THE DEVIL'S PLAYGROUND

Australia, 1976, 107 minutes, Colour.
Nick Tate, Simon Burke, Arthur Dignam, John Frawley, Jonathan Hardy, Thomas Keneally, Sheila Florance, Gerda Nicholson.
Directed by Fred Schepisi.

The Devil's Playground was a very strong commercial success in Australia. It appealed not only to a Catholic audience but to the wider audience as well. This seems strange in many ways since Thee Devil's Playground is a particularly Catholic film, re-creating the atmosphere of a minor seminary in the early 1950's, presenting and making some criticism of the strictness of religious life at that time, criticising them strongly. Some of the more repressive aspects of Catholic spirituality which were manifested in such seminaries. "An idle mind is the Devil's Playground."

This is illustrated in the life of a young boy who senses he has a vocation to religious life but who discovers that the life in the seminary is repressive and that he must leave. The boy's character is well explored and it is based on the real experiences of the writer-director, Fred Schepisi. Schepisi had also written the screenplay and directed a segment of Libido, The Priest. This was based on a story by Thomas Keneally and Keneally himself plays the role of the retreat giver in this film. After the Devil's Playground Schepisi went on to make a version of Keneally's novel The Chant of Jimmy Blacksmith.

The Brothers are also presented sympathetically and unsympathetically in this film. Arthur Dignam who was the priest in Libido, has another strangely tormented role as a curious religious brother. Nick Tate, on the other hand, presents a very down to earth brother who finds religious life congenial even though difficult. The rest of the community and also the boys are well drawn in excellent performances. The music of this film is haunting, the photography very beautiful, the use of the former Werribee seminary provides an authentic setting for the plot and the themes that are explored. Film, director and actors, Nick Tate and Simon Burke, won Australian Film Institute awards.

1. How enjoyable and interesting a film? For whom particularly was it made? The Australian audience, the international audience, Catholics, religious people, non-religious people? To recapture the memory of the fifties? For people interested in an exploration of the influence of religion? Autobiography for the writer-director?

2. The contribution of the music for atmosphere and themes, use of colour, location photography, the building of the seminary, the surrounding grounds?

3. The importance of atmosphere: the attention to detail of the building, the grounds, particular incidents, details of behaviour, the quality of talk, the religious and social customs of 1953? How important was the setting of 1953?

4. The significance of the title and audience expectations the explanation of the title? The explanation for the Brothers, their discussion of it at the meal table, the devil finding employment for idle people? Its application to the boys in the seminary context?

5. The pros and cons given in the film as regards the Church, religious Brothers, the ways of religious life. religious community, the junior seminary? How just and accurate was the film in its presentation of points of view? Any particular bias? In the light of the experience of the writer-director?

6. Comment on the arguments presented against this way of life: the atmosphere of enclosure distance from the world and from real experience, enclosure at the age of puberty and the consequent 'hot-house' narrowness, the all-male community and the atmosphere of its being unnatural, this all being sanctified by piety and religion? The need for change, the comments at the end of the film indicating change was to come? Which sequences best illustrated the particular arguments against this way of life?

7. The film's presentation of the boys and its importance for engaging audience attention and sympathy? The atmosphere of the opening with the river, the swimming, the happiness of the boys, the scenes of wrestling, the details of dormitory life, meals, singsongs, sport activities of hockey in the rain, basketball, details of prayer the singing of hymns? Benediction and Mass? The atmosphere of the boys rising, the details of classes, Brother Victor's class and Alan being an idiot etc? How authentic did this seem?

8. The audience viewing the situation through the eyes of Tom: the initial swim. his wrestling, his conversations with Brother Sebastian, the warmth of his character, his age? The significance of his wetting the bed and the boys' and the Brothers' reaction? The fact that he was so often late? The fact that he prayed so often? His friendships, especially with Fitzy and the discussions with him? The invitation from the fanatics and the fact that he was not? His politeness, joining in singsongs etc? His being presented as a boy with great potential?

9. What happened to him in the experience of 1953? The film's portrayal of his attempt to try, learning from Fitzy and the effect of Fitzy's going. the importance of the visit of his family, the scenes with them, the encounter with the girl and his writing her letters and these being stopped, the effect of the Retreat with its atmosphere of fear? Confession? The difficulties of puberty and masturbation? The discussions. Confession the possibilities of sacrilege? His being overwhelmed by all this experience at his age? The importance of the sequence of his challenging God at the end? The build-up to his running away and his sense of freedom? The final sequence as he is riding towards Melbourne with the Brothers? The meaning of his life so far and his future?

10. The detailed presentation of the other boys and the variety of types and personalities, the way they looked and behaved, their language, details of boyish behaviour? And yet their uniform, conformism? Their youth, Scraggs and the preoccupation with sex, the fanatics and their behaviour and religious motivation, death?

11. The importance of the presentation of the Brothers and audience response to them: Sebastian, his age and experience, the fact that he had lived this life, his genial nature, his friendship with Tom and advice to him, his comments in the recreation room, especially about sexuality and God, his ageing? The pathos of his illness and of his death and people absent? Tom's grief, the grief of all the Brothers at his death and their memories of him?

- The Superior: his hold over the community, a genial and seemingly normal man and religious, his talks with the boys about masturbation, his not realizing the dangers and the role of the fanatics, his worry about the future?

- Victor: the fact that he had joined so young, had absorbed the atmosphere and dedication of the Brothers, that he enjoyed community life, the fact of his drinking and the nature of it, his conducting of classes, going to the footy and enjoying the experience in secretly acting like an ordinary man, his drinking, flirting with the women in the hotel, his fears and withdrawal from them, his alcoholic driving and the effect on Jim and Francine? His decision to stay with the Brothers?

- Jim: the young man just out of the Novitiate, beginning this way of life, influenced by the other Brothers, the importance of his studies, his not joining Victor with the women after the football?

- Arthur: his zest, commonsense and enthusiasm, the typical Brother?

- Francine: the fact that he was so repressed, eighteen years in religious life, his sour observations in the shower block, his attack on impurity. his crawling behind the hedge to catch people, his neurotic behaviour, his moodiness, playing the piano? The importance of his lies about visiting the baths, the sexual preoccupation and loneliness and the way this was photographed, the atmosphere of temptation, its later repercussions in the dream sequence? His attitude towards religion. 'the Devil's playground', his rage at Victor because of the driving and the crash? His final rage and breaking out and breakdown? What comment was being made on religious life through his character?

