DUDES

US, 1987, 86 minutes, Colour.
Jon Cryer.
Directed by Penelope Spheeris.

Dudes is an offbeat comedy drama directed by Penelope Spheeris, director of small-budget action films. It is also a vehicle for Jon Cryer (No Small Affair, Pretty in Pink, Hiding Out, Superman IV).

The film is designed for youth, opens with the punk atmosphere in New York, moves to the open spaces, draws in the legends of old westerns and sees the youngsters of today acting out the myths of the old West. The film is offbeat, has some humorous touches as well as a belief in the American way for all.

1. An enjoyable film? The pop atmosphere? The heritage of the movies? American myths? Vehicle for Jon Cryer?

2. The title, the young men in the city, going out west? Application to the group and their experiences in Arizona?

3. New York, the punk musicians, the clubs, the streets? The American highway? Arizona and the West, the town? The American desert and western landscapes? Songs? Musical score?

4. The opening and the punk group, the young men involved in the group, their way of life, their songs, performance, bar-fights? Drinking, the tightrope walk and the potential fall? Money and the decision to go West?

5. On the road, the three, their driving, hopes? Arizona, camping, the encounter with the bikies, the comic fight, the deadly serious fight, the death of the friend? Changing the mood of the film?

6. Jon Cryer and his comic presence and style? As a type, punk, going west, his reaction to his friend's death, his relationship with Biscuit? Their being lost, the police finding them, the decision to chase the bikies? The inspiration of the visionary cowboy?

7. The girl at the garage, her warning about the diner and the fighting, their being thrown out, her home, her story, enjoying the West, wanting to help, giving them the car, going to the rescue? Romantic lead?

8. The western vision, the dreams, their being transported into the past and its western conflicts? Jon Cryer as hero, Biscuit as the Indian, his vision and being caught up in the Indian camp life?

9. The gang, bikies, their violence, dissension in the group, tracking them, with the girls in the bar, their not recognising the young men, the falling out, the violence, the chase and the shoot-out?

10. The chase in the cars - and the echoes of the horses and the West? (Hero and heroine on horses - the hero learning to ride?) The confrontation and fight? The western hero and the Indians congratulating and disappearing?

11. The western achievement? The American dream? American myths in the present day?

DUEL AT DIABLO

US, 1966, 103 minutes, Colour.
James Garner, Sidney Poitier, Bibi Andersson, Bill Travers, Denis Weaver.
Directed by Ralph Nelson.

Duel at Diablo is an interesting Western with racial overtones. The emphasis is on violence, both Indian and white and its repercussions on those who experience it. It is also a film which has something to say about prejudice - against Indians and, with Sidney Poitier's presence, against Blacks. Director Ralph Nelson makes Westerns and adventures with touches of social comment which makes them more than routine. He directed Poitier's Oscar-winning performance in Lilies of the Field. His film closest in tone to this one is Soldier Blue (1970).

1. Was this a good conventional Western? Why? Was it original in its treatment of an old theme?

2. Was it enjoyable? Did the violence predominate over enjoyment? Was the discrimination against the Indians too strong for enjoyment? Why?

3. How well did the film use a sense of menace for its suspense? Tracking of the cavalry by the Indians and the blockade? The use of torture? The need for the scout to get through etc.?

4. What was the initial impact of the film? Ellen being saved by Jess and the. deaths of the Apaches? How did this carry on through the film?

5. Was Jess the hero? How successful a scout? His grief at his wife's death? How bitter was his need for revenge? How resourceful a person was he? How much was the audience meant to identify with him? How important was he for the questions about race: black, white and red? Was he too conventional a hero at times? Which sequences best illustrated his heroism?

6. Toller - was he too much of a Sidney Poitier typical character or not? The fact that he was a Negro, was this important? A self-made man, self-centred with his gambling, heroic with the horses, joining Jess, saving the group? The way he gambled? How resourceful a person was he? Was he too heroic a character by the end of the film, or was this normal behaviour for those under such pressures?

7. Collister - how good a man was he? A leader, living by the book? His ambitions to become a general, the nature of his heroism? Was he presented as being too heroic? Was the film unrealistic in its presentation of him, his wounds and dying?

8. How important was Ellen to the film? As a woman, an outcast, being rescued? Her love for her child? Her treatment by the Indians being better than her treatment by the whites? Her love for her husband? Being prepared for death? Her compassion at his torture? Was it too rosy for her at the end?

9. Grange - was he too much of a villain? Why was he so moody, concerned for appearances, his goods? His treatment of his wife? Were you surprised that it was he who killed Jess's wife? Your response to his being tortured? Did this make up for the evil that he had done? His being handed the gun? How important was he to the film?

10. The Indians - was their presentation conventional? Audience sympathy for them? The fact that they were oppressed on the reservations? The number of deaths? The final surrender?

11. Was the violence necessary for the style of film, especially the arrows, Granger's death? Who should have killed Granger or should he have been kept alive?

12. Do you think the ending. being saved by the cavalry, was too conventional; also the happy ending in store for the main characters?

