THE PATRIOT

US, 1998, 95 minutes, Colour.
Steven Seagall, L.Q. Jones, Gaillard Sartain.
Directed by Dean Semmler.

The Patriot opens with Steven Seagall riding the range in Montana and lassoing a cow. However, he then goes indoors as a PhD looking after the small community, health wise, but with a past in research in vaccines and immunology. There is also a fierce white supremacist group in the town. Amongst other things, they are protesting chemical research for warfare. When some germs and viruses get amongst the people, the town is closed down and research has to go on in order to combat the viruses. Needless to say, Seagall does both, as well as confronting the supremacists. The film offers a different image of Seagall, caring, widowed with a daughter, as well as the action scenes. However, his next film was back in the city with Exit Wounds.

Direction is by Dean Semmler, the Australian Oscar-winning cinematographer (Dances With Wolves), which makes the Montana scenery come alive as well as the action sequences.

1. The popularity of Steven Seagall, cinema icon and hero, tough, the background of martial arts, the east? The transferring of his persona to Montana, the west, the range, the town, PhD, medical care, action?

2. The title and the focus on Wesley - and on the supremacists? Their confrontation? The running background of chemical research and chemical warfare and dangers?

3. Wes, his friendship with Frank, with the cattle? His love for his daughter, the caring father and their scenes together? In the town, medical help? The release of the virus, his tending the range of patients, the military, the judge? His friends? The laboratory assistant? The discovery of the remedy with the flowers? The action with the supremacists? Violence and fighting? The cure and the town freed?

4. Chemical warfare, research, American research? Montana and its remoteness? The dangers of the spread of the virus? Immunology? Flower power as the cure? Traditional medicine?

5. The supremacists, the leader, the siege, his speech, surrender, trial, coughing on the judge, his own vaccines? The spread of the virus? His wanting Wes to help him, his assistants, the violent confrontation, the taking of Wes's daughter?

6. The characters in the town, Frank and his friendship, work with Wes, his death? The judge? The other doctors, the researchers? The laboratory assistant?

7. Conventional action material with the overtones of '90s white supremacists, with patriotism, issues of terrorism and warfare? The lone American hero overcoming everything? The reliance on traditional Indian medicine?

PLAYING GOD

US, 1997, 90 minutes, Colour.
David Duchovny, Timothy Hutton, Angelina Jolie, Peter Stormare.
Directed by Andy Wilson.

Playing God was one of the attempts that David Duchovny made in the '90s to break through from television, The X- Files, into the movies. Other films included Kalifornia and, of course, the screen version of The X- Files itself. He also appeared as a romantic lead in Return to Me. Here he plays a disbarred doctor, being disbarred because of the long hours that he had to work and the drugs that he took to keep him going. He lost a patient on the operating table. He goes to his supplier one night at a bar and through a momentary piece of heroism, saves the life of a gangster who was shot. The boss, played with a touch of oily relish by Timothy Hutton, takes him on, both patronising him and using him. Angelina Jolie portrays his girlfriend.

The screenplay has a voice-over by Duchovny, who talks about providence, coincidence, synchronicity and the consequences of good and bad actions. As a doctor, he was expected to play God. He reflects on the overall plans that God has for human beings.

The film is a mixture of strong moments with some rather flat interludes. It is an interesting though slight time-passer.

1. The title, its reference to Eugene, to Raymond, to God and Providence and consequences of actions in one's life? The emphasis on playing?

2. The American cities, hospitals, hotels, apartments? The seedier underside of the city, the clubs, violence, gangsters, drugs?

3. The credibility of the plot? The focus on Eugene, his past, entanglement with the gangsters, the Russians and the Chinese getting in on American goods after the collapse of Communism? The personal crisis, action, the police?

4. Eugene's voice-over, his character, personality, experiences? The flashbacks to the operation, his tiredness, the drugs, the death of the patient, his being disbarred? His comments on his actions, on characters, on the consequences of his action?