- The presentation of the details of community life, the inter-reactions of the group, meals, recreation, entertaining Father Marshall?

12. The portrayal of the Chaplain, the typical harsh Irish priest, his role in the community, his severity in Confession, the pathos of his grief for Brother Sebastian?

13. The contrast with Father Marshall and his pleasantness, his kindly attitude towards the boys, the touch of patronizing. the preparation for the Retreat, the individual chats about sexuality and problems, especially that with Tom, the severity of his Retreat talks his fitting into community life with the Brothers? What portrait of a priest? how credible?

14. The presentation of the outside world, the parents and their visiting, the chatter about family and births, picnics, the mountain resort, the chatting with Nigel and his friend, the girls on the camp? The contrast of this with life within the seminary?

15. How well did the film explore themes of the Church? the ideology of religious life? the role of individual and group piety, the attitude at towards the God presented in the film?

16. The film's exploration of themes of the nature of education, growth and development, especially for boys? How well did the film explore themes of sexuality, repression, in the Australian environment, within the Church and its traditional attitudes?

18. What is the value of an audience experiencing this kind of memory and exploration of values?

THE DEVIL'S ADVOCATE

West Germany/Australia, 1977, 109 minutes. Colour.
John Mills, Stephane Audran, Leigh Lawson, Jason Miller, Raf Vallone, Timothy West, Patrick Mower, Romolo Valli.
Directed by Guy Green.

The Devil's Advocate was a very popular novel by Morris West at the beginning of the 1960s. It was also dramatised for the stage. The film version seemed a long time in coming. However, West's dramatisation of it, while streamlining it in many ways makes it come very much alive. Much has to be compressed and there is a bit too much celestial music.

John Mills embodies Monsignor Meredith, the professional holy man who is faced with death and questions of faith. He undertakes to investigate Giacomo Nerone, the sinner saint. The supporting cast of the film is a quite striking, although at times one would like to see more of them. Much More could have been given to Giacomo Nerone, who is played well enough by Leigh Lawson. More excerpts from his journal as presented in the novel could have been welcome. However, the film follows the novel structure closely and raises authentic questions about
the human face of the church.

1. The appeal of the film? The popularity of the story? Morris West and his skills and popularity over two decades? The status of the novel, the play? The film as West's own adaptation of novel and play?

2. The film as an English- German co-production? The production values, its look, the stars?

3. The significance of the title, the role in Catholic administration? With reference to sanctity? The Vatican traditions? The testing of the reputation of a saint by examination of his life, by miracles? The role of a clergyman as taking the part of the Devil criticising the life of a potential saint?

4. The backgrounds of the story and their links with Catholicism? The focus on Rome and the Vatican as the source of Catholic life? Rome and its situation in Italy - the film's focus on Calabria and its Catholicism, its poverty, mountainscapes? Italy during World War Two, the German advance and occupation? The contrast with the English presence in Gemello?

5. The structure of the film: the focus on two men? The parallels between the two - practised Catholicism or not, professional Catholicism, one alive, one dead? Seeing and not seeing? The similarities of the two men: the English background, the common faith, finding themselves and their finding themselves in Gemello and their lives being transformed, the experience of love, the experience of death? The mutual influence of each on the other?

6. The introduction to Monsignor Meredith - his encounter with his doctor and the information about his illness and life, seeing him at work in the Vatican and the discussion with the Cardinal, his final commission? The comment on his being an ecclesiastical bureaucrat and the narrowness of his life, vision and experience? His being a methodical man, an intellectual? The importance of a final commission before his death? His realisation that he needed to have some kind of achievement in his life?

7. The significance of his journey towards Gemello? A journey towards death and the fu1filment of his life? The character of the Bishop of Valenta? His friendliness, his explanation of the situation, the introduction to the information about the potential saint? The Bishop's backing of the cause, explanation of the way of life? The touch of the Pastoral ministry Of a Bishop? The strong support of the Bishop and Meredith's returning to him for comfort in his death? The Bishop's final tribute?

8. The contrast of the ecclesiastics with the Cardinal and the Bishop? Two different approaches to the Catholic way of life - the head and the heart, law and freedom? How was this important in the encounter at the end and the summing up of Meredith's life and death? The invitation to the audience to share the approach Of the Bishop rather than the Cardinal?

9. The way of life in the village, Italian Calabrian ways? During the war, survival, peasant life, aristocratic life? The transition to the 1950s? The counterpoint of the flashbacks? The differing times of the year, the seasons?

10. The significance of the war? Its effects on the Italians during their occupation, survival, collaboration, resistance? The resistance, occupiers and their strength and cruelty? Suspicions? The English and the invasion? The occupation? Nerone and his ability to make reparation for his part in the war? How successful a war film?

11. The presence of Giacomo Nerone? His being seen through the eyas of the various characters? As a subject of investigation by Monsignor Meredith? as a potential saint? How well was the process explained? How credible a character was he? His English background, the war, his desertion? His place in the village, relationship with Nina? The Parish priest, the doctor and their attitudes? decisions about non-violence? How did he achieve holiness? Why? The experience of the Church, the new experience of God? The importance of the kind of relationship with God In terms of truth, Prayer? The importance of the miracle of his son and its credibility? The views of the Parish Priest, The mayor and his Jewish background, as a doctor, the recognition of the miracle? The countess and her fascination with him? Her love? Il Lupo and his violence? How strong a personality, the quality of his love and his sanctity, the child, his work for the people, his evil and its ugliness, the later temptation? Was he truly a saint?

12. The details of the war and the resistance? Il Lupo, his experience of the prayer and the miracle, the death and his intervention?

13. The portrait of Nina, her love for Nerone, her faith, her love for her son? Her response to Monsignor Meredith's investigation? Her influence on his life?

14. Black, the painter, the revelation of his connection with Nerone? The sexuality?, Paolo, the encounters and clashes with Meredith, with the countess? His fight, his future? The contrast between the two men?

15. The portrait of the countess, her English background, her Presence? Her love for Nerone and the impact of his death? Black, her helping Paolo and motivations for her revenge to attitude to the guest in her house?