13. What values of Westerns. racism. death, oppression etc., were being explored in this film? How successfully?

THE DUCHESS AND THE DIRTWATER FOX

US, 1976, 104 minutes, Colour.
George Segal, Goldie Hawn, Conrad Janis, Thayer David, Roy Jenson, Bob Hoy.
Directed by Melvin Frank.

Subtlety is not the hallmark of this western comedy. Humour is of the vulgar variety and will depend on audience mood. There is a lot of parody of Western conventions, especially in the form of a comically wayward horse called Blackjack. Goldie Hawn and George Segal are fine comedians and do their best here, but the material is not always strong enough. When it is - especially in a hilarious, coach conversation conducted by them in pseudo-French, Italian and German and in Goldie Hawn's Duchess-like rendition of one of her saloon songs - it is excellent. Director Melvin Frank usually works with greater touches of class.

1. The value of this film for popular entertainment? Comedy styles, the picture of the West, the value of the stars, risque comedy, the blending of these for audience satisfaction?

2. The particular emphases of the title and the tone. the false values given to each character, the emphasis on each, the way that the titles were illustrated, comically and satirically?

3. The importance of colour, scenery, San Francisco locations, the outdoor West? The use of Panavision? The range of the songs from comedy to sentiment?

4. What picture of the West was offered? The farcical overtones, the familiar types, the frontier way of life and frontier values? Humorous, laughter, parody, satire? which predominated?

5. The character of Charlie, his Dirtwater Fox reputation, the unreality of his self-image. his skills and lack of skills? His reliance on his horse? An awkward cowboy? His double dealing, his robbery, ability for seduction? His going to Australia but his encounter with the Bluebird? His fascination, her resistance, the innocence of their encounter? How engaging a Western nonhero? Audience identification with him?

6. The character of Bluebird: as a performer her phoniness and false name, her encounter with Charlie, robbing him and resisting him, her buying her dress and posing as the Duchess? Seeing her singing in the dance half the contrast with her performance for the Mormons? How engaging a non-heroine? Audience identification with her? The humour of her manner and mannerisms?

7. The development of the film with the chase pattern: various episodic adventures on cliffs, boats, the stake-out in the desert, etc.? Enjoyment and parody?

8. The particular chase patterns involving various groups: the coach ride, the pursuing gang in traditional western style, the Mormon group?

9. How humorous was the portrayal of the Mormons? The lustfulness in the eye of the elder? The audition of the Duchess? The assistant and his trip in the coach with them?

10. The actions of the gang, their pursuit, their style? Typical Western? Audience enjoyment of this?

11. The atmosphere of brawls and fights expected from a Western?

12. Comment on the comedy scene in the coach with the various plays on language? Why was it so effective? The impact of the horse as a character in the film? The sequence of the prospector passing by talking with his horse?

13. The details of the parody style and the nods in the direction of serious Westerns? The couple missing the horse and falling, etc.? The quality of the dialogue, the vulgarity?

14. The contribution of the minor characters, cowboys, gamblers, hotel attendants, etc.

15. How satisfactory was the resolution? The change into romantic sentimentality?

16. The value of the film in terms of entertainment, its presuppositions in audiences about the West. and about poking fun about the West?

DRUM

US, 1976, 100 minutes, Colour.
Warren Oates, Isela Vega, Ken Norton, Pamela Grier, Yaphet Kotto, John Colicos, Fiona Lewis.
Directed by Steve Carver.

Mandingo, was a prime example of the historical soap-opera laying on the sex and sadism (probably historically verifiable) for a sensationally prurient look at the past (with a certain enjoyable zest and flair). Ads said Mandingo lit the fuse and Drum is the explosion. Well, perhaps it comes with continuous big bangs, but that is about all in a repetition of 19th century Southern decadence. There is plenty of plot, attack on loathsome whites and glorification of oppressed blacks. Ken Norton may not have defeated Muhammad Ali, but here he is a box-office winner. Kyle Onstott's books will probably provide him with screen material while popularity lasts.

1. Audience response to this kind of film? Can the film be described as good or, as most critics said, trash? Why?

2. The atmosphere of the film of Mandingo, the popularity of the novels, the appeal of the times, subject and treatment? The popularity of the films for the audiences of the 70s?

3. The interest in and appeal of America in the south and in the early nineteenth century? The ethos of the south, pre-war luxury and wealth, a slave society, decadence. lust and violence? Could audiences identify with this, or are’ they repelled? The attraction of an evil and decadent society? Fantasy and reality?

4. How well did the film create its setting and situations? Did it seem authentic? The initial scenes of slavery in Cuba? The transition to New Orleans and its way of life? Again the transition to Falconhurst and the property for the breeding of stud negroes? The plantation life and work? The houses, the brothels, the fighting centres of New Orleans and the south? The quality of the visual presentation? How true was the presentation of this way of life? Is this important for this kind of film?

