WHISPERS IN THE DARK

US, 1992, 103 minutes, Colour.
Annabella Sciorra, Jamey Sheridan, Anthony La Paglia, Jill Clayburgh, John Leguizamo, Deborah Kara Unger, Anthony Heald, Alan Alda.
Directed by Christopher Crowe.

Whispers in the Dark is a psychological thriller. It focuses on psychosexual matters. It is sometimes lurid – and ends very melodramatically.

The film focuses on Annabella Sciorra as a psychiatrist. One of her clients, portrayed by Deborah Kara Unger, relates sexual fantasies which are stirring for the psychiatrist. Another client, played by John Leguizamo, is an artist who focuses on sexual issues. She suspects that there is some connection between the two clients.

Alan Alda plays her trainer and mentor and she goes to him with her problems. He is a sympathetic listener. Jill Clayburgh plays his wife. She then encounters a man who flirts with her in her building, a pilot for a charter firm, and they become a couple. When the psychiatrist goes to the Tavern on the Green in Central Park to see the partner of her patient, she discovers her with the pilot. When the woman is murdered, she becomes suspicious.

Anthony La Paglia plays a detective who has problems of his own who clashes with the psychiatrist although working with her.

The film comes to a head – and the true murderer is revealed, rather unexpectedly for most audiences. There is a very melodramatic ending with Alan Alda and his wife and the pursuit of the psychiatrist in the sea. However, there is a very happy ending. The film was written and directed by Christopher Crowe, a prolific writer for television as well as a director for some series as well as the feature film centred in Saigon, Off Limits.

1. The psychological thriller? Sexual psychology? A police investigation? A murder mystery?

2. Psychology and investigations of the psyche? Motives and actions? Real and unreal? The psychiatrist listening, observing? Crime detection, investigation, motivations, the parallel of the investigation with that of the psychiatrist?

3. The New York settings, affluent, Fifth Avenue offices, psychological professionals, the world of art, the world of charter flights? The contrast of the ordinary Midwest town? The aerial photography? The musical score?

4. The title, the implications, especially for Ann?

5. Ann as the focus, Annabella Sciorra’s performance, the opening credits and the lurid dreams? Ann and her identifying with the stories from her clients? The psychosexual reactions? Her personal life, the relationship with Paul, his drinking, her determination to confront him, ousting him? Freeing herself? Her listening to Eve, imagining Eve’s stories? Listening to John Castillio and the issues of his art? His attraction for Eve? Her narrating her reactions on tape, her files and tapes? Her friendship with Sarah, with Leo, the background of her student days, Leo as her mentor, understanding her? The issue of whether she should go into therapy with him again? Doug and his flirting in the elevator, the cup of coffee, the flight to New Hampshire for the meal, the sexual relationship, happiness, his gentleness, her feeling safe, telling Sarah and Leo?

6. Eve and her sessions, the violence implicit in her stories, the vivid descriptions, the lunch, Ann going to watch her, seeing Doug with her, her reaction? The scene outside the office, the witnesses – and the later difficulties in the police investigation?

7. Eve’s death, the description, Detective Morgenstern and his investigations, his interrogations, abrupt manner? His wanting more information, wanting Ann to break confidentiality with her clients? His interrogation of John, his needling John, John knowing there was someone on the other side of the glass, his smashing the glass? His paintings, their sexual content? In connection with Eve’s death? John as the suspect? His photos, his seeming guilt?

8. Doug, as a personality, his charm, with Ann, the flight, talking? His own life story? His being interrogated, under suspicion? His persuading Ann that he was innocent? Flying her to his home town, her visit, Doug’s mother and her charm? Ann believing him, setting up the meeting, the deaths?

9. John and his sessions, his going to Ann’s apartment, tying her up, the confrontation, his innocence, going onto the window sill, the threats, Morgenstern coming, trying to hold him when he fell? His death?

10. Morgenstern, his background, his lies about himself and his family? His detective work, his method of investigation, interrogations, suspicions?

11. Ann, going to the coast, her fears, confiding in Sarah and Leo, her issues about her father, finding freedom with Leo’s advice? Her angers? Listening to the tape? Leo’s return, his cracking, his brutal hitting of his wife, the confession, the explanation of how he killed Eve and why, his obsession with Ann, his setting up Morganstern, killing him?

12. The chase, the motivations, Leo’s obsessions, on the beach, Ann hitting him, his drowning? The credibility of this melodramatic ending?

13. Issues of therapy, emotional needs, sexuality, identity and transference?

14. The final sequences, the flight, Ann and the symbolic learning of being a pilot, flying alone?

15. Popular ingredients, the twists, credibility – for this kind of psychosexual melodrama?

DEFIANCE (BRUTE FORCE)

US, 1979, 98 minutes, Colour.
Jan Michael Vincent, Theresa Saldana, Fernando Lopez, Danny Aiello, Rudy Ramos, Art Carney, Lenny Montana. Joe Campanella.
Directed by John Flynn.

Defiance (Brute Force) is one of several gang films made in 1979. The trend started with Walter Hill's The Warriors, a stylised presentation of violence in the cities. other films included Boulevard Nights, The Wanderers. This film has a strength and toughness as well as a sentimental presentation. It is set in New York, takes account of the slums, the Spanish-speakers in the city and their being a minority. Jan Michael Vincent is an engaging hero and is made to seem a very strong American hero by the end. He is a leader who is able to gather together people against the oppressors. In this way, the film echoes the themes of the '70s and the Americans trying to regain some of the self-confidence that they lost in the disillusionment of the 160s and '70s. The cast acts well and there is a guest spot by Art Carney. Direction is by John Flynn who made The Sergeant, The Jerusalem File, The Outfit and Rolling Thunder.