16. The mayor and his reminiscences, his telling of the truth to Meredith and helping him so clearly, the bond of friendship despite the differences of religion?

17. His housekeeper, his dedication? The ethos of a southern Italian?

18. The significance of the themes of holiness, faith and love?

19. The stance of Monsignor Meredith facing his death? An old man, an official church man, the official holy man contrasted with a saint? Facing death and a crisis of faith? Why was it important for him to keep working, to investigate? What changed him? His own faith? The importance of his not asking for a miracle? How well did he die, influenced by Nerone? The friendship with the Bishop? The importance of his final report to the Cardinal? The irony of the Cardinal's comments?

20. Themes of love, hatred, betrayal, death? The effect of each of these on Meredith and Nerone? The parallel of lives and deaths of these two holy men? What were the main themes of Morris West's novel? How topical in the 1950s, later?

THE DESERT RATS

US, 1953, 84 minutes, Black and white.
Richard Burton, Robert Newton, Robert Douglas, Torin Thatcher, Chips Rafferty, Charles Tingwell, James Mason.
Directed by Robert Wise.

James Mason who had had a successful career in England moved to Holly wood at the time and has had a long successful career since. He is very persuasive as Rommel and repeated this role in Robert Wise's 'The Desert Rats'. The film also boasts a very fine cast of strong supporting actors and actresses including Jessica Tandy as Rommel's wife, Sir Cedric Hardwicke as the Mayor of Stuttgart and Leo G. Carroll as General von Runstedt. Luther Adler impersonates Hitler. The film was so popular that 20th Century Fox decided on a kind of sequel - in portraying the Britons and Australian in the war in the African Desert especially in the siege of Tobruk in 1942.

Robert Wise, a popular director of the time, and later to move into more serious films and Oscar-winning triumphs with 'West Side Story' and 'The Sound of Music' directed in a brisk economic way. The film was one of Richard Burton's Hollywood films. Robert Newton joins him as well as Australians Chips Rafferty and Charles Tingwell. James Mason reprises his role as Rommel. These are two quite good examples of war films and tributes which were so popular in the fifties.

1. The quality of this war film? As an example of early fifties film-making? Memories of the war? Impact now? Presentations of British, Australians, Rommel and the Germans?

2. How conventional were the styles of the war film? The presentation of the siege of Tobruk, the personalities Involved, the martinet and the troops' attitudes towards him, the drunken soldier, heroism, the particular sequences of the war?

3. The photography, the desert locations and atmosphere? The special effects for the battle sequences?

4. How credible was the plot? The presentation of a historical siege, the atmosphere of World War Two, the Afrika Corps, the Australians in North Africa, the siege of Tobruk? The role of the Australians?

5. The film's focus on MacRoberts? as the central character? How well was his character developed? His being in charge of Australians, his attitude towards them, his strictness, his discovery of Bartlett and his respect for him? Ills relationship with the other men, with higher authority? The way that he led the men, the expeditions, his capture and the Importance of his Interviews with Rommel? The final heroism? A conventional character, the strength of Richard Burton's performance?

6. The contribution of the other characters? How conventional was Bartlett? His English background of teaching, migration, the question of drink, his humiliation, his advice to MacRoberts? The presentation of the Australians and their particular ways? How convincing?

7. The importance of the main episodes, the tank battle, the raid on the ammunition dump, the final stand and Its seeming hopelessness and the decision to stay? How exciting, how moving?

8. How well were the themes of war explored in this film? The film's attitude towards war and personal involvement? How was this focussed in the presentation of Rommel, memory of him and the war, the fictional portrayal in this kind of film?

THE DESERT FOX

US, 1951, 88 minutes, Black and white.
James Mason, Jessica Tandy, Cedric Hardwicke, Everett Sloane, Luther Adler, George Macready, Leo G. Carroll.
Directed by Henry Hathaway.

A striking film of the early fifties. Written and produced by the prolific writer-producer Nunnally Johnson, it was directed by veteran Henry Hathaway, who had excelled in many genres of film-making in the thirties and forties. At the time he had been involved in a number of semi-documentary thrillers like 'The House on 92nd Street', '13 Rue Madeleine' and 'Call Northside 777'.

It seems strange that a tribute to one of the major German generals like Fie1d Marshal Irwin Rommel should have been made so early after the war. However, the tone the film takes is that he saw through Hitler and, therefore, of course, had similar sentiments to the Allies fighting against Nazi Germany. The film is based on the biography by Brigadier Desmond Young who also appears in the film. It does not highlight Rommel's strategy during the war. For this it uses scenes from the documentary 'Desert Victory'. It rather concentrates on Rommel as a person and in his gradually being drawn into plots against Hitler. James Mason who had had a successful career in England moved to Holly wood at the time and has had a long successful career since. He is very persuasive as Rommel and repeated this role in Robert Wise's 'The Desert Rats'.

The film also boasts a very fine cast of strong supporting actors and actresses including Jessica Tandy as Rommel's wife, Sir Cedric Hardwicke as the Mayor of Stuttgart and Leo G. Carroll as General von Runstedt. Luther Adler impersonates Hitler. The film was so popular that 20th Century Fox decided on a kind of sequel - in portraying the Britons and Australian in the war in the African Desert especially in the siege of Tobruk in 1942. Robert Wise, a popular director of the time, and later to move into more serious films and Oscar-winning triumphs with 'West Side Story' and 'The Sound of Music' directed in a brisk economic way. The film was one of Richard Burton's Hollywood films. Robert Newton joins him as well as Australians Chips Rafferty and Charles Tingwell. James Mason reprises his role as Rommel. These are two quite good examples of war films and tributes which were so popular in the fifties.

1. An interesting and enjoyable film? As a tribute to Rommel? Its impact in the early fifties after the war? Knowledge of the war and Nazis in later decades, admiration for Rommel? The impact of this tribute in later times?

2. The importance on its first release of the perspective of World War II? Audience reaction to Hitler, the Nazis. the war itself? An American film paying tribute to a German general? The implications about him as a person, the tributes from Churchill and others? The film's attitude towards him as going against Hitler - even to the extent of being involved in an assassination plot? The implications of this judgment about tyrants and the way that they should be dealt with, Rommel heroism?