5. Were the characters credible? Their behaviour? How realistic, how sensationalized?

6. Interest in the background of Drum's birth? The way of life in Havana, the slave sequences, the white mother, the black father, inter-racial relationships, lust and love? The birth of the boy and his commitment to the nurse? The torture and death of his father? Audience sympathy towards Drum at the beginning of the film, towards his nurse, his mother?

7. The visual presentation of New Orleans especially the brothel? Drum and the impact of his personality and character, his culture work? His relationship with his real mother? To the nurse? His attitude towards the clientele at the brothel?

8. The importance of the initial party sequence. its length, introduction to the characters, way of life and attitudes of the south? The Frenchman and his cruelty, homosexual overtones, his associate? The introduction to Hammond Maxwell and his company? Attitudes of ugliness and decadence?

9. The focus on fighting: Drum and Blaise? Their fight, the background to it, the build-up, the savage details? Later training, later fights? Roman Empire attitudes towards life and death?

10. The contrast in tenderness between Drum and the girl that he chose? The Frenchman and his homosexual assault? The background for vengeance? Drum as a victim of this kind of society, audience sympathy for him?

11. The contrived fight and the death of the nurse? The effect on Drum and Blaze?

12. The contrast with the life at Falconhurst? Maxwell and his way of life aristocracy, wealth, his stud farm? His relationship with his daughter? His taking of Blaise and Drum?

13. The visualizing of the crisis between Maxwell's daughter and Blaise? The focus for the revolution? The character of the daughter, her way of life, emphasis on sexuality and curiosity? Augusta and her lack of control? Drum's concern?

14. The character of Augusta and the background of the brothel? Her posing as a lady and yet her calculating to be Mrs. Maxwell? Her role at Falconhurst, manners and style, influence on Maxwell's daughter?

15. Drum and the crisis at Falconhurst? His attitudes towards Blaise, towards Maxwell, his daughter? Decisions and involvement?

16. The party and the discussion of the aristocracy, especially about castration and the racist attitudes? The people from the brothel being present at the party?

17. The arrival of the slave buyer and his personality? Cruelty? The visual plight of the slaves? Blaise sharing this? Drum's attitude?

18. The importance of the massacre and its effect? Audience sympathies? The cruelty towards the white aristocracy and their slaughter? The mowing down of the negroes?

19. Maxwell and Augusta being safe? Was this just for the background of the film? Drum's helping them?

20. The fact that Drum had to leave? His future?

21. What are the basic values presupposed in audiences in response to this kind of film?

THE DROWNING POOL

US, 1975, 108 minutes, Colour.
Paul Newman, Joanne Woodward, Tony Franciosa, Murray Hamilton, Gail Strickland, Melanie Griffith, Richard Jaeckel, Paul Koslo, Coral Browne.
Directed by Stuart Rosenberg.

The Drowning Pool is another private eye mystery with Paul Newman repeating his Moving Target role as Lew Harper. It's certainly very complicated with many loose ends to tie up: careful audience attention is needed. However, it is rather ordinary in its screenplay and style, lacking flair or "class". The location is Louisiana, the people those Deep South decaying families and half insane oil tycoons and their henchmen. Newman at 50 still retains his pleasant manner; his wife, Joanne Woodward, does not have much to do as an ageing, drinking matron, but does it well enough. In fact, the film is quite enjoyable in its way. It is done well enough, but merely that.

1. What would audiences expect from this title?

2. What are the conventions of the private eye thriller? How well were they used here? The quality of the mystery and the clues? The nature of loose ends and their being tied up? The focus of the detective himself? The unusual background of crime and wealth? Was this a good example of the genre?

3. How much did the film depend on Paul Newman as Harper and his style? What was the role and function of Harper in this film? As a hero, as a means to unravel mystery, as a victim for violence? was the character well drawn? Was he merely a cardboard character? The nature of the dialogue, the irony and humour?

4. The atmosphere of a private eye thriller? The Deveraux family, wealth in Louisiana? Decay in families, malice, perversions, alcoholism etc.? The world of Kilburn and his madness and wealth? The Louisiana joints? The atmosphere of murder? How necessary was this for this kind of film? How well was it presented? The colour, Panavision etc.? The use of music, Iris' theme?

5. The reality and impact of deaths, corruption, madness?

6. Audiences response to the Deveraux family? Olivia and her authoritative ways, Iris of good blood but poor, . marrying into the family, the failure of marriage, her relationship to Harper, to the police chief? Her relationship to her daughter? The lack of relationship to her husband? Schuyler - the product of this atmosphere, a normal girl? Corrupt and murdering? What kind of family was this? The nature of relationships, power, control, cruelty?

7. The importance of Schuyler being the murderess? The nature of her motives, her relationship to her true father and her need for him? Her relationship to her official father? Her hatred of her mother and grandmother? The consequences of guilt?

8. The importance of the Kilburn subplot? wealth, the dogs, his cronies, their violence and murder, his relationship with his wife? Kilburn as mad as and the drowning pool, the inevitability of his death?