5. Eugene and the drugs, going to the dealer, the club? The shooting at the bar? His decision to act, to help the man, help him live? Raymond sending his henchmen, his going to Raymond, flattered, puzzled? The friendship with Raymond? The attraction to Claire - but her resistance to him while praising his work, not trusting him? The further operations, the conditions? The madman and the dead man? The danger to his life? The Russians? The police and the set-up, wearing the wire? His being attacked by Raymond's thugs? Trying to silence him? Claire and her pretence, her saving him in the car? Their being together? Raymond arranging his assassination? Surviving, going to the hotel, the final confrontation? The consequences of his good action, the bad, the good - and the possibility of a life?

6. Raymond, the city thug, his henchmen, his empire, stolen goods, trying to smuggle goods into Russia and China? The clash with the Russians? The shooting of Vlad, the operation to keep him alive, then killing him after the information was received? Sending assassins after Eugene? The ambiguity of his actions, relationship with Claire, sense of betrayal? Offering to wear a tape for the FBI, double-crossing, shooting the Chinese? The final confrontation, the gun on the bridge, his being run over, Eugene willing to help him - to recover and go to jail?

7. Claire, the relationship with Raymond, acknowledging Eugene's work, not trusting him? Eventually attracted to him, the shootout with the Russians, his saving her, her saving him in the car? Being taken back by Raymond, his control over her, going to the Chinese? The shootout and her escape?

8. The Russians, Vlad and his dealings, Dmitri, the double-cross and the taking of the goods from Raymond, his shooting Vlad, Eugene keeping him alive till he got the information, Raymond killing him? The transition to the Chinese?

9. The police and the investigations, coming to Eugene, wanting him to wear a wire? His opportunity to redeem himself?

10. A popular entertainment about crime in the cities, relationships, violence, the '90s and the focus on new areas for smuggling and deals, especially the communist countries? The role of the police?

PRICE OF GLORY

US, 2000, 115 minutes, Colour.
Jimmy Smits, John Seda, Clifton Collins Jnr, Maria del Mar, Ernesto Hernandez, Paul Rodriguez, Ron Perlman.
Directed by Carlos Avila.

Price of Glory is a boxing film, with plenty of training sequence as well as bouts to satisfy those fond of this sport. However, it is also a film about family relationships, expectations and pressure. It is reminiscent, in its Hispanic- American way, of a King Lear story. Jimmy Smits is a failed boxer (shown vividly in the prologue to the film) who has three sons. He trains them, gets them to win championships, and, as they grow up, grooms them for world success. However, the effect is different on each of the three sons. The youngest supports him, the oldest admires his father but eventually feels that he is being ignored. It is the second son who creates a crisis. He has less talent and feels hated by his father. His father then is persuaded to make contracts to give this son a chance. The difficulty is that in so trying to work for each of the three sons, he tends to alienate, make deals with promoters which lead to violent pressure and ultimately the death of one of the sons.

The title, Price of Glory, is indicative of this theme of family. Jimmy Smits gives an excellent, almost understated performance as the loving but driving father. Maria del Mar is strong as his wife, not alienated from the sport, rather supporting him but wanting to support her sons and their choices more. Ron Perlman appears as the promoter and Paul Rodriguez is a minor gangster, the cause of the ultimate violence.

The film was made by Hispanic- Americans, especially for a Hispanic- American audience. Its themes as well as the presentation of boxing give it a more universal interest and appeal.

1. The title and its relevance to boxing, competitive sport, careers, family relationships - and the suffering, even violence as the price of glory?

2. The Hispanic- American background of the film, its Hispanic- American intended audience? More universal appeal?

3. The Arizona settings, Phoenix and Mariposa, the desert, the towns, the border with Mexico? The world of boxing the gyms, the stadiums, the fights? An authentic and credible atmosphere of the '70s, '80s and '90s? The musical score, the mood, the songs?

4. The perennial theme of an ambitious father and his expectations and pressures on his sons? The variation on the archetypal King Lear story of the father and his unwise treatment of his children with the consequences?