3. The impact of Rommel in his day, on the British, Americans, Australians? The glory of the German campaign? his skill as a general? The attitude of the victors of World War II assessing a general? The film's anti-Nazi tone? how fair was it in presenting Rommel as a person? The choice of James Mason and talented character actors to portray the Germans?

4. The impact of the film especially in its brevity? The importance of the prologue and the emphasis on action, commando raids, the waging of the war, the personal focus on Rommel as a man who was important, could escape death? The transition to the study of Rommel an a person, the background of the war, the political intrigues against Hitler? The movement in time of the structure of the film especially with Desmond Young's post-war investigation and his comments on Rommel and his reminiscences? Black and white photography, the style of the rousing score?

5. The significance of the title as a tribute and a comment on Rommel? His reputation during the forties, his disappearance before the end of the war, Churchill's tribute? Rommel as a person?

6. The impact of Rommel and his status - the introduction with British command trying to dispel the aura around Rommel? The attempt to kill him as portrayed in the prologue, his importance in the desert and his treatment of people? The fact that he vas absent in hospital during the defeats? That he escaped injury and death in the raid on Desert Fox the car? The irony that he should reach his downfall through Hitler's intervention?

7. The introduction of Desmond Young and his explanation of his research into Rommel? The visualizing of the sequence where he encountered Rommel - only at a distance? What motivated his investigation and pursuit of the truth about Rommel? How was this important for the comments on the character during the film?

8. The sequences of the African war and their authenticity? The presentation of Rommel's strategy - sufficient for the impact of Rommel as a great general? His scrupulosity about the rules of war, his treatment of his men? His work with his aides and taking, their advice? The turning of the war against him and lack of support from Germany? The importance of Hitler's telegram and the stand or die tone? The background of his illnesses? The importance of his decision to go against Hitler and the repercussions? Audience sympathy for this?

9. The brief presentation of Rommel and the European war? His nonadvancement especially after the resignation of Von Runstedt?

10. The portrait of Hitler - the atmosphere of the late forties, how accurate a portrait? His ranting, people's commenting on him as the Little Corporal and his madness? His advisers and their ambitions? Their being characterized as a gang of crooks? Hitler's consultation of Rommel and his abuse of him, his explanation of his strategy for example the bombing of London? The inevitability of people plotting against him? His presence at the plot, his escape?

11. The importance of the Mayor of Stuttgart and his visit? His putting ideas into Rommel's head? The fact that he was under suspicion, was watched, the dramatics of his eluding his pursuit in the train? His second visit and his persisting in his points with Rommel? Rommel's reaction and non-committal answers? How well did the film explain Rommel's reasons for change - the interview with Hitler, the discussion with Von Runstedt and his support, the number of people involved? The only way to save Germany?

12. Rommel's commitment to the plot, the visualizing of the attempt and its failure? The moral judgment on such an assassination attempt?

13. The repercussions for Rommel after his injuries in the car, the threats and the way that the visiting general handled this? Rommel's defiance, the need for a court case his being blackmailed by the threats to his family? The dignity of his farewell, his death?

14. The noble presentation of his wife and her tenderness and support, son and his admiration for his father, the various aides? Rommel's military aides, the generals? The Nazis? How accurate a portrait of these people and their involvement in the issues of the time?

15. How much insight into Rommel as a man, as a general, as a German who did not want to be involved in politics?

DEMONSTRATOR

Australia, 1970, 110 minutes, Colour.
Joe James, Irene Inescourt, Slim de Grey, Noel Ferrier, Harold Hopkins.
Directed by Warwick Freeman.

Demonstrator is Australia's 1970 contribution to the film market. Made in Canberra for a $300,000 budget, it should not be expected to be a masterpiece, but as an interesting and entertaining topical drama, it is as good and as limited as anything else like it overseas. Admittedly, there are numerous cliches, stock situations, fashionable scenes and faddish nudity. But as popular entertainment, Demonstrator is technically competent and well-acted. It is certainly not gratingly Australian.

The background of a Pan-Asian? conference in Canberra is interesting in itself, although this theme is left very general. The current demonstrations are presented and a look given at who runs whom in 'using' demonstrators. The callow hero is serious but naive and has to learn a lot about demonstrators for kicks, political relationships and diplomacy as well as human relationships. This is where he is left at the end, disillusioned and forced to start again.

The action is further complicated by the focussing on the generation gap. The hero is the son of the Defence Minister organising the conference.

Demonstrator is not an important film, but it is interesting and raises, if lightly, current issues worth discussing.

1. Why did this film interest you? Was it topical? Why?

2. Did the film raise its issues well, or did you find that the characters and situations were fairly routine?

3. What were the political issues in the film, especially concerning Asia? Were they made very clear in the film? (The Prime Minister is applauded when he includes Australians in his statement, 'We Asians'.)

4. Discuss the demonstration scenes: -airport - banquet - conference hall - Canberra theatre? Why were the demonstrations held? who was the mind behind them? why? Did you agree with the reasons, tactics? Are these typical demonstrations?

5. What was the purpose of the party scene and the race back to Canberra? Mere fashion? What comment did it make on the people at the party? (e.g. the crashes - were they realistic or meant to be? - the behaviour of Hugh Prentice at the end of the film.)

6. Discuss the hero. Was he likeable? How serious was he, how naive? What was the point of making him the Defence Minister's son?

7. Discuss the generation gap and Stephen's relationship with his father and with his mother.

8. What impression did you get of the Public Service (e.g. Jamison), of security watching and of the police?

9. What impression did Kalio make? Was he intended to be a type of hero of the film or not?

10. Who was really using whom in the film? What did the ending mean?

DAWN

Australia, 1979, 115 minutes, Colour.
Bronwyn Mackay- Payne, Tom Richards, Bunny Brooke, Ron Haddrick, Gabrielle Hartley.
Directed by Ken Hannam.

Dawn will probably entertain a wide Australian audience. Not the dynamic and incisive biopic many expected, the film nevertheless interestingly enough traces Dawn Fraser's adult life, more like a series of moving snapshots than a study. It skims her professional career, probes a little into the real Dawn - and keeps moving on. More is suggested than told and more drive, motivations could have been suggested. However, the Balmain environment comes across strongly and the tough, cheeky, unconsciously vulnerable Australian self-confidence is always to the fore. Bronwyn Mackay-Payne's performance might lack range but it grows on us and ultimately conveys a great deal of Dawn Fraser's character and complexity. Likeable.