1. The gang films of the '70s? The tradition of presentation of city life on the screen. poverty, violence, clashes. the emergence of the hero? The '70s style compared with earlier films? The social message of the '70s? The American morale-boosting?

2. The similarity of the slum and gang films to westerns? The bringing of the western conventions back into the city? The new frontiers in the contemporary city? The lack of law and order, the administration of justice, the potential for violence, the need for folk heroes? How similar was this film in convention to the western?

3. The use of New York as the American city - the opening.. the wharves, the distant buildings, the East Side and the slums, the atmosphere of the ugliness of the city, the people living there, power struggles, friendliness? A microcosm of the United States?

4. The emergence of the gangs in the '70s - the traditions of the poverty of the early decades of the century, the growing violence in the '60s and '70s? The look of the gangs, dress, codes, drugs, murder? The musical background and the songs and the lyrics -illustrating the atmosphere of the gangs? The glorification of the hero?

5. Tom as hero - an American symbol, the need for heroes? The credits and explaining his situation, character.. victimisation - and preparation for his behaviour in the film? A hero who is tough, intelligent, victim, sensitive?

6. The background of ships, the union agent and getting jobs? The suspension for six months, the searching for the apartment? The initial eyeing off of the gang? The phone calls and the hope for the job? Learning Spanish? The bashing of the gang member and the retaliation in the subway toilet? The effect on Tom and his being cared for by Marsha? His statement that he was passing by, didn't belong.. couldn't understand the district and the attitudes? Distancing himself?

7. The young boy - the initial encounter and mocking at the learning of Spanish, the growing friendship, telling his story to Tom, throwing the fish to him, scavenging with Whacko? The story of the alligators? His background in the orphanage, friendships with Whacko and Tom? Building the garden on the roof? His being bashed by the Souls? His being hurt, caring for Whacko? His grief at Whacko's death? Resentment against Tom and his leaving? The contrast with Whacko as the simple big old man - the past and his glories as a prize fighter? His scavenging with the boy.. building the garden, his being confronted by the Souls and rescued by Tom? A pleasant man? His response to Marsha's kiss? His being fair to Tom when he left? The memories of the past and his fights., the decision to go out and confront the Souls? The ugliness and sadness of his death? The sentiment in the presentation of this odd couple and their scenes of walking the streets with Tom?

8. Marsha as local heroine - watering the plants, caring for Tom, the date and the enjoyment of the bowls, the seeing of the sailing ship and hearing Tom's story, telling him her own, the love relationship, sharing experiences, fears, the garden, her presence when Abe was bashed and her terror? Her being hurt when Tom left? Her joy in his return but fearing for his safety? A girl embodying the locality?

9. Carmine and the sportsmen? Meeting them with the photo about the fish and the comedy, their club and talk, the noise and Tom's confronting them and hitting the basketball on the wall, Carmine and his presence at the Bingo, his being intimidated by the Souls and not signing the complaint? His watching Tom confront the Souls and inviting him to the club? The friendship with Tom, appealing for his help? The decision to join with Tom, the appeal to the other sportsmen and their lack of response? His going to confront the Souls, being shot? The other members of the group and their age, memories of the past, letting the Souls take over and not resisting, feeling ashamed? Their being confronted by Carmine and their decision to come and help in the final confrontation?

10. Art Carney and his characterisation as Abe - work in the shop, apprehension about the Souls, their mistreating his shop, helping Tom with the phone? A nice man? His presence at the Bingo and signing the complaint? His being bashed?

11. The various people in the district - their homes, at the Bingo? Their uniting at the end to confront the Souls? Their needing to be saved?

12. The portrait of the gang - manner, composition of the gang, dress and styles, speech? Shops, bashing, stealing, the girls, drugs? Angel and his style? Staring, bashing Tom in the toilet, the confrontation with Whacko,, smashing the shop, bashing Abe, robbing the people at the Bingo and confronting the girl, smashing the garden, confronting Tom in the shower? The killing of Whacko? The final confrontation, the long fight with Angel and his defeat and walking away?

13. Tom and his growing involvement, his decision to go to the ship, his goodbyes? His fears and his protecting himself in his department? The reason for his taking to violence and using the club - the confrontation with Whacko, the bashing of the boy? His leaving for the ship and seeing the boy? His decision to fight and belong? The lyrics of the final song turning him into a folk hero?

14. The film's attention to detail, inviting the audience to experience what the people who live there felt? The urban flavour, violence, human nature, social problems, ethnic problem, law and order, the role of the police and their inability to cope? Insight into urban problems? Sentiment?

DEFENCE OF THE REALM

UK, 1985, 91 minutes, Colour.
Gabriel Byrne, Greta Scacchi, Denholm Elliot, Ian Bannen, Bill Paterson, David Calder, Robbie Coltrane.
Directed by David Drury.

Defence of the Realm is an arresting and interesting political and media drama. It focuses on a potential nuclear accident, a cover-up by politicians, the framing of a Labor politician as a spy and the use of the media by the Public Service. It focuses on a newspaper, the ambition of its reporters and investigators, the influence of money and political power.

Gabriel Byrne (Christopher Columbus, Gothic) is the earnest and ambitious journalist. Greta Scacchi is the secretary of the humiliated politician, played by Ian Bannen. Denholm Elliott has a small but effective role as a disillusioned newspaperman - and won the British Film Academy's Best Supporting Actor prize for this role.

The film has good pacing, involves its audience emotionally in the complexities of the public interest, the defence of the realm as well as the person lives of those involved. It is finally pessimistic in its outlook.

1. An interesting and effective thriller? Conspiracy thriller? Media drama? How plausible? The nuclear background? Political cover-up? Espionage?

2. The title and the phrase 'for the good of Britain'? The English background of the film, London, Fleet Street? The American installations? Editing and pace? Musical score?