9. The police chief and the irony of his relationship with the Deveraux family?

10. Characters like Kilburn's wife, Gretchen, and their help? The relationship to Harper?

11. Is this world of the private-eye thriller a real or a fantasy world? Why? Are these thrillers meant for anything more than for entertainment?

THE DRIVER

US, 1978, 91 Minutes, Colour.
Ryan O'Neal, Bruce Dern, Isabelle Adjani, Ronee Blakley.
Directed by Walter Hill.

Writer Walter Hill authored films like The Getaway and The Thief Who Came to Dinner, where criminals were strongly characterised as persons, the techniques of their crimes studied in close-up and then they were let go. This is his style here. He directs also - frequent, vividly dynamic car chases with police after robbers alternated with static character confrontations. An expertly cold getaway driver (Ryan O'Neal's reacting acting style helps greatly here) versus an obsessed detective. Bruce Dern, yet again oppressively manic, Isabelle Adjani and Ronee Blakley are the driver's connections. Many sequences are compelling, especially since the focus is on human interplay and wits rather than just action. Brief, direct and offbeat.

1. The significance and tone of the title, the anonymity, the relation to function and role? The character of the driver as subordinate to his role? The reputation of the getaway driver, his moral viewpoint, his skill, an accomplice for the major criminal? Other significances of the driver? (The overtone of driving and being driven?)

2. Ryan O'Neal's performance as a driver? Seeing him mainly in his work and coming alive as he exercised his skill, wits, ingenuity in helping his criminals and evading the police? The driver and his dependence on his contacts in the underworld for jobs? His criteria for meeting people, accepting jobs? His conditions? His expectations about behaviour, timetable, business deals? The material rewards of his getaway driving, the psychological rewards? The significance of risks, dangers, confrontation with the police, eluding the police? The getaway driver as the agent of escape, yet his being pursued by the police and to that extent victim?

3. This driver as a person: his relationship with the girl, liking her, using her? Sexual relationship? His visit to her apartment, paying her off? His using her at the end? His relationship with his contact, his dependence on her, her saying that she would not save him, his accepting this, his being betrayed by her? His relationship to the various thieves, his judgment on them if they were not punctual and slack in their work? His expression of his expectations? His arrogance and even snobbery towards petty thieves? His capacity for violence even shooting? His action in driving and destroying the car to demonstrate his skill? His eluding those pursuing him by using his skills with the car? His thinking, lying on his bed, planning? His hiding and acknowledging that he was victim? The seedy and anonymous places where he lived and hid? His ingenuity with the money exchange, the train? His finally being caught, the irony of his lucky escape? His attitude towards the money, towards law? The driver with little personality, very functional, efficient? Achieving?


4. The contrast with the detective? The anonymity of the detective, his function, relationship with the law, his work with his team and his hold over them? Bruce Dern and his manic tone, his oppressive and obsessive violence? His attitude towards his men and the language that he used towards them, emotional blackmail? His living for his function and his role, the pursuer, the victimiser? His skills and his presumption and making so many mistakes? His presumption that he was right, his presumption of the law being on his side and helping him? His disregard of the warnings of his subordinates about breaking the law?

5. The study of obsession, obsessed by his role? His interrogation of people, threats, bullying? His attitude at the line-up, his hostility towards the girl, and his visiting her in her apartment to threaten her? His activity and his involvement in the cases? His resorting to plot, illegalities, and pressurising petty thugs, setting psychological conditions even to meeting the driver, visiting the girl? (The irony of the driver overhearing his conversation with the girl?) His eagerness, excitement? The pursuit of the train the build-up to the confrontation in the railway station? His being defeated once again? The film ending with his defeat?

6. The film's presentation of the interplay between the two - static sequences of confrontation. poses, the emotional detective and the unemotional driver, the way that they spoke, the final situation and confrontation and irony? The driver walking away?

7. The film's visualising of the robberies, violence, betrayals, shootings, death?

8. The dynamic presentation and visuals of the car chases. the time taken, the scenes in the street, night, noise, speed, the contrast with the cat-and mouse techniques of the drivers in the warehouses, the capacity for hiding? The car for power, deceit? The thugs and the demonstration for them and the driver's skill, the girl being present in the chase of the thugs?

9. The portrait of women in the film: the girl, her non-personality, wanting the money, relationship with the driver, helping him? Her seeming impassiveness? The contrast with the connection and her place in the underworld, her fears. telling the driver that she would not help him, betraying him and the violence of her death?

10. The presentation of the other police and their contrasting with the detective?

11. The thugs with the initial robbery, the thug arrested and set up by the detective, the interviews with the thugs, the demonstration, the attempted shooting and the driver killing the thug, the young driver and his being let go?

12. The action with the train sequences, the exchange of bags, the detective and his obsession on the train and his joy in ferreting out the criminal, his killing him?

13. An action film psychological study? The blend of both?

14. How well did the film analyse themes of right and wrong, justice. the criteria for law and its administration, obsessions, professionalism?

DRESSED TO KILL

US, 1980, 104 minutes, Colour.
Michael Caine, Angie Dickinson, Nancy Allen, Keith Gordon, Dennis Franz.
Directed by Brian de Palma.