1. The appeal of this film for an Australian audience? overseas audience? The appeal of Dawn Fraser as a celebrity, sportswoman, woman, Australian?

2. The success of the film as biography? A portrait of Dawn Fraser's life, character, issues of her life, her sports achievement and what drove her in the context of her biography? A portrait of a human being?

3. The contribution of the technical aspects of the film: the swimming sequences, the reconstruction of Games and Olympic Games? Balmain and the Sydney inner-city environment In which she lived? The way of life - In the city, suburbs, work, family, competition? The contribution of the theme, score?

4. Australian interest in Dawn Fraser as a celebrity, controversial figure? As representing aspects of the Australian character? Her achievement in the 1950s, skill, training, capacity for winning? Her record-holding? The
gold medals? The controversy during her career and especially the ten-year ban? The nature of audience interest in such a biography? The fact of Dawn Fraser being technical adviser for the film?

5. The flashback structure: her work, memories, regrets, facing the future? The opening with the documentary film clips and the atmosphere they created? The flashbacks in the light of success? As an explanation of Dawn, her character and career?

6, Dawn Fraser as a girl from Balmain? Her physical appearance, height and weight, strength, asthmatic illness? Her place in her family? Her cocky attitudes, lack of girlishness, the toughness of Balmain and its houses and
streets, Australian cockiness? Her attitudes towards conventions, rules? Seeing her at home clashing with her parents, loving them? Her group of friends? The people at the pub? Her capacity for defiance, humour, good times, winning?

7. The strengths and weaknesses of her character? Schooling, relationship to her mother and father, the home, moving out yet returning? Her clash with Northern Suburbs kids? The importance of Harry Gallagher and the affirmation he gave in coaching her? Her relationship with the other swimmers? Her overseas tours and the effect they had on her, opening horizons? A growing number of friends and yet a lack of real friendship? The relationship with Gary and the chance meeting? the right time for a marriage? The easy breaking up? Friendship and affair with Len? Edie and looking after her daughter? The question of the abortion and the irony of Len telling her the story about his fiancee? Her friendship with Kate and the lesbian overtones? Her moving in Kate's circles and feeling out of place - the contrast of the two parties and what they revealed about her? Her settling down as she grew older, experiencing the ban and having to accept It her coaching work, her daughter and a more settled future?

8. What did this study of Dawn Fraser reveal about the Australian identity and background - the old-fashioned nature of upbringing, family relationships and love, loyalty, defiance, social relationships of marriage and divorce, abortion?

9. The focus on the swimming - how interesting and exciting were the swimming sequences and the competition, the winning of the gold medals, the aura of the Olympics? Seeing her at the swimming pool and its later dedication to her? Harry Gallagher's choice# her training, her snobbish attitudes towards wealthier children? Her discipline and indiscipline especially with the cigarettes and the drinking? The challenge of the records to be broken? Her relationship with the press - Joe as friendly, others as defiant? Her reliance on Harry Gallagher, on other helpers? The Games, the tours? The detail of Melbourne, Rome, Tokyo? Her final coaching and the effect of the ban?

10. The Importance of her defiance catching up with her e.g. the drunken scene In Naples? The rights and wrongs of her marching in Tokyo? The background to the stealing of the flag, her arrest, the humour of the interrogation and then the photos with the Japanese officials, the interviews on her return home, the suddenness of the ban (and the dramatic way in which this was communicated to her, to Gary?)

11. The effect of the ban on her career, her personality, her marriage, work, daughter? The justice of the ban - objectively, as imposed on such a champion? The scenes of the Amateur Swimming Association and their decision?

12. The background to Dawn's marriage - her dating, love of fun, Balmain-centred? The courtship with Harry, the humour of the Townsville sequences, his taking her out and looking at the car, the interview when she returned, the honeymoon and the invasion of privacy, the background of Gary's gambling, his being caught up in this and neglecting her, their breaking up? His explanation of why she married him? The divorce?

13. Dawn's capacity for relating - her love and devotion to Harry and his advice to her about marriage? The affair with Len and what it brought her? The growth in friendship with Kate - the fascination and the staying overnight after the party, ringing her and wanting her to meet Harry, her circle of friends, Kate's work dominating, the two parties, the breaking with Kate? Edie and the ordinary friendship of the Balmain pensioner? Relating to her daughter and the future?

14. The character of Dawn's parents, their old traditions and work, money? Their attitude towards her swimming? The effect of each on her life - the news of the death of her father broken by Harry at the airport, the build-up of her mother's going to Tokyo and the suddenness of the car crash? Her attachment to the house?

15. The contribution of the Balmain environment in Its detail, the streets and the houses, pubs, the harbour? The people of Balmain and Dawn as one of them?

16. Themes of competitiveness In sport, jealousy, the attacks on people at the top? Easy to get to the top, hard to stay there?

17. A portrait of an Australian sportswoman, woman? The ending and our understanding of Dawn and her facing the future? The final credits scene and the attention to detail of her ordinary way of life in Balmain?

18. At what level did the film communicate, explore? The lack of depth? Was this enough for this kind of portrait?

DUET FOR FOUR

Australia, 1982, 97 minutes, Colour.
Mike Preston, Wendy Hughes, Michael Pate, Diane Cilento, Gary Day, Warwick Comber, Sigrid Thornton, Arthur Dignam.
Directed by Tim Burstall.

Duet for Four is a difficult to fathom alternate title for David Williamson's play 'Partners'. The technical credits on the film are excellent. They give a watchable gloss to a rather soap opera kind of story. The screenplay is not one
of David Williamson's best - and can be compared with his early Stork, The Family Man, Peterson. Other Williamson films include The Removalists, Eliza Fraser, Don't Party and The Club. He also wrote the screenplay for Peter Weir's Gallipoli and The Year of Living Dangerously. This film is a Melbourne story, shows the business world and the threat of American takeover. There are some witty lines but the characters tend to be the stereotypes of the Melbourne society and business world. While it retains interest on the screen it is not especially memorable.

1. The significance of the title - to whom does it refer? The alternate title and the highlighting of the relationship between Ray and Terry?