3. The prologue, the boys being chased, the fence, the lights - and the mystery to be explained later? The boys in Markham's file? Nick and his interviewing the boy in prison, the reconstruction of the situation, the news about the evacuation, the incident in Turkey, the phone call to the American Defence Department, the nuclear alert, the near accident on the tarmac? The cover-up and the implication of the politician exposing the situation?

4. The title and tradition, the Official Secrets Act, cover-up, the consequences for secrecy, plots, conspiracies, murder? Nick and his coming before the Public Service Board? His execution?

5. The Markham situation: the photos, the East German spy, the brothel, the decision to run the story, headlines, press responsibilities, Vernon and his friendship, telling Markham and Markham's reaction, the repercussions, the televisions news crews at his home, pursuing Mrs. Markham, Nina and the journalists, Trudy and Nick in the car, his pretence, the interview, her ousting him, the writer, the celebration in the pub of Markham's resignation? The phone calls and the information about the Prague photo, the photo research, the consequences for Markham and his press conference? The congratulations of the proprietor? Nick and his discovery of the leads, the false connections? The documentation to prove the conspiracy?

6. Nick and his eagerness, work, friendship with Vernon and admiration for him, the possibility of a scoop, his trick with Mrs. Markham, her ousting him, printing the information? The research of the photo and its use? The talk with Vernon about the use of the photo, Vernon's caution, the ransacking of his apartment, Vernon's death, his funeral and Nick's presence? The congratulations of the staff? Nick having second thoughts? The approach to Nina and engaging her help? Vernon's: file? His making connections, the interview with the boy in prison? The reconstruction, the phone call and its interruption, the official Secrets, the getting of the documents from the lift - and the men in Vernon's room? Nina and Nick posting the documents? The arrest and the interrogation by the Board? His being careful at home, the surveillance? Nick at the club and the editor's contact at the club? Nina tricking the woman pursuing her? The suddenness of the explosion and their deaths? Journalists, career, investigations, consequences? Expendable?

7. Vernon as the veteran journalist, drinking, his Communist background, friendship with Markham and telling him what was happening? The pub and his drinking? George and the cassette, Nick helping him set it up? Discussions with Nick? Nick taking him home, his hiding the file? Death? The philosophy of journalism?

8. Nina and her work, the dinner with Vernon and her disdain of Nick? The funeral? Helping Trudy? The decision to help Nick? The lead and the documents, retrieving them from the lift-well, the policewoman following her, the relationship with Nick - and the suddenness of her death?

9. The paper and its staff, the various personnel and their responsibilities, news, checking information, scooping other papers? The editor? The police investigations about Vernon? The proprietor and his financial connections? Political influence? Policy? Nick confronting the editor and proving his story? Getting the information about the contact?

10. The theme of the press and its responsibilities? The finale and the German and French papers printing the information about the nuclear accident?

11. The British government and Kingsbrook with his connections, the ownership of the paper, planting the stories, his personal smugness, going to Vernon's funeral, media conspiracies and leads? The irony of Kleist and his being an English agent?

12. The nuclear situation: American installations, alerts in Turkey, red alerts, the American bases, their inaccessibility, the plan for evacuations, the boy on the tarmac, the plane landing, the potential for accidents? The plausibility of nuclear installations and nuclear accidents like this? The cover-up? The public's right to know?

13. An effective blend of thriller, conspiracy film, personal stories, wider social and political issues?

DEFCON 4

US, 1984, 83 minutes, Colour.
Lenore Zann, Maury Chaykin, Kate Lynch.
Directed by Paul Donovan.

Defcon 4 is a grim nuclear story. It takes place in 'the day after tomorrow'. All nuclear systems are in place. The film focuses on three astronauts who find that how have been Trapped in Moscow; there is retaliation and nuclear destruction. When they land, they are taken prisoner by a young upstart who rules the area and wants to avoid radiation by finding a survival centre. The expected clashes take place with a touch of sadistic brutality. while the action is predictable, it is an '30s version of old-fashioned B-budget science fiction and serials. There is some moralising - and a kind of optimistic ending stating that the final battle has been won. It seems to be that the goodies defeated the baddies. Nevertheless, a film showing the nuclear concerns of the '80s and their treatment by film-makers catering to the mass audience.

1. Interesting thriller? Tough? Nuclear message? The future?

2. Colour photography, space atmosphere, the spacecraft, the nuclear devastated world and its squalor? Special effects? Musical score?

3. The title and the focus on the nuclear age, spacecraft, nuclear destruction, death camps?

4. The focus on the astronauts, their mission, the background of the Star Wars defence systems and secrecy? Their mission? internal clashes - Jordan and her irritation, Howe and his video of his wife, Talker and command? The information about the nuclear bomb in Russia, the retaliation? Their decisions in letting their nuclear bombs go? The rationale of their decisions? Their continued circling the earth? The landing? Jordan's injury? The decision of Howe and Talker? Walker's being dragged out, his hand, death? Howe and his decision to leave the craft?

5. Howe as hero: in the spacecraft, with his wife, clashes with Walker and Jordan? His leaving the tape for Jordan? His venturing out, the brutality of the cannibals? Being caught by Vinnie? being captured, M. and the possible escape, trying to do deals about the food? Captured by Tacey? The deal with Gideon? Imprisonment? Finding Jordan? The build-up to the trial and the hanging? His volunteering to pull the lever, the escape? His getting the machines and the attack? The rescue? Swimming to the boat, not wanting J.J. be killed? The finale and the happy ending? Survival? The emotional side of Me, his wife's death, his concern about Jordan and am?

6. Walker and his life on the spacecraft, watching television, advances to Jordan? His final decision? Death?

7. Jordan, her talking to Howe, her injury, capture, to he hanged, attending Gideon after his being shot, trying to poison him, Gideon turning the syringe on herself?

