traditional songs?

21. A portrait of Australian society?

22. Themes of love, marriage, sexuality?

23. Australian mateship, drinking, Vivian's comment on the Australian male?

24. A successful blend of entertainment and social comment?