2. The place of Tim Burstall in the Australian film industry of the '70s and ,805? His transferring David Williamson's plays and screenplays to the screen? His sympathy for Williamson's characters and dialogue, issues?

3. The place of David Williamson in the Australian industry? His pictures of contemporary life? Ironic and humorous dialogue? Ironic look at society? Sympathy and criticism? Australian identity? American influence? Integrity?

4. The relevance of the themes to Australian cities? Lifestyle, rat race, business and success? Marriage and love? Marital breakdown? The competitive world of the multinationals? Australians standing up to Americans? The particular local interest - wider interest?

5. How authentic the themes, characters? The picture of Melbourne society? Wealth, manners, expectations? Authentic characters - stereotypes with soap opera tones? The quality of the insight into characters, situations, business, relationships? The basic message tone at the end of the film?

6. The film's comments on the world of Australian business - the opening in the toy factory, the wealth of Australian industry, threats on the local markets, American interest and takeover? Preparing Al Giesman's itinerary and his response to it? Pandering to the American visitors? The Americans' proposals with strings attached? American- Australian relationships in terms of multinational influence? The temptation to defy - but the American hold? The stereotype of the loud American? Audiences being prepared for Al - his Australian background, his time in New York? America as the centre of the world? The response of Australians to loud assertive Americans? The hard sell and the demonstration of selling techniques? The emotional vocabulary? Al and his appearances and his encounter with Jackie? Sense of humiliation? His presumption? Michael Pate as embodying the American businessman? Providing a target for Australian criticism? Australian attitudes towards business, patriotic stances against Americans?

7. Mike Preston's portrait of Ray? The average Australian businessman, his work, abilities? Ray as character, as symbol? His compromises in crises? The idealist? His partnership with Terry and their friendship? The break up of his marriage and his relationship to Barbara? Barbara's kids and his reaction to them? His love for Barbara - his allowing himself to be interrupted by Margo? His relationship with Margo and the memories of the past? Margo as socialite? His lending her money? Antagonism towards Cliff? The social round entertaining Americans? Parties and manners? Barbara's hostility? Her wanting to marry? Business needs and oppression? The rivalry of Ken Overland e.g. at the airport? Playing up to Al to prevent Ken getting a foothold? The questions he was asking himself? Family crises along with business crisis? The weekend and Al's humiliation from Jackie? The friendship with Terry and Diane - and the kiss? Terry's hostility? Wanting to resign? The complications with Caroline - lending her attempt? The symbolism of the doll? The fight with Cliff? The confrontation about the deals? The quick alliance with the other firms against the Americans? His being voted out? His acceptance of Terry as boss? His interest in the trains and his decision to retire? The upbeat ending with Barbara and the family? The ingredients for portraying the Australian businessman through Ray? Type, values, ideals? The choices?

8. Barbara and her children? At home? University studies, going back to work? Her antagonism towards Terry and Diane at the meal? Exasperation with Margo. Concern about Caroline? Her placing the options clearly before Ray? Concurring in his final choices? A credible woman?

9. Margo and her wealth, bitchiness, memories of marriage, her interest in art, her infatuation for Ray and trying to educate him. leaving him, her concern about Caroline - and her visiting the hospital for Caroline? The patronising of Cliff, the liaison., the change in critical opinion and her dropping him? Questions about divorce and property settlements? Stereotype of the selfish woman?

10. Caroline and the younger generation, her modelling work, her relationship with Toby and the unsympathetic presentation of him and his absconding? The abortion? The discussions with her father and his sympathy? Suicide attempt? The doll? The blame for her confusion?

11. Terry and Diane and their superficial attitudes? Lifestyle? Moral stances - Diane's alleged strictness? Barbara's hostility? Terry and his efficiency in his job? Facing up to Al? Participating in the sales education? His role at Queenscliff? Diane and the kiss? The clash with Ray? Reconciliation? His winning in the end? The style of the up-and-coming executive in his 30s?

12. Ken Overland and the suave opposition, arrival at the airport, wheeler dealing with Al? Crittendons and their trying to get Al's patronage? The final deals? The board meeting and the burying of rivalry? The insistence on Ray's retirement? Cut-throat aspects of big business? The background of Ray's friendship with Doug. exercising with him getting legal and financial?

13. Jackie and her work, glamorous, Al's presumption on the weekend, her screaming? Her symbolising the one-upping of the American visitor by the Australians?

14. Themes of marriage and relationship, love and children? The brittle and pressurised contemporary world? Ray and middle age and facing questions or reassessing his life and relationships? His final option for job, marriage?

15. The world of the multinationals? The competitive world of business, cutthroat? The contrast with preserving heritage, love of trains? Ray choosing the better part?

16. Themes of Australian patriotism and pride?

THE DEAL

UK, 2003, 80 minutes, Colour.
David Morrissey, Michael Sheen, Dexter Fletcher.
Directed by Stephen Frears.

The Deal is a docudrama made at the time of the questions about Tony Blair's leadership in the aftermath of the war in Iraq. It goes back to the career of Tony Blair and Chancellor Gordon Brown, their meeting in 1983 with the Conservative victory. It shows them sharing office space, ideas, ideals. It also shows the hardships of being in opposition for such a long time to the Tories, especially under Margaret Thatcher. Television news footage fills in the background of these years, from 1983 to 1994, and focuses on some of the actual characters in politics at the time.

However, the focus is on an alleged deal made between Gordon Brown and Tony Blair that Blair would have the leadership of the party and Gordon Brown be chancellor if they were to come to government. This in fact did happen - but there were always questions about whether an actual deal was done.

The stars are excellent in the central roles, especially David Morrissey communicating the Scottish and taciturn manner of Gordon Brown. Michael Sheen shows something of the enthusiasm and even the opportunism of Blair. Direction is by Stephen Frears, an international director of such big-budget films as Dangerous Liaisons as well as small-budget BBC films like Liam.

1. A topical film for 2003? A picture of British politics? For British audiences, outsiders? Politics and their particularity, universality?

2. The work of Stephen Frears, his skills, his cast? The drama of politics, ambition, sacrifice of ambition?

3. The use of historical footage, Margaret Thatcher, Michael Foot, Neil Kinnock, John Smith and other politicians? The sense of realism as well as of memory?