5. The prologue with Arturo and his fight, out of his depth, the brutality, the money deals, his loss? His moving out of competitive boxing?

6. Ten years later, his relationship with his loving wife? Comfortable family life? His three sons and his relationship to them? Genial family at home? At the gym, with Sonny and Jimmy, training them, making them work hard? Johnny and his being younger, his natural ability at boxing, his father thinking he should go to college? Discussions about education, funding, career in the ring? The attitude of each parent?

7. The family as the Fighting Ortegas? The boys winning championships? Their father proud of them? The hopes for the future?

8. The passing of another 13 years: the family, love between husband and wife, comfortable at home? The three boys and their age, experience? Sonny's success, his being the elder, favoured by his father? Jimmy and his lack of ability, wanting to go beyond his means, feelings of resentment? Johnny and his age, his strength, fights and success, his father supporting him?

9. The approach of the promoter, the discussions, the offers of bouts, Arturo's listening, his wanting to be independent? Turning down the offers? The progress and the difficulties with his sons? Meeting the promoter, deciding to do a deal to promote Jimmy for some success? Hoping for better contracts for Sonny and Johnny? His not telling his sons of this plan? The repercussions in the attitude of each son? The promoter and his keeping the bargain, his wanting Sonny and Johnny - and after Jimmy's initial success, allowing him to go on and be beaten? Taking the money back from Arturo? Arturo finally having to do a deal for the betterment of his sons' careers? The portrait of the boxing promoter, pressures, money, self-assurance? His henchmen, Pepe and his coming to pressurise Johnny, his sending the hoodlum, the phone call from the promoter, Arturo hurrying to the gym, confronting the hoodlum, the struggle and Johnny's being shot?

10. Jimmy and his resentment, his career, being given the opportunity, winning a championship, still not satisfied, defying his father, the second bout and his defeat? The friendship with his brother, supporting him, going to see Arturo to bring him back to work for Sonny?

11. Sonny, the eldest, his strengths, championship potential? His meeting his girlfriend? The invitation to the Cruz family to come for a meal, Arturo's manners, defying Mrs Cruz, defying her son, the talk about money and investment? Their leaving? His ultimately being reconciled to Sonny's marriage? The wedding and the celebrations? The building of a new house? Sonny and his wife and their life together? Sonny not understanding his father's deal for them all, moving away from him, the discussions with his mother? Training for the championship, the champion and his defiance and talk about his brothers at the press conference? His father coming back, staying in the background, the final championship fight, his father's support?

12. Johnny, potential, supportive of his father, the confrontation in the gym, his death and the pathos of the funeral?

13. The final bout, Arturo accepting his place, the win, the joy of the whole family?

14. The world of boxing, the gyms, training, the personnel, the deals, the promoters, the exhibitions, the fans?

15. A film blending its boxing theme with issues of family, pressures and expectations? Of love?

PAUL AND HIS BROTHER

Spain/Catalonia, 2001, 110 minutes, Colour.
Directed by Mark Recha

Paul and his brother is a Catalonian film, the first in competition in Cannes. The director, Mark Recha, has opted for a film style in the tradition of The Dogma Proclamation. He has said that he wanted the action to unfold before the camera, but not influenced by the camera. This makes for quite a distancing of the action and the characters from the audience.

A young man, Paul (Davis Selvas), is informed that his brother has died. He identifies him. He then discovers that his brother committed suicide. There are memories of the past, but they have been alienated. His brother (played by the director) has gone to the Pyrenees to work with the people in nature. However, he has become disillusioned. The film plays out the relationship between Paul and his mother, their search in the Pyrenees for some understanding of Alex. They encounter his boss who liked him very much, his daughter who has come from Toulouse, pregnant, and the girl whom he loved, Sarah. In their interactions (played at great length before the camera) the film shows us a great deal of the Pyrenees village, the interactions of the group, their personal quests. While the themes are of great interest, the style of the film-making and the distancing of the audience means that not as much interest in it all is generated by the film.