Dressed To Kill is a sex and violence horror thriller written and directed by Brian de Palma, who has paid homage to Hitchcock in Sisters and Obsession, made the excellent Carrie and excessive Fury. Here he updates Psycho while using its structures and many parallels and acknowledgements of Vertigo. Psycho explored sexual obsessions, grotesque murders and madness. This film thrusts them at the audience but explores only Angie Dickinson's character, gives Nancy Allen an arresting role. Michael Caine's role should have been much better written. It is highly contrived, reminds us that there is potential for the bizarre (and seems rather exploited). The end echoes Carrie with almost too much of a bad thing. An odd shocker.

1. The overall impact of this film? As horror, thriller, psychological study? A combination of these? The bizarre aspects of the film? The effect on the audience in terms of interest, entertainment, nightmare?

2. The film's homage to Hitchcock? The influence of Psycho and Vertigo? The parallels with Vertigo in the museum sequence? With Psycho in the structure of the film, the murder of the heroine, the two women continuing the plot? The psychosis of the killer? Explanations? Shocks and violence? Similar issues? The similarities with Hitchcock? Differences? The influence of de Palma's own films , especially Carrie in the opening shower sequence, the final surprise shock, the dream?

3. What was the audience left with at the film's end? A serious film, exploitation,, contrivance? Was the film exploited, excessive as many audiences and commentators said?

4. The significance and focus of the title, its ironies and tone?

5. The impact of the colour photography, Panavision, New York interiors and exteriors? The editing? The shocks, violence both explicit and suggested? Musical score?

6. The structure of the film: the parallel with Psycho, the introduction to Kate Miller and the focus on her, the close attention to her and her actions,, attitudes, problems, death? The transition to Liz Blake? The revelation of the truth, the solving of the mystery? The postscript of explanation, the postscripts of shocks?

7. The initial focus on Kate - her initial fantasies and the sensual aspects of the shower sequence, the illicit lovemaking? The reality of her relationship with her husband? Her love for her son? Her age, feelings, needs, sexuality and sensuality? The importance of her visit to Dr. Elliott? Her making a pass at him but his lack of response? The long sequence of her going to the museum, her wandering of the museum and watching the paintings, the encounter with the unknown, the attention to detail e.g. the lost glove? Her going in the taxi and the audience reaction to this? The sexuality in the taxi? The apartment, the sexual encounter, her roaming around and searching, the discovery of the V.D. report? Her hurried leaving? The suddenness and ugliness of her death? The audience sharing the shock, the violence, her bleeding, her dying?

8. The portrait of an ordinary-seeming housewife, audience interest in her, pity, shock? Appearances and reality?

9. The introduction of Liz and first impressions, her shock at the murder, the discussions with the police, the truth about her being a prostitute? Her curiosity in investigation and in clearing her name? Her fear and the dramatic pursuit in the train? The length and suspense of this sequence? The encounter with Peter, the discussion about his methods, his filming all the clients? The confrontation with Dr Elliott, his attack and her escape?

10. The portrait of a prostitute - her work, background, attitudes, her appearances and reality and audience judgment?

11. How convincing was Michael Caine as Dr Elliott? Seeing him at work, his techniques, psychological background, style? His reaction to Kate? The discussions with the police? The interview on tape with Bobbi? His concern about her and her sexual problem? The discussions about the investigation? The confrontation with Liz and the revelation of the truth?

12. The build-up to the attack on Liz and the revelation?

13. The picture of the police, investigations, the conventions of police work?

14. The parallels with Psycho and Carrie? The opening shower sequence, the later shower sequence and Liz waking up? For enjoyment value, shock value, homage to the earlier film?

15. The atmosphere of the sequence in the hospital, Elliott and his strangling the nurse - and the irony of the reappearance of the nurse's shoes in the shower sequence?

16. The value of this kind of horror film? The explanations given about mental illness, the transvestite, the confusion of masculine and feminine roles, feelings? Self-assertion? The trapped female in a man's body? Violent eruptions? A symbol for the confusion and violence of our times?

THE DREAM TEAM

US, 1989, 107 minutes, Colour.
Michael Keaton, Christopher Lloyd, Peter Boyle, Dennis Boutsikaris, Stephen Furst, Lorraine Bracco, Milo O'Shea.
Directed by Howard Zieff.

The Dream Team is quite a funny comedy ~ with a risky subject: members of a mental institution have a day out and get up to all kinds of difficulties in New York City. However, the film is comedy and farce rather than realism. The four members of the dream team have their endearing qualities as well as their exasperating ones, and this makes them acceptable and sympathetic to the cinema audience.

Michael Keaton is back in his zany style as the leader of the four. However, Peter Boyle has one of his best roles as a business executives who now thinks that he is Jesus Christ. But even he is outmatched by Christopher Lloyd as the obsessive and meticulous postal officer who likes to think that he is a doctor. The fourth member of the team is Steven Furst - who doesn't speak but communicates in TV Jargon. There is a good supporting cast, including Lorraine Bracco as Keaton's girlfriend.