4. British history from 1983 to 1994, Tory rule, landslide victories, the effect of Margaret Thatcher's government, the Labour Party in opposition, very weak? The ousting of Margaret Thatcher, John Major, the Tory sleaze factor? Labour building up? The Labour victory of 1997 - and the information given at the end of the film?

5. Gordon Brown and his place in Labour politics, Scot, dour, confident, intelligent? The scenes of his election and re-election? The small office, asked to share it with Blair? Their gradual friendship, united in opposition to the Tories? Discussion of tactics, policies? With Michael Foot, with Neil Kinnock, with John Smith? The example given of them holding up the discussion of a bill with questions of technicality? The friendship with John Smith, for each of them, his death? Their discussions of their ambitions?

6. The personal picture, Brown as a bachelor, his friendships? Tony Blair, Cherie, her pregnancy, the children? Cherie's support of Tony Blair?

7. The Labour defeats, the question of whether Gordon Brown should challenge or not, his not taking advantage of the situation, Blair using this against him later?

8. The contrast with Blair, his ambitions, popularity? Not from the heartland of Labour but accepted?

9. The portrait of John Smith, his potential to lead the party, his heart attacks, his discussions with Brown, his favouring Blair, his death, the funeral?

10. Charlie Wheeler and his plans, keeping off the press before John Smith's funeral? Wheeler and his wheeler-dealing, outdone by Peter Mandelson?

11. Peter Mandelson, his character, tortured, his friendship, people's comments on his manner - and vanilla smell? His help of Tony Blair, his being caught between Blair and Brown, his opting for Blair, his skill in meeting the media, winning?

12. The framework of the deal, Brown and his advisers and their decisions, Blair and the phone call? The meeting in the restaurant, the discussion, the result?

13. The value of this kind of contemporary political drama for audiences of its time? For later and historical and dramatic purposes?

THE DREAMERS

Italy/US, 2003, 120 minutes, Colour.
Michael Pitt, Eva Green, Louis Garrel, Robin Renucci, Anna Chancellor.
Directed by Bernardo Bertollucci.

Bernardo Bertollucci made a great impression during the 1960s, especially with his film The Spider Stratagem. He confirmed his abilities as a director in the 1970s with The Conformist, Last Tango in Paris, 1900. While he continued to make films and receive acclaim, it was only in 1987 with The Last Emperor that he achieved worldwide prominence and an Academy Award. After The Last Emperor, his films were popular but not great - even such films as Little Buddha not being particularly good at all. By the late 90s, he was considered in decline. He made a very small chamber piece, Besieged, with Thandie Newton and David Thewliss in 1999. With The Dreamers, he has returned to form.

The film was written by Gilbert Adair from his novel (and reissued the novel with alterations influenced by his working on the screenplay). It is a memoir of Paris in 1968, twenty-year-olds who were enthusiastic about cinema, learning French, full of idealism and living in Paris with the strike against the Cinematheque and the firing of Henri Langois from the post. What followed were more riots in Paris, especially from the students at the Sorbonne.

The central characters are one American and two French, twins. The American is naïve, an innocent in Europe. However, after being open to the temptations, even the corruption of the French, he sees that their idealism is narcissistic and theoretical and he literally turns his back on them to go home to America - with an attitude of non-violence, especially considering the Vietnam War, and to grow older and wiser and to write novels about the period. The two young French people are very self-centred, erratic, rebelling against their parents and their values, experimenting with sexuality, yet very inward-looking, cutting themselves off, theorising about film, playing sexual games, exercising power - and, when urged to go outside and break through their ideology, they act in an extravagant way, probably leading to their deaths.

Bertollucci recreates the period well, provides us with a chamber piece with three characters very effectively portrayed, especially Michael Pitt as the American. There is a great deal of music from the period. Because of the focus on cinephiles, there are many excerpts from a range of films, where real life according to these characters imitates the films.

There is plenty to think about in this film, for those who experienced it it is a memoir, for those who did not experience it it is a re-creation of a period and a challenge to look at history and idealism again.

1. The work of Bernardo Bertollucci, his career, the 90s and the transition to the dreamers?

2. The memoirs of Gilbert Adair, Bertollucci, 1968, Paris, the different interpretations, memories? The idealism of young people at the time?

3. The title, its relationship to Matthew, to Theo, to Isabelle? Idealists, the celluloid dreams of movies, actual psychological dreams? Dreams and rebellions, hope, values, experimentation? Causes and ideology? Dreams and reality? Each having to wake up in their own different way?

4. Paris in 1968, the descending of the Eiffel Tower in the credits, the streets, apartments, the cinematheque? Leading to the barricades, the protests and the violence?

5. The range of musical background?

6. The movie clips included and their impact: the French New Wave, Isabelle imitating Jean Seberg in Breathless, Greta Garbo in Queen Christina, the scenes from Scarface, Top Hat, Blonde Venus, Buster Keaton films, Mouchette? The nature of cinephiles, Matthew's explanation, sitting in the front of the cinema, many viewings, film theories, film quizzes, arguments? Keaton versus Chaplin? The significance of cinema in the 20th century, for the French, for these young people in 1968, learning about the world, seeing the icons that they wanted to imitate?

7. Matthew and his voice-over, his coming from San Diego, awkward clothes, the letters to his mother? His explanation of his family, brothers and sisters? His purpose in coming to Paris? A cinephile, studying? His being alone, sexual loneliness? His going to the cinematheque? Seeing Isabelle and her protest, the chain, coming off? Meeting Theo, being caught up in their enthusiasm, discovering friends who valued him, for the first time? The American innocent abroad in experienced Europe? The invitation to dinner and his being pleased?

8. The portrait of the parents, their age, experience, background, English mother, French father? The mother and her arrival, concerned about Matthew, dinner? Her relationship to her children? Influencing them or not? The father, his poetry, opening his books? Poetry and protest? The meal, the father and his talking theoretically, thinking that Matthew was not listening? Challenging Matthew, Matthew taking the cigarette lighter and giving a long disquisition about how it fitted into every pattern? The parent generation of this time with their children? Absence, signing cheques? Their return from holiday, the shock at seeing the trio in the tent, not wanting to disturb the children, leaving the cheque on the table?