PULP FICTION

US, 1994, 154 minutes, Colour.
John Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis, Harvey Keitel, Ving Rhames, Tim Roth, Amanda Plummer, Rosanna Arquette, Eric Stoltz, Christopher Walken, Maria del Madeiros, Frank Whaley, Quentin Tarantino.
Directed by Quentin Tarantino.

Pulp Fiction has become a classic, one of the icon films of the 1990s. It won the Grand Prix at Cannes in 1994. However, it won only the Best Screenplay award at the Oscars (the Oscar going to the more popular Forrest Gump).

Quentin Tarantino, inspired by many of the Hong Kong action films, is a writer-director with great energy, verbal skills, a sense of violence in contemporary society. His first feature was Reservoir Dogs. After Pulp Fiction he made Four Rooms and Jackie Brown.

The film takes its definition from pulp, the popular violent pulp fiction detective and crime stories that have been popular throughout the world. However, in his writing, Tarantino is post-modern, not presenting his material in linear fashion. In fact, the narrative of the film ends two-thirds the way through and then returns to initial events. The bluntness of the action appealed to the sensibilities of younger audiences in the '90s while repelling older sensibilities (especially the scene with Harvey Keitel as Winston Wolfe, the car cleaner).

However, as in Reservoir Dogs, Tarantino shows great skill in writing, having his characters talk about even the most nondescript subjects in an eloquent and interactive way. This recurs throughout the film.

The film saw the revival of John Travolta's career in the late '90s. There is an excellent performance also from Samuel L. Jackson and both were Oscar nominated. Bruce Willis, as always, gives a compelling performance. There are several stars in what are virtually cameo roles, especially Harvey Keitel and Christopher Walken. Tim Roth, who appeared in Reservoir Dogs and Four Rooms, is also menacing as the would-be restaurant robber.

Pulp Fiction was so influential (something like the Mad Max movies in the '80s) that it influenced a whole range of films, generally lesser in their sensitivity, imitating this kind of violent world.

1. The status of Pulp Fiction as a classic, its influence on other film-makers and trends, the awards? The appeal to audiences who were younger, less to those older? Universal appeal?

2. The work of Quentin Tarantino, his perspective and influences, his skills in language, visuals, music? His depiction of situations, relationships and people? Violence?

3. Los Angeles: the city itself, the streets, apartments, homes, restaurants, clubs?

4. The structure of the film: the narrative going in a circle (post-modern in its lack of linear continuity)? The captions: Vincent Vega and Masellus Wallace's wife; the gold watch; the Bonnie situation?

5. The impact of the film in its talk, smart talk, the meaning of trivial things, the dexterity of language? Its flip tone yet serious? The religions dimension with the quotations from Ezekiel, Jules interpreting the miracle, the discussions about Providence and God's intervention?

6. The effect of the visuals, the editing and pace? The musical score and its range, the songs, commenting on the situation?

7. The definition of pulp given at the beginning of the film and its relevance to the story? The title and its visuals, the credits? Pulp and plot, characters, situations, events and motives?

8. The prologue with Ringo and Yolanda, their discussion about guns, robberies, not robbing restaurants, their kissing, the violence and doing the robbery? The robbery being taken up in the finale?

9. Jules and Vincent in the car, their discussions, Amsterdam, McDonald's and the Parisian names, French fries and mayonnaise, the discussion about television pilots? Getting their guns? The range of values, ethics, lack of moral stance? Their capacity to interact? The discussion about the fat Samoan, the massage of the feet, his fall? The introduction, verbally, to Masellus Wallace? Confronting the three young men in the apartment, eating the burger, the men being nervous, the casual shooting, Brett saying "What"? Jules quoting Ezekiel 25:17 and it being a kind of mantra for him about God, people, violence?

10. The transition to Butch, the long take just focusing on Butch's face while Masellus speaks, lectures him on pride, the fixing of the fight? Butch and Vincent meeting at the bar, suspicions, the irony insofar as Butch was to kill Vincent?