The film was directed by Howard Zieff (Slither, The Main Event, Private Benjamin, Hollywood Cowboy). There are some very funny sequences - and the whole thing is nicely amusing. It has offbeat comments to make about sanity and insanity.

1. Pleasing comedy, characters, situations? Sanity and insanity?

2. New Jersey and the asylum, the atmosphere of the institution? The contrast with the road and New York City? Streets, precincts, hospitals? Apartments? The musical score, the songs - especially the theme of the four in their trip and during the final credits?

3. The title: the focus on the group, dreams and reality and unreality, therapy and resolution? Their working together?

4. The type of laughter, sympathy for the characters, real or unreal? Realism? A fable? The possibility of offence?

5. The opening with Henry as the doctor - introduction to each of the characters? Henry as himself and with the others in the group? The atmosphere of the institution, the atmosphere of the session, interaction with the doctor? Each of the members with his own problem?

6. The doctor, his authority, the authorities of the institution and the other doctors? His interaction with the group, knowing each, their growing to trust him? Feeling that their bickering and interaction was progress? The plan to go out, going together, Albert and his having to stop, the alleyway, witnessing the murder, the doctor bashed and taken away in the ambulance? The setting of the situation for the team?

7. Michael Keaton as Billy: in himself, creative writing, violence, ability to make up stories, living in a fantasy world? Playing ping-pong with Albert? The trip, the search for the doctor? Going to the restaurant, attacking the customer ~ and knowing Riley? Her urging him to be responsible for the group? Return, their journeying together, the walking, the police and the situation, the phone book, the John Does in the various hospitals? Finding the doctor? His relation to each and understanding them? Verbal and visual humour? Going to Riley to get the money for the car? The antagonism towards her friend? The arrest, on television? The reversal of roles, getting the gun, impersonating the authorities? Going to the hospital, the clash with the crooked police? The chase, the gun? The new outing? Mad or not? Relationship with Riley? Leaving the institution?

8. Henry and his obsessions, it being a front, his acting as the doctor, the real doctor asking to abandon this? his going in the front of the car, being the guide, waiting the hours for the doctor to return, needing order, tidying the streets, going to the bar and tidying tip and being thrown out? The plan? Going to visit his wife and daughter - not having seen her for two years? Giving the clipboard to his daughter? Returning, impersonating the doctor, arrest? The adventure, the whole experience as therapy for him? Christopher Lloyd's expert performance as the obsessive?

9. Jack, in the nude, thinking he was Jesus, his quotations, swearing and using Scripture? The parody of religious mania? The group work? His background in advertising, going on the trip, walking the city, going to the revival group and testifying, taking off his clothes, rescued in time? Meeting his partner in the street, going to the building to (yet the money, meeting Murray again, the story of his mania, tricking Murray about his new job? Going to jail? His involvement in the adventure? Peter Boyle's skill at impersonating this kind of mania?

10. Albert, watching the TV, playing ping-pong, stealing the cakes? His lack of communicating with anyone except for TV talk? The trip, the alleyway, the witness, fear, waiting, eating? Beginning to talk privately? Seeing the police, ramming the car, participation in the adventure?

11. The doctor, nice, recovery, getting him out of the hospital?

12. The authorities, concern, ways of talking to the insane, the presumptuous doctors, the benign head, their being tricked and drugged?

13. Riley, her relationship within Billy, her friend, support, coming, to visit them in jail, participation in the adventure, the threat from the police?

14. Henry and his family, the touch of the concerned wife and the loving laughter?

15. The advertising executives and their suspicions? The insane world of commercials?

16. The crooked police, tough, their attempts on the doctor's life, the finale and the shoot-out? The genuine police - and their treatment of the dream team?

17. Visual and verbal comedy? Satire and irony? Sympathetic comedy?

DREAMSCAPE

US, 1984, 94 minutes, Colour.
Dennis Quaid, Kate Capshaw, Max Von Sydow, Christopher Plummer, Eddie Albert, David Patric Kelly, George Wendt.
Directed by Joseph Ruben.

Dreamscape is an entertaining, if rather implausible, piece of science fantasy. Like Future World and Brainstorm, it is a psychological science fantasy, the visualising of dreams – in this case someone psychic entering into dreams and altering them. Needless to say this can be therapeutic as well as destructive. The film highlights both.

Dennis Quaid is a very good cheeky hero. Kate Capshaw is a lively heroine. Max Von Sydow is as usual as the scientist. Christopher Plummer does his suavest sophisticated villain. Eddie Albert is an amiable President. David Patrick Kelly is the villain to end all villains.

The special effects are rather artificial - but that is natural for dreamscapes. While the film takes itself sometimes too seriously, it is rather tongue-in-cheek. It is B-budget material of past decades decked up in bigger budget style.

1. Enjoyable science fiction, science fantasy? Political overtones? Nuclear overtones?

2. The '80s and the popularity of science fiction? Lavish treatment? Farfetched real? The conventions in dialogue and treatment? Serious or not?