2. Tinnie and his capture of Me, his deals, imprisonment of J.J. his being captured, to be executed, escape, the firing squad, his begging and his death?

9. Gideon and J. J. and her story about being at school, the helicopter, survival, her boyfriend Gideon and her breaking with him? Being with Vinnie? Gideon's disdain? Her rejecting his trial, to be hanged? The rescue? On the boat? Her knocking Lacey over, knocking Gideon? The happy ending? Gideon, as villain, his parents, the escape, Lacey as a Marine? Ruling the camp? Tyranny, the people subservient, the trials and the hangings? His ironic style? Being shot by Boomer (and his callous treatment of him to let the information, with the stake)? His turning the syringe on Jordan? The escape, shooting the soldiers, his being pushed overboard and drowning? Lacey and his callous militaristic attitude? Loyalty, death?

10. The military types, their patrolling of the camp, the prisoners and their maltreatment, putting burdens, being shot, the old woman who stole the can of peaches and her being imprisoned? Boomer and his information, humiliation, crawling to save those to be hanged?

11. The futuristic scenario, nuclear warfare, the effects on human beings and their callousness and cruelty? Optimism about survival?

 

 

 

 

 

 

THE DEER HUNTER

US, 1978, 182 minutes, Colour.
Robert Di Niro, John Cazale, John Savage, Christopher Walken, Meryl Streep, Shirley Stoler.
Directed by Michael Cimino.

The Deer Hunter won the Oscar for Best Film, 1978. While unable to be as enthusiastic as Americans (after all, it is about them and their war), international audiences found this film very impressive and, for those able to sit through a central war torture section, with its exceedingly grim reality, a rewarding experience. Rather than a Vietnam war film (the second act gives only a vivid symbolic glimpse of it), it shows the effects of the war on three men who represent U.S. society, (established in a long measured Act One concerning a steel town and a Russian Orthodox wedding). The coming-home third act is grim yet hopeful that people must live on despite mistakes, evil and personal national tragedy. Its 1979 popularity can be linked with Coming Home and Hair.

1. How well did the film deserve its acclaim in 1978-79? A film of the 70s? Its impact for later audiences?

2. How particularly American was the film in its feeling, issues, portrayal of character? Its impact on an American audience which had experienced Vietnam and the changes of the 60s and 70s? Its impact for a non-American audience? The scope of the film and its presentation of the United States during this period? Its choosing of a section of the American community, a part of that section? What did the group represent? How did they symbolise the United States?

4. The realism of style and portrayal of character, invitation for audiences to identify with the characters? The counter-balance of the symbolism of the group, the selection of the characters? The importance of symbol for image and meaning - within the realistic style? The audience responding to identification with the characters and their experiences and yet responding to more? The importance of the details of realism to make the film credible? The difficulty with highlighting such details and audiences taking them too literally - the selection of this particular group, the migrant background, particular attitudes and styles of behaviour, work background? The difficulty and the criticisms of the film in its presentation of Vietnam, the Viet Cong, the fact that Russian Roulette was not used as torture or played in Saigon, the presentation of the fall of Saigon itself and Michael's comparative ease in getting there and moving around?

5. The structure of the film with its three parts forming a type of triptych? The impact of each individual section, the linking of each section with the other, the subsequent sections in light of the previous sections? The cumulative effect and the overall view of the film?

6. The significance of the title? Realism and the reference to Michael and the events? Symbol? The other men as hunters? The purpose of hunting, its skills and style, the psychology of hunting and stalking the prey in order to trap it and kill it? Hunting and killing? Death as the goal of hunting? The importance of guns as means for killing? Sophisticated weaponry e.g. the rifle? The joviality of the group going hunting? The film's highlighting the beauty of the area for hunting - and the choral music as background? The initial killing of the deer and its being strapped on the car as a trophy? The contrast with Michael hunting after the Vietnam experience and letting the deer go? His talking to Steven afterwards about letting the deer go? The second hunting expedition highlighting what had happened to him in Vietnam? The American man as pioneer, a deer hunter? The deer hunter and his patriotism and going to war, change and disillusionment, the aftermath? The colour photography, Panavision, the Pennsylvania locations of town, interiors, rivers and mountains? The contrast with Vietnam and its jungle, rivers, mountains? The presentation of Saigon and the hospital, the slum and the gambling dens? The contrast again with the United States and homes, hospitals? The religious settings of cathedral and cemetery? The musical background, the title theme and its plaintive tone throughout the film, the contemporary songs?

8. The contribution of the editing? The pace of the film especially the marriage, the attention to detail for tension especially in the Viet Cong torture, the editing and the contrast of episodes and the interweaving of the lives of the characters? The transitions from one place to another, one section to another?

9. The realistic symbols: The factories and the detailed attention to iron processing, the car, drinking, gambling, the whole symbol of the wedding with its religious ritual, the celebration afterwards, the symbolism of dancing, the hunting.. torture, the Russian Roulette itself, the cages, the rats, water, symbols of rescue, the phone for Nick and communication, the Russian Roulette in Saigon, Steven's lacking his legs, the funeral, the final song?

10. The impact of the violence and the way that it was presented, the torture sequences and their realism, symbolism? Was the violence too strong? For the average audience? The ability of the audience to watch, feel, identify? The use of strong language, swearing? Realistic, symbolic?

11. The introduction to Pennsylvania - the importance of the town and its feel, the roads, the trucks, the overpasses, the houses? The audience getting to know the town and the places where the characters lived? The men and women of Pennsylvania?

12. The portrait of American men at work, driving and being daring in cars, drinking, playing pool, betting? Comradeship, friendship? The manner of talking to each other, mutual understanding, the bonds between them? The Russian migrant background of these men? The inherited attitudes, culture and style, the adaptation to the United States especially in their patriotism?