11. The drug scene, the drug dealers, the dealer and his wife and the friend, Lance and Jodie? Vincent, the syringe, Vincent on a high?

12. The introduction to Mia, Masellus's wife, the note on the door, the singing of "Son of a Preacher Man"? Going to the nightclub, the singer, the Marilyn Monroe type, the imitation of the stars and singers? The comment that it was like a wax museum with a pulse? The $5 milkshake? Ce la vie and Mia and Vincent dancing, the impact of John Travolta dancing on screen again? Winning of the trophy, the return home, Vincent rehearsing his leaving speech, Mia and the record, taking the cocaine, bleeding, collapsing, foaming? Vincent phoning Lance, driving him there, Mia on the lawn while they argued, Jodie and her bickering? The syringe and the shot in the heart? Her finally telling Vincent the tomatoes and ketchup joke?

13. The interlude with the colonel's visit to the young Butch, a boy's eye angle on his speech, the long speech about American involvement in wars, the story of the watch, the history of generations? Keeping the watch safe for seven years! The flashback and Butch's memory?

14. The fight, Butch running away, the taxi driver and her wanting to know what it was like to kill a man? The phone call about the bookies and the money? His girlfriend, their relationship? Concern about danger? The bikie movie on TV? Butch's watch missing, the smashing tantrum, anger in the car? His going to the house, getting the watch, the confrontation with Vincent and shooting him? His seeing Masellus in the street, running him down, the crash? Masellus shooting across the street, chasing Butch? Their going into the shop, the shipowners and his ringing his friends, tying them up? The security officer and the gimp? The "eeny, meenie, minie, mo" and the rape? Butch hesitant about helping Masellus, the hammer, the bat, the saw, the sword? Masellus shooting the security man? Things even between Butch and Masellus?

15. The plot's returning to Brett, Jules quoting Ezekiel 17, divine intervention? The fourth man and their being shot, the question of whether God came and stopped the bullets? In the car, the discussion about the TV program Cops? Jules wanting to retire, talking with the boy in the back, Vincent accidentally shooting him? The bloodstained car?

16. The phone call to Jimmy, Quentin Tarantino as Jimmy, his comment about "No sign for dead nigger storage", calling Wolfe, his businesslike approach, orders and cleanliness, the cleaning of the car, Vincent and Jules cleaning, being hosed down? Wolfe taking notes, drinking the coffee, surveying the car? The Monster Joe's disposal and everything as good as new?

17. Breakfast in the diner, the discussion about pigs and dirty animals and their personalities? The discussion about the miracle versus a freak occurrence? The nature of an act of God? Jules feeling touched by God? His motivation, walking the Earth even if it was forever? Vincent considering that he was merely a bum, Jules saying he had a moment of clarity?

18. The return to the robbery, Ringo and Yolanda and taking up the money, the wallets, wanting Jules's case? The pointing of the guns, Jules holding the gun, his sermon on goodness and redemption to Ringo, buying Ringo's life and being a shepherd for him?

19. Jules and Vincent walking out of the diner - and the audience knowing that Vincent would take out Mia, have the drug problem, be shot by Butch?

20. The overall impact of the storytelling, its style, the impact of the verbal interchanges, the characters and the issues?

PISMO de AMERIKA (LETTER TO AMERICA)

Bulgaria, 2001, 89 minutes, Colour.
Phillip Avramov, Ana Babadopulu, Peter Antonov.
Directed by Iglika Triffonova.

A Letter to America is set in Bulgaria, focusing on a writer who decides not to emigrate to America but who keeps in touch with a theatre director friend who does. The theatre director is lonely in the United States, longs for news from home, and speaks of a song that he heard from his grandmother. He then suffers a car accident. His friend at homes makes a video for him and then goes on a trip around Bulgaria, meeting a range of people and searching for the song. It finally brings him to the mountain country where an old woman, who cannot sing the song because she is mourning for her husband, breaks her rule in order to sing the song when she hears of the news of the accident in the United States.