9. The twins, Theo and his theory about Siamese twins, conjoined at the brain? The relationships, hothouse? The games, the sexual experimentation, each of them wanting to be controller, their different personalities?

10. Theo, the male twin, masculinity? His relationship with his father, rude to him at the table, ignoring him? His conduct in the bathroom, the shower, openness, nudity? Lying in bed with Isabel? The sexual games, the masturbation, his sexual demand on Matthew? Controlling Isabel or not?

11. Isabel, the female twin, her behaviour, the bathroom, the bed, her own room and keeping it secret, its control and orderliness compared with her personal confusion? Matthew, the games, demanding on Theo? The sexual encounter with Matthew, the blood, the relationship, its continuing throughout the house? The hothouse life she led?

12. Matthew, his modesty, in the rain, shutting the doors of his room, privately changing his clothes? His observing the relationship between Isabel and Theo, his puzzle, seeing them in the bedroom? Their frankness about nudity? Language? Theo's behaviour, the sexual games? His changing with the encounter with Isabel?

13. Their not going outside, glancing sometimes out of the window? The mouthing of revolutionary ideas - yet their inability to look after themselves, not having food in the house, Theo going to the pantry and finding the rotten food, Isabel and her bad cooking, yet Matthew trying to eat it?

14. Matthew's challenge to both Theo and Isabel about their own maturity, the fact that they had no other relationships, his making a demand on Isabel, taking her on an ordinary date, their going out, its effect on her? The café, going to the film, The Girl Can't Help It, going to the back row? Yet Isabel's reaction on getting home, hearing Theo with a girl in his room? Her uncontrolled jealousy? Hurting Matthew?

15. Theo getting his father's good wine, getting revenge, the three of them drinking? The three of them in the tent? Theo and Matthew not knowing about the parents' return, Isabel knowing, destroying the cheque? Previously saying she would rather die than have her parents know the truth?

16. Matthew challenging Theo about his theories of China, Mao as a film director, the Chinese as film extras? The Red Guard? Matthew's answer that it was one book, loyalty to one person? The discussions about Vietnam, criticisms of America, Matthew and his friends in Vietnam, his own attitude of non-violence?

17. Matthew finally challenging Theo, their going out, the riots and the barricades? Theo and Isabel still stuck in their ideology, getting the Molotov cocktails, throwing them, in the blasts? Potentially dying? Matthew observing, literally turning away? His surviving, growing older, reflecting and writing - and filming this kind of memoir thirty years later?

18. The effect on audiences, those who knew the 60s well, those who are older and were puzzled by the 60s, those who were younger and know very little about the 60s? Bertollucci comment about the times being idealistic and his contemporary audience of the beginning of the 21st century not having such hopes or idealism, possibilities for change?

DARK WATER

Japan, 2002, 101 minutes, Colour.
Hitomi Kuroki, Rio Kanno.
Directed by Hideo Nakata.

With the great success of the two Ring films, with their eerie mood where a Japanese journalist tries to solve the mystery of a video that people watch and then receive a phone call to tell them that they will die within a week, what next for director? First of all, there was the American version of Ring with Naomi Watts. Now comes another atmospheric thriller, less overtly horror than the Ring films, but creepy and suspenseful nonetheless.

Once again we have a woman coping with a mysterious situation. In the process of divorce, she wants to protect her six year old daughter and takes an apartment. Ignoring the water stain in the roof of a bedroom (a fatal mistake), she finds herself more and more involved - in deeper waters, one might say.

The water in the building is dirty, the roof stain gets larger, footsteps can be heard above. And, to top it all, a young girl who lived in the upper apartment went missing four years earlier. Is she haunting mother and daughter? Does she want to destroy them? Step by step, the movie, rather patiently, takes us through the mother's terror for her daughter, the pressure from her husband in the divorce, the discovery of floods and the water tank on the roof. It depends on how you enjoy ghost stories. One wonders how the Japanese regard ghosts. (And this one should not be difficult for an American remake - which soon happened with Walter Salles directing Jennifer Connolly.)

1. An interesting Japanese thriller? Eerie atmosphere, touches of horror?

2. The landscapes of the city, the river, the paths? Apartments, offices, school? The incessant rain? Musical score?

3. The title, the symbol of water, the rain, baths, the tank, floods, dripping roofs? The ending?

4. The film as a blend of realism/fantasy/dream/ghosts? Japanese beliefs in the afterlife and ghosts and their influence?

5. Mother and daughter, their relationship, the impact of the divorce, the hearings and the mother trying to defend herself, her tension, meeting her husband, his taunts, the lawyer, nice, helping? Trying to get her to control herself and her fears?

6. The mother and her past, having to read and proof horror books, going into therapy before the marriage, her fears and sleeplessness, the suggestions of susceptibility, her obsessions, her possessiveness of her daughter?

7. The move, the tour of the apartment, finding it nice, enrolling the daughter at the school, the interviews with the teachers, watching her daughter at school, the hopes of a new life?

8. The stain on the roof, the drops of water, the bucket? Hearing the story of the girl who had disappeared? The dates? The irony of the dates and the cleaning of the tank? Her living upstairs, the water, the footsteps? The audience later seeing the flooded apartment?

9. The mother and her being protective of her daughter, the daughter running out and playing, the mother frantic, searching for her? The red bag and its reappearance? The mystery of the bag, the ominous sense of another presence? The baths? The daughter and her being overcome, ill? The house being repaired - and the possibility of all going well?
10. The mother, her going upstairs, the search, finding the flooded room, the bag, the information about the little girl (supported from information from the school)? Her climbing the tank, finding the bag again, the presence of the girl?

11. The girl herself, a ghost, the floods, the schoolbag? The daughter in the bathroom, her almost being drowned, being taken possession of? The bath water going on, the bubbling and soiled water (and the memories of the hair in the glass of water)? The mother coming, trying to revive her daughter? The mysterious ghost arriving, the mother embracing her, wanting to be her mother? Her daughter looking on helpless?

12. The daughter ten years afterwards, with the schoolgirl friends? Going for the visit to the apartment, seeing it beautifully clean, finding her mother, discussing things with her, her love for her mother, wanting to stay with her, the story about her father and his remarriage? Her turning, her mother being a ghost?

13. The devices used in angles, light and dark, editing for a sense of the eerie? Life, destiny, ghosts, destruction?