13. How important was the wedding? The various details in preparation, the men leaving work, going to John's, going home, getting dressed, Angela and her bridal dress and the indications about her pregnancy, the bridesmaids and their scurrying up the street, Linda and her looking after her father, getting pushed around by him, going to Nick's and arranging to stay there while they were in Vietnam, Steven's mother and her presence in the church, her lament to the priest, the information about Angela's pregnancy, her dragging Steven away from the bar and hitting the men with the stick? How did these details fill in the background for the preparation for the wedding?

14. The wedding itself - the tracking of the camera over the details of the cathedral, of the choir, the religious ritual and celebration, processions, hymns, the consent, the processions and crowns etc.? The transition to the hall with the decorations, the photos of the three men as boys, patriotism? The variety of dances both contemporary and traditional? Eating, drinking? The platform and the band, the worker from the supermarket and his singing 'You're Too Good To Be True'? Steven and his enjoyment and love for Angela, Nick and his dancing with Linda, Michael and his staying generally at the bar and then dancing with Linda? The significance of the Green Beret man and his taciturn presence and swearing? The ritual drink and Angela spilling the wine on her dress? Speeches, farewells? The significance of Michael's run through the town, stripping, his talking with Nick? Why this culmination to the celebration?

15. The build-up to the hunting trip, their going as a group, the comradeship, the five men, their eating, the importance of stopping to urinate and then the jokes and leaving the man behind? The beauty of the mountains? Stan and the antagonism about the boots? Michael and his control, his leadership, his stalking the deer, Nick following? The shooting and the transition to the return back to John's? The drinking, the piano playing and the sudden change to Vietnam? How well did the film introduce us to the characters, help us to understand them, help us to respond to their Vietnam experiences?

16. The sudden impact of Vietnam, the helicopters, the explosions, the Viet Cong and the grenade amongst the civilians, the mother and the baby, the pigs eating, Michael and his flamethrower, the killing of the Vietnamese, the imprisonment? Was this sufficient background to indicate the realities of the war and its style in the jungle? The issues, the enemy?

17. The impact of the cage sequences, the fact of the three men present, the long attention to the Roulette, the language, the communication by smile and by gesture, the brutality and the frequent slaps? The close-ups of the deaths and the spurting blood? The reaction of each man to the Roulette? Michael and his control, his encouragement of Nick and Steven, his plan and its execution - with the risks of death spoiling it? Steven and his hysteria, his grazing his head, his being returned to the cage, the rats? Nick and his tenseness and cracking, surviving? The massacre of the Vietnamese, the escape, the log, the bridge across the river, Nick's being rescued, their falling from the helicopter, Steven and his injuries, Mike as the saviour carrying Steven? The encounter with the huge crowds and the people wandering the tracks of Vietnam?

18. The hospital sequence and Nick's trying to cope with his identity? The interrogation by the medical officer? Audience compassion for the shell-shocked men? His phone call and his looking at Linda's photo., not ringing her? His curiosity about the shooting, his involvement with the Frenchman, his fascination with the Roulette? The irony of Michael's presence there and his chasing him? His disappearing into Saigon and indications with the money sent to Steven? What caused Nick's downfall and inability for rehabilitation?

19. Michael and his rehabilitation, wandering the streets of Saigon, pursuing Nick and returning home without him?

20. Michael's return, the taxi ride, the banners in the street and the party? His hesitation? His going to the motel and the quiet return? Encountering Linda and the talk, the kissing, the crying? The importance of going to the market with her and the reaction of the people there especially the old lady and her kissing him, the compere from the dance? The later encounter with the men and the explanations about Vietnam - and their own explanations of why they did not go?

21. Linda and her work, her yearning for Nick? Her invitation to Michael and their going to the motel? Her carrying on? A future with Michael?

22. Michael and his going to the motel with Linda and not staying in the house? The transition to the hunt and his presence on the mountain alone, the ritual and the choral music, his stalking the deer and then not killing it?

23. The visit to Angela and her decline. the son and his presence, Steven's mother? Michael phoning and not following it through, his decision to phone, visit the hospital, promises to Steven, the encounter with him and his depression at the veterans and their playing bingo etc., his taking him away? The significance and emotion of this reunion?

24. what motivated Michael to return to Vietnam? The money sent by Nick? The background of the fall, the details of the people clamouring to get away and the later television commentary? The Mississippi, the encounter with the Frenchman and Michael's pressurising him, the deals? Nick's arrival and his non-recognition? Michael's desperation and his being prepared to give his life for Nick? Nick's breaking and death?

25. The pathos of the funeral? The film's making so much of the funeral, the graveside? From wedding to funeral?

26. The dramatic impact of the meal with the group returning to John's, the tensions, awkwardness. the preparations of the food and drink, plates, John and his tears and singing. the importance of the singing of 'God Bless America'? Its realism? An appropriate ending for this film? A critique of American involvement in Vietnam, its effect on the nation, their having to have trust in themselves and the nation and go on from the 70s?

27. The significance of what coming home from Vietnam and its changes meant?

28. Robert De Niro's portrayal of Michael? Characteristics, presence, Michael as hero, leader? At work, driving, drinking, his place at the wedding, the dancing, the encounter with the Green Beret man, his stripping, the leader in hunting, the fact that he saved Steven and Nick? And Linda? The man who represents the best in contemporary America - the ordinary man who can rise to heroism even in impossible circumstances?

29. Christopher Walken's Oscar-winning performance as Nick? How well did he establish his type with his swagger, manner of speaking, dancing and singing, playing pool, betting? His role at the wedding, at the celebration., his fear with the Roulette, the experience of it. his inability to communicate., not ringing Linda, being caught up in the Roulette, his being overcome by drugs and his death?