3. The title and indication of themes? The special effects and their style for the dreamscape, the blend of artificial and real? The contrast with the real world of laboratories, universities - and politics and covert action?

4. The introduction to the dreams: the President and his nightmare of nuclear devastation, his wife and her being engulfed in the flames? The further dreams with the devastation of Washington? The responsibility for nuclear destruction? The tram through a destroyed Washington? The killer in the dream, the nuclear victim passengers and their attacking the President, blaming him? The labyrinth and the dead-end? The fire, the monster and the President having to kill his monster?

5. Scientific research, the possibility of psychics entering dreams and altering them? The laboratories, supervision of laboratory work? Paul Novotny and his expertise, experiments, the exhilaration of his work? Jane as his assistant and her contribution? Tommy and the other psychics? The man who went mad? Alex and his capacity for entering dreams ~ without laboratory links?

6. The possibilities for therapy and the examples given? For sinister use, political?

7. The dreams: the worker on top of the skyscraper, holding on to the girder, Alex falling? The little boy and his fantasy monster, the landscapes and caverns, the long ladder, the fight with the monster and the boy killing him while rescuing Alex? His father not helping him? Jane's dream of sexual encounter with Alex? Tommy entering the dream and killing a victim? The President's dreams?

8. Alex as hero? A gifted psychic, his escape, the race track and the thugs chasing him, his skill in eluding them, being taken by Blair's men? Paul's blackmail? Alexis curiosity? The tests? The infatuation with Jane? Entering her dream? His skill in the dreams, the worker, the boy and the killing of the monster? The possibilities? Entering without laboratory conditions? The warning from the novelist and meeting him, the assassination? Blair's smooth style? Suspicions, the President's arrival? The attempt to kill Alex at the track? His decision about the dreams, confronting the monsters, helping the President? The assuming Tommy's father's shape and killing him? His entry into Blair's dream, the elevator and his becoming the monster? The humorous train ending?

9. Paul Novotny as scientist, his skills, exhilaration? Reaction to Blair? His death?

10. Jane and her liveliness, professionalism, her dream, the relationship with Alex, helping him, the happy ending?

11. Christopher Plummer as Blair: sinister, smooth? Brutal henchmen? Power over Paul? Over Alex? The visit to the President, his friendship and offer to help? His Right-wing political views? The humiliation of America? His being against nuclear disarmament? Tommy as his agent? The plan for the President, Tommy's death? His defeat? His own dream and death?

12. Tommy as sinister, psychic, jealousy of Alex, his entering the dream and killing the woman, eating casually after it? The information about his father's murder? The clash, Blair's patronage, his entering the dream, the fights with Alex, the confrontation with his father image and death?

13. The world of the covert operations, spies, the assassination at the university etc.?

14. The delight in fantasy therapy?

15. The contemporary political overtones: terrorism, assassination, world supremacy? The nuclear symbol - the dreams, the destruction, the President wanting disarmament and negotiation?

A DREAM OF PASSION

Switzerland/Greece, 1978, 110 minutes, Colour.
Melina Mercouri, Ellen Burstyn, Andreas Voutsinas.
Directed by Jules Dassin.

While highly contrived and always drawing attention to its artificiality, is a frequently powerful film. Rehearsals (in Greek and in English for a B.B.C. program) of scenes from Medea are the framework for this study of an ageing actress (a controlled, passionate Melina Mercouri in yet another film (Never On Sunday, Phaedra, Topkapi, Promise at Dawn) by her writer director husband Jules Dassin) and the effect of an exploitive publicity stunt on her. She uses, then is deeply affected by, a contemporary Medea - instead of the savage barbarian princess of passion in Euripides' drama and poetry, she is an uneducated, Bible-thumping American housewife. hurt and passionately vengeful. Ellen Burstyn is superb. Full of ideas, passion and important questions.

1. The significance of the title? The choice of words and their overtones? Dream and reality? Passion and feelings. emotions, motivations? Acting, feeling? Insight through dream? Indication of thews?

2. For what audience was the film made? Greek audience., American audience,, international? An educated audience with knowledge of Greek tragedy? The contemporary audience and the focus on the perennial stories of passion and death?

3. The background of the writer-director - the American background and the story of Brenda, his marriage to Melina Mercouri and his Greek vision? Knowledge of the Greek classics and the attempts to adapt them to the world of the 1970s? How successfully can the themes of ancient Greek tragedy be modernised?

4. The importance of the Greek setting: the visuals of Greece itself - Athens, the mountains, the countryside? Modern Greece as compared with ancient Greece? The setting for tragedies? Greece and its place in Europe today? International attitudes towards Greece?

5. Audience knowledge of and presuppositions about Greek tragedy? The importance of Euripides.. his style,, his themes? Greek tragedy and their starkness, the various characters, the persona and the mask. the role of the chorus,, the drawing on mythology.. religion and fate? Themes of civilisation versus barbarity? The role of the Gods? Passion as a driving force? The characters as types illustrating basic and deep human themes?