The film in some ways is a travelogue of Bulgaria, but with deeper intentions as the hero meets a wide range of people on his journey and learns about his own country. There is great focus on tradition and songs, especially from the older people. (A younger woman who lives in the country but is from the city has posters of Titanic and when she is asked to sing for the video, she sings the theme tune from the film.)

1. A portrait of Bulgaria at the turn of the century? People, the countryside, traditions, music, song?

2. The photography and the city, the landscapes of the countryside? The close-ups and focus on people? The musical score, the range of folk songs, their melodies and their lyrics? Indication of the tradition and meanings of Bulgaria?

3. The title and the focus, a video letter enabling voices and images and song to be sent overseas?

4. The friend moving to the United States, his work in New York City, his reactions to the city, his work as a director? Loneliness? Longing for the song? The car accident? His receiving the video from his friend?

5. Ivan and his girlfriend, their life in Sofia? Ivan as a writer, his writing block? His friend, writing, the phone call about the accident from the Japanese neighbour? His decision to go to America? The consular official and the severe tone taken in refusing the visa? The decision to send a video letter?

6. The beginning of his journey, the range of people that he met and put on the video: the woman who gave him a lift and her background and work? The tractor driver and his trying to appear well on television? The various children that he met? The people in the village? The young woman and her moving to the countryside, the posters of Titanic and her humming the song? Going into the mountains, the range of people who helped him to find the old woman, finding that the grandmother had died? His finally meeting the old woman, her being in mourning, refusing to sing the song? His telling the story of his friend, her breaking her rule, singing the song?

7. The overall impact of the journey on Ivan, understanding his roots, traditions, the challenge of the tradition to the present modernisation? His continuing his work, his relationship with his ill friend?

8. A portrait of Bulgaria and the possibility of communicating something of the Bulgarian spirit internationally?

PLANET OF THE APES

US, 2001, 119 minutes, Colour.
Mark Wahlberg, Tim Roth, Helena Bonham- Carter, Michael Clarke Duncan, Paul Giamatti, Estella Warren, Kerry- Hiroyuki Tagawa, David Warner, Kris Kristofferson, Charlton Heston.
Directed by Tim Burton.

It is 33 years since Charlton Heston landed on the Planet of the Apes and inaugurated a five film and television series that popularised the idea of showing apes behaving in human ways. This served as a mirror for human behaviour, both good and bad.

This same concept is behind Tim Burton's version of the story. Burton has said that he did not want to do a remake. Rather, he wanted to 'revisit', to 're-imagine' the story.

What Burton is able to use for his re-imagining is a vastly superior technology to that available in the 60s. This includes progress in make-up design and engineering. The actors playing the apes now have more possibilities than merely their voices in creating more subtle characters. Most successful of these is Helena Bonham Carter as Ari, a kind of latter-day human rights campaigner ape who assists the humans in their fight for freedom. David Warner, as her senator father, is also distinctive as is Paul Giamatti doing quite a comic turn as Limbo, a venal slave trader who is forced to accompany the fleeing humans. It is the more serious apes who are hard to distinguish one from the other. They are led by Tim Roth as a power-grabbing, vengeful general. His dying father is played by Charlton Heston himself.

The impact of the original film depended a great deal on the screen presence of Charlton Heston as the marooned space traveller. He is a literally towering figure. In 2001, the hero, Leo Davidson, is much smaller, more ordinary, less certain as he rises to leadership and in the conflict with the apes. He is played by former singer Mark Wahlberg in much more of a lower-key performance.