30. Steven as the ordinary young man? His mother's domination, his love for Angela and his not having had sexual relations with her, happy to be the father of her son? His friendship and dependence on this, his joy at the wedding, at the celebration? His fear in Vietnam and hysteria, his being rescued and losing his limbs, his withdrawal and hiding in the hospital? His presence at the end and hope for the future?

31. Linda as the ordinary girl, her father and having to cope with him, love for Nick, disappointments, love for Michael?

32. Angela and her place within this group, the marriage, her son, her mother-in-law? The dominance of the mother-in-law and the significance of this?

33. Stan and his friendship, his never understanding Michael, his weakness, his presence at the wedding, at the celebration and his punching his girlfriend? His irresponsibility and the question of the boots during the hunting? His welcoming them how? Axel and his inarticulate enjoyment of life? John and his music, the choir, food and drink, the hunting, his leading the song at the end?

34. The presentation of the Viet Cong and their cruelty. the Frenchman and his manipulation of money. the people who were playing Russian Roulette in Vietnam?

35. A portrait of people - the attention to detail and so many people in various walks of life?

36. A satisfying study of the United States and the issues confronting it in the 70s?

 

DEEP RED

Italy, 1975, 100 minutes, Colour.
David Hemmings.
Directed by Dario Argento.

What films really scare you? Horror, giant rats and parasites? But what of baroque Italian thrillers with knife-wielding murderers lurking menacingly in the dark and slashing in swift close-ups. After all, who is sitting behind you in a dark theatre? And the most terrifying master of these heavy, bloody thrillers is Dario Argento, and this is his goriest (deaths in The Omen vein). (The Bird with the Crystal Plumage was another scary one.) With David Hemmings on the job. the murderer is finally revealed and horribly disposed of and the screen goes deep red. One for the addicts.

1. The quality of this murder thriller? Audience response to murder thrillers: interest, thrills, scares, gore?

2. The particular qualities of this film: the intricacy of the plot, fright and shock, murders and the goriness of the deaths? The significance of the title and its presentation at the end?

3. The style of this particular director: the baroque style, the use of Panavision, the intensity of the close-ups, the closeness of the sets. strident music? Shocks and gore?

4. The importance of the pre-credits: The signature for the deaths? The paintings? The mystery of the murder and the people involved? The puzzle throughout the film, the paintings, the satisfactory explanation at the end?

5. The atmosphere of E.S.P.? Audience empathy with the characters, situations and issues? Involvement because of the lecture, the medium and her clairvoyance? The fright? The subjective roving around the audience at the lecture? The clues provided for the murder? The fear of the woman?

6. The lecturer and her fear, her seeing violent death, the violence of her killing and its mystery? Marcus and his involvement and witnessing the death? The encounter with Carlo at the time and the later explanations?

7. How interesting and credible a character was Marcus? Audience identification with him, involvement in investigating the case, his searching out of clues, the meticulous following them up, the lateness of his arrival and the deaths?

8. The atmosphere of madness, the occult? The settings, the houses, the people consulted?

9. The importance of the house and its mystery, the detailed sequences in the house and their shock value, the drawing and the explanation of the mystery. The search in the school?

10. The people who died and the violence of their deaths? How necessary, how revolting Especially the woman who wrote the book? The fact that Marcus' friends were also killed? The girl and the threat at the school? The mysterious identification and audience expectations of a man?

11. The importance of the showdown and the revelation of Carlo's involvement? The final puzzle and Marcus' solving of it?

12. How credible was the mother of the murderess? The explanation via flashback? The effect on Carlo? The previous scenes in which the mother appeared and their meaning? The violence of her death and the ending?

13. What is the value of this kind of thriller? What effect does it have on audiences?

DEEP WATERS (EAUX PROFONDES)

France, 1981, 94 minutes, Colour.
Isabelle Huppert, Jean- Louis Trintignant, Robin Renucci, Philippe Clevenot.
Directed by Michel Deville.

Deep Water is taken from a novel by Patricia Highsmith, an American author who has attracted many European directors e.g. Wim Wenders and the American Friend, Claude Miller and The Sweet Sickness (Tell Her That I Love Her). She was the author of Hitchcock's Strangers on a Train. This is a psychological thriller, more interested in power and manipulation rather than the actual violence of the killings. It is a French attempt to re-create an American atmosphere - which still seems particularly Gallic. The film has an excellent cast with yet another different performance from Isabelle Huppert. Jean- Louis Trintignant is effective as the weak yet malicious husband. The film explores relationships, love and hate, jealousy and possessiveness.

1. An interesting and effective crime thriller? Character study? Psychological thriller? Questions of relationships, violence, responsibility?

2. The novels of Patricia Highsmith and her being attractive to European directors? The strength of her character-drawing? The focus on interaction? Love, guilt? Suspense about character relationships and unpredictable behaviour?

3. The American setting - with the French touch? How credible? Characters, behaviour? Cultural atmosphere? The use of locations? The heavy score?

4. The focus on Dick and his situation? Melanie and his love for her, possessiveness? Potential for violence or not? Revelation of his jealousy? Suspicions, a voyeur? His stories and their being made up (or true)? His frightening people? Work, friends, relationship with Marion? His external devotion? His wanting to take care of Melanie? A mysterious type?

5. The introduction to Melanie and her dancing, sensuality, love for Vic, provocative? How innocent? At home? Her relationship with Marion?

6. Joel and his being scared off? Ralph and the night?

7. Carlo and his coming to the party, the swim? The premeditation, the fact, the cover-up, the inquest - and the reaction of Melanie?

8. The detective, the discovery? The Millers and the visit of the wife?

9. Cameron: flirting. clarinet, meal, the snails. the divorce - leading to the death and the detail?

10. The intercutting of Marion and the piano, the dog. the evening? The build-up to the accusations?

11. The twisting of motives? The credibility of Vic's behaviour? His madness? His manipulation and manoeuvring of the whole scenario?