6. How well did the film present the elements of ancient Greek tragedy: the old and the heroic, religious themes? The epic overtones and symbolic thews? The transition to the modern world and the possibilities of modern heroic? The mundane realities of the 70s? The lack of heroic status of contemporary heroes and heroines? The place of religion? The religion of the gods of Greece. the mundane religion of the American sects? Passion and sentimentality? The tragic heroine of olden times and modern times?

7. What did the film say about the vision of the ancient Greeks? Our view of the past? Our view of the classics? The quality of the present. the quality of vision? Our view of the vision of the 70s? Differences. similarities?

8. The contemporary themes of personalism, human rights. feminism, violence, prison and reform, madness?

9. The value of a contemporary presentation of Medea? The classic status of the play, its entering into mythology? As a symbol of the vengeful woman, the rejected woman, infidelity and fidelity, cruelty and revenge? A dream of passion? Medea as a play about human rights? Its relevance to the contemporary themes elaborated?

10. The appropriateness of a contemporary version of Medea in Greece? For a Greek audience, a Greek director, a Greek actress with international background? The passionate nature of the actress? Her life, her ambition to play Medea, her attitude towards the director and clashes with him? The place of the chorus, of the prompter, of the actress' agent? The ordinary realities of rehearsals and the preparation of the play? The characters being caught up into a wider drama in the encounter with Brenda?

11. The importance of the variety of stagings of the scenes? The actual presentation of so many scenes from Euripides' play? The cinema presentation, the rehearsal versions? The television presentation, the scenes presented on television stage, in the exteriors? The versions in Greek, in English? The impact of the Greek presentation? The importance of the B.B.C. crew and the English view of the rehearsals and the play? The contrast of the studio and the amphitheatre? The devices used for communicating the play and the characters: angles, close-ups, the variety of ways of presenting the chorus? The development of the plot throughout the film? Audience response to Medea and her background, her marriage to Jason. his rejection, her killing of the children, Kreon and his role of justice, his daughter and the revenge? Themes from the past brought into the present? (The chorus becoming accomplices with Medea?)

12. The contribution of the B.B.C. crew, the ironic look at the play and Maya and her involvement with Brenda? The importance of the interviews, the translations, the gearing of the material to the English-speaking audience?

13. Melina Mercouri's interpretation of Maya? Her presence, appearance, intensity? Her international reputation, a temperamental actress, her age, her beauty? Her whiffs? The quality of her talent? The initial feminist interpretation of Medea and the rejection of this? Her relationship with Ronnie and reliance on him? The background of her visits to her husband and the memories of their life? Indications of her past and contribution to understanding her character? Her clashes with the director and the reasons for these? Temperament, verbal edge? Her relationship to Maria, the past rivalries, the love-hate relationship? The continued presentation of her memories? Maya's callowness, her potential for being a great woman? The importance of the interviews? The importance of her self-analysis to the screen - the story of her life, her moods, passion, friendships, love, the place of men in her life, jealousies? How valuable a device for revelation of character? (And the echoes of the similar device from Last Tango In Paris?)

14. The idea of the publicity stunt, Maria and her role in this, Maya's consent to it? The build-up for the arrival at the prison, the press? The reaction of Brenda, the effect on Maya, the publicity and her regretting it?

15. What view of Brenda did the audience have before seeing her? Knowing her story, the parallel with that of Medea? The contrast of the ordinary American housewife and the Medea of mythology? Ellen Burstyn's interpretation of Brenda? Seeing her in prison, her slow reactions, her religious background, her simplicity and ignorance? Her language and temper? The friendship with the biblical student? Her relationship with the nuns and their control in the prison? The blend of moods and passion? Her ignorance, her childish writing, the odd moods in her language? Her awareness of the movies? Her being used by the stunt and the reaction against it? Maya's apology and her accepting of this, Brenda's growing to rely on her? The parallel between Medea and Brenda and the contrast of ignorance and culture, the implications of the foreign woman coming and Greece being the place where things went awry?

16. Brenda and the growing friendship with Maya, the gifts, the erratic moods? How Medea-like was Brenda? The memories of the past, her telling her story, her passion about her husband, telling the story about the killing of her children? The importance to the building up of the re-enactment? Maya present and the intertwining of the two personalities?

17. The facts of what happened to Brenda - the doctors, her trial, the visit of the student, her life in prison? Brenda becoming the heroine of her story despite her horrendous deeds? The credibility of the murders? Her feelings and the children as victims?

18. How well did the film show Maya and her obsession with Brenda? The gifts, the interviews? Her empathy? The final uniting and Maya's re-enacting Brenda's understanding of the character of Medea? The fusion of the two women in the final performance?

19. How well did the film comment on the relation of art to life? The background them of the various contemporary issues and their being illustrated by the classic Medea and the modern Medea?

20. How well did the individual sequences fit into this overall framework e.g. the world of the director, his discussions with Maya, the clashes with Maria, Maya's worry about her reputation, her tantrums , her visit to her husband? The rehearsals, the party and her self-revelation?