12. The picnic? "I was afraid"? Melanie and her suspicions, reaction? Her affection for the men? Response to the deaths? Accepting the bond with Vic? Going home?

13. The ordinary background of love, family, marriage, work, socialising, friends.. visitors? obsessions seen within this ordinary background? Passion in the suburbs? Repression? Provocation? Guilt? (A variation on the Samson and Delilah story?)

DEEP IN MY HEART

US, 1954, 132 minutes, Colour.
Jose Ferrer, Merle Oberon, Paul Henreid (as Ziegfeld), Walter Pidgeon, Helen Traubel, Doe Avedon, Tamara Toumanova, Paul Stewart, Isobel Elsom, David Burns, Jim Backus, with Gene Kelly, Fred Kelly, Rosemary Clooney, Jane Powell, Ann Miller, Cyd Charisse, Howard Keel, Tony Martin, Joan Weldon.
Directed by Stanley Donen.

Deep in My Heart is a pleasant biopic tribute to Sigmund Romberg. Popular for such musicals as Maytime, The Student Prince, Desert Song, New Moon, Romberg was one of the creators of the musical comedy operetta for the American stage. A refugee from Europe, he was influenced by ragtime and wrote for Broadway shows in the early part of the century. His major music, however, was for his musicals - music to sing, dance and love by. His many romantic melodies are well remembered.

Jose Ferrer, who had won an Oscar for Cyrano de Bergerac in 1950 and had appeared in such films as Miss Sadie Thompson, The Caine Mutiny, is good as Romberg - especially in a tour de force performance demonstrating all the roles, songs and conventions of a would-be musical. He is supported by a graceful Merle Oberon as writer Dorothy Donnelly. Opera star Helen Traubel enjoys herself as Romberg’s mentor.

There is a good line-up of M.G.M. stars to put Romberg's music and lyrics across - Jane Powell and Vic Damone for Maytime, Rosemary Clooney (Mrs. Ferrer at the time) sings with her husband, Gene Kelly and his brother Fred do a song and dance routine. Cyd Charisse sings One Alone and dances to the music of Desert Song. Howard Keel sings From My Maryland and Tony Martin sings New Moon. Direction is by Stanley Donen, who had worked with Gene Kelly in On The Town, Singin' In The Rain and had directed a number of slight musicals before moving on to Seven Brides for Seven Brothers and a long career of stylish entertainments.

1. Enjoyment value of this kind of Hollywood memoir-tribute? Its M.G.M. glossy style? Big budget orchestras, production numbers, guest stars? A piece of Americana?

2. M.G.M. production values: colour photography, the staging of the musical numbers, the cast and its acting strength, the musical stars? The tribute viewpoint? Sentimental - fictionalised, but entertaining?

3. The songs and their use: the title song and its initial orchestration? His tribute song at the end for his wife? The early ragtime songs? The influences of Vienna and ragtime? Broadway and the Schubert musicals? Romberg's operetta success with Maytime? The Student Prince, Desert Song, My Maryland, New Moon? The recital at Carnegie Hall? The background of Romberg's training, European influences, American influences? The collaboration with Dorothy Donnelly? The influence of Anna Muller?

4. The basic plot - conventional biopic material: migrants in New York making a living, the Vienna Cafe, the fast-talking agents and their money deals, Schubert and his musicals and their glamour, the irony of the star jazzing up Softly As In A Morning Sunrise? Townsend and his money deals? The writers? Ziegfeld and Dorothy Donnelly's patronage and manoeuvring? Romberg's love of wealth? The parties at the Cafe Vienna for the musicals? Success? His flop at production? The encounter with Lilian and her mother and his romance? The humour of presenting Jazza-doo? His moping for a year - re-meeting Lilian and the marriage after the success of The Student Prince? The variety of his plays and musicals? Successes and flops? Dorothy Donnelly's death? The collaboration with Oscar Hammerstein? The tribute in Carnegie Hall and his reflections on his life and place in the American theatre? Jose Ferrer in the title role - singing, dancing, acting?

5. The importance of the women in his life: Anna Muller and her support at the Cafe Vienna, support over the years, her singing of his songs - and the presentation of Softly, in contrast with the Broadway presentation, Stout-hearted Men? Dorothy Donnelly and her work in the Broadway theatre, influence in impresarios, her faith in Sigmund Romberg, the collaboration with The Student Prince, her death? Lilian and her mother - the humorous initial encounter? Romberg's plans, manoeuvres? The misfire with the violets? Her leaving and his moping? Re-meeting her, her decision to marry him? Her comment on the musicals? Her influence, his tribute to her?

6. The background of Broadway: Schubert and his plays, Gabby and her theatrical tantrums, Romberg's dissatisfaction with the productions - yet his collaborating with them? The ploy with Ziegfeld? Townsend and his philosophy of money and business, his allowing Romberg to flop with his own production, the continued support? The writers?

7. Themes of talent and drive, wealth and corruption, love and faith?

8. The background of the European migrants to the United States, adapting to their new country, the fulfilment of the American dream?

9. Romberg's place in the history of 20th. century popular music?

THE DEEP

US, 1977, 124 Minutes, Colour.
Jacqueline Bisset, Nick Nolte, Robert Shaw, Eli Wallach, Louis Gossett.
Directed by Peter Yates.

The Deep is a straightforward thriller with conventional/predictable hero, heroine, villains - plus Robert Shaw to give vigour to the characterizations. The under-water sequences are the best and are generally excitingly filmed for suspense. On the surface Bermuda looks pretty but potential tourists may be alarmed at some gruesome voodoo torture, drug-pushers and brutal toughs. Peter Benchley wrote the novel and co-wrote the screenplay but treasure is the main concern of the sea, though several sharks put in alarming guest appearances towards the end (and a monstrous eel chomps away at times) but, despite the title's literal name, there is no real depth to a big-budget holiday adventure.

1. The reputation of the film and advertising? The link with Jaws? Peter Benchley? Audience expectations and fulfilment?

2. The importance of the Bermuda locations, the skill of the underwater photography and adventure and atmosphere, colour, music?

3. The conventions of the thriller, on the surface, underwater? How enjoyable, satisfying? Special or average?

4. The presentation of the young couple: in themselves, their characters, their work, quest? The experience of the Voodoo, especially to the girl? Danger? The historical investigations? Their involvement in the treasure? Involvement in the getting of the drugs? The reward? The dangers, the achievement? Could audiences identify with them as characters, in their quest?

5. The diver: the Robert Shaw character, his crusty reputation, his toughness, his deals? His skill, historical knowledge, help with research? His help with them in the underwater work? The dangers, the fact of his survival? (Credible or not?)

6. The portrayal of the villains as sinister, the Voodoo overtones and the graphic visual depiction and terrorizing of the girl? Their presence in the Bahamas, in the restaurant? Greed? The atmosphere of drugs? The robbery? The melodrama of the underwater shoot-out?

7. Adam as a villain: his past, his knowledge of the ship and the drugs, his drinking, easily betraying his friends, greed? His work with the sharks to kill the main characters? His greed and the explosion of his death? A pathetic villain? (Critics commented on the racist overtones of so many black villains. Adam as a balance as a white villain?)

8. Audience interest in the contemporary drug issues, the visualizing of the drugs underwater, the way that they were collected, stored, the explosives?

9. The interest in treasure, the detailed explanation of treasure ships, their sinking, the reasons for sinking, the reasons for such treasure, authenticating the treasure for reward?

10. The emphasis on danger on land and especially underwater, the exhilaration of the techniques of underwater swimming and investigation, explosives, suction machines? The exhilaration of finding treasure? Suspense?

11. How effective were the sequences with the giant eel, with the sharks? Tension, suspense, safety?

12. The build-up to the finale with dangers from criminals, the underwater fight, the eel? The explosion? An appropriate happy ending?

13. How enjoyable are adventures like this? Critics accuse them of superficiality and lack of depth. Does this matter?

DEDICATORIA

Spain, 1981, 100 minutes, Colour.
Jose Luis Gomez, Amparo Munoz, Patricia Adriani, Francisco Casares, Luis Politti.
Directed by Jaime Chavarri.

Dedicatoria is an interesting personal drama directed by Jaime Chavarri, who achieved some international reputation with his 1977 feature To An Unknown God. While Chavarri is conscious of Spain's history in the 20th. century, especially from the Revolution and Civil War through Franco's period, the focus of this film is the '70s. It shows a journalist at work - but the more important theme is his relationship to the man he is seeking to interview, the man's daughter, his editor and the editor's wife. He relates superficially with all of them - but then in depth. The experience changes his life. The film is more optimistic in tone towards its end. Well acted, with an atmosphere of Madrid vividly portrayed and with a range of classical music including Schumann and Schubert and Ravel, the film offers insight into Spanish contemporary society but treats of universal themes.

1. An interesting and persuasive drama? The Spanish background and interest? Universal insight and themes?

2. The Madrid setting - location photography, atmosphere? The Spanish tone of the film? Colour photography?

3. The focus on the characters and their names: the musical references and quotations during the film e.g. Carmen with the overtones of the opera, Juan and the playing of music from Don Giovanni with the echoes of the Don Juan theme, Clara and her relationship with her husband and Juan and the title music from Schumann? The use of the music throughout the film?

4. The plot focus on Luis Falcon: Juan's search for him, knowing him in the past, wanting to interview him, encountering wife and daughter? The goal of Juan's immediate search - but leading him further? The interviews in jail and Juan's reflection on Falcon's experience as a hunter, as a husband. leaving his family for six months with Juan covering up? Life in jail? The birthday party and the shared joy? The impact of Falcon's death on Juan? The present of the tapes given by the chauffeur friend? The character of Falcon in himself - his values, a parallel to Juan. the bond of friendship,. the truth? Juan's relationship with Josefina and meting her at the beginning? With Carmen especially after the revelation at the end?

5. Juan as the film's focus - main character, with the camera at the beginning. pushing to meet Josefina, the clash with Carmen? The search for Falcon? His working with Paco? The attraction towards Clara? His picking up the woman in the bar? A man of superficial relationships and affairs? The quality of his work? Its effect on him? His interview with Clara about her mother and witchcraft? The importance of the growing relationship with Carmen and the passionate sequence together? Clara and the superficial encounter? Her change? Paco and his reading the letter to Juan? How did Juan develop as a man through this experience? His qualities? The challenge of Falcon's death, the truth about Carmen? Clara's visit and her leaving? Juan's explanation of what he did when he came home and his re-enacting it Carmen arriving and his asking her to ring the bell again (to the music from Don Giovanni) ? The possibilities for the future?

6. Clara and Paco and their marriage, friendship with Juan? Their growing away from one another? Clara's lies and deception - especially with hiding Juan? The letter? Paco's growing moroseness? Clara's leaving at the end?

7. Carmen: looking after the dogs and not liking it, resisting friendship with Juan, teaching and her work with the children,, going out with him, the passionate night together, celebrating her father's birthday in prison? Her grief at her father's death and the encounter at the railway station? Juan's playing of the tape through the fence? Her response and reaction to the truth? How did this throw light on her behaviour. her father's behaviour. his going to prison. his death? Her coming to Juan at the end - a future with him?

8. The film's portrait of working journalists and their role in society, insights, questions - and the emphasis on questions and answers throughout the film?

9. The film's showing patterns of relationships, insight into character, basic issues of love, friendship, career, personal integrity, death?