A major problem with this 'revisit' is that, unlike the original, the astronaut, Leo Davidson, stays less than twenty four hours in the city of the apes before the escape. This means that while we see the slave market for selling humans and a banquet at the senator's house, we feel we have not had enough time to understand this ape civilisation and how it works. It is clearly holding up a mirror to contemporary human behaviour: militarism and human rights, class distinctions and the arrogance of the wealthy chattering classes, treatment of other species. There are discussions whether humans have a soul. But this is quickly left behind for the more spectacular sequences of the flight of the humans and the pursuit of the apes. These include an escape through the apes' encampment of red tents which are soon ablaze as well as a Braveheart-like confrontation and battle.

Another film that comes readily and often to mind which also shows a leader taking a ragtag group to safety through the desert is Mad Max 2. The surprise ending of the original with the planet revealed to be a destroyed Earth cannot be repeated here. There is an alternate which offers a momentary shock.

Planet of the Apes gives its audience something to think about but, with the emphasis on action, it sometimes seems rather slight.

1. Tim Burton intending to revisit and re-imagine the original film? The original in its time? The '60s, society, domination, rebellion? The apes as a mirror of the humans? War, servitude, humiliation of species? The irony of the Statue of Liberty at the end and the Planet of the Apes being America?

2. The new imagination and revisiting? The locations and sets and decor? The apes and their society, city, military tents...? The makeup for the apes? Outer space, time-travel? The battles? The final arriving back to Earth and the revelation about Washington, DC? The musical score and its militaristic tone - with synthesiser style?

3. The title, the focus, the relationship between apes and humans? The mirror images and the commentary on human behaviour? The animal in humans? The dignity in animals? The perceptions of 2001, a message for the beginning of the 21st century?

4. The use of time-travel - its possibility, time dimensions, travelling through space 1000 years in a few moments, seeing the results of initial behaviour, the 1000-year development? The return to the present and the time-warp changes? Alternate worlds?

5. The opening: the ape in the spaceship, Leo training him, the members of the crew, the training regime for the apes? The apes and their capacity for understanding? The cosmic clouds? The storms? Sending Pericles out, losing contact with him, Leo disobeying orders and going by himself, the storm, losing contact with the Oberon, landing on what he thought was Earth - and the indicator of the years passing in the spaceship?

6. The crash landing, the lake, his emerging from the water, the humans and the apes, the pursuit by the apes, the humans in servitude? Leo having to adjust his mentality? The intervention, his being pursued with the humans, the skill of the apes, the round-up, the imprisonment?

7. The presentation of the City of the Apes, the blend of more mediaeval-like civilisation and the lack of technology with the jungle? The homes, manners, the social institutions? The focus on the humans as slaves, the slave market, Limbo and his mirroring the human slave traders? The irony, the humour, his own cowardice? The intervention of Ari and her sympathy for human rights? The parallels with animals rights protesters? The buying of the two humans and taking them to her home?

8. Ari's home, the senator and his position in society? The preparation of the banquet, the humans working in the kitchen? Leo and the humiliation, taking the knife, being dominated by the apes? Serving the banquet? The guests, the chatter at the banquet mirroring high society discussing holiday homes, social situations, snobbery? Thade and his arrival, his behaviour at the slave market, the hostility towards Leo looking at him? Yet his infatuation for Ari? His relationship with the senator? Dominating him?

9. The preparations for the escape, Leo and his leadership, rounding the group up, freeing the slaves, Daena and her father, Karubi, the young boy, the servants? Ari and her assistant Krull going with her? Their taking Limbo? The reaction of the apes in fear in the various rooms as they passed by?

10. The flight into the night, going back to the lake, diving for the equipment, the apes fearing that they would drown because they couldn't swim? Daena and her challenge? Leo showing them the equipment to make a rendezvous with the spaceship? Their going through the jungle, the pursuit by Thade and the apes? Their arriving at the military camp, Leo deciding to move through it at night, taking the horses, burning the tents, Ari falling and his rescuing her, taking her through the water?

11. Thade and his decisions, his hostility towards the humans, ruthless, fascist? His persuading the senator that he should have unlimited power? The pursuit, his reliance on Attar as his friend and henchman? Attar's utter devotion? The pursuit, watching the group go through the river?

12. The group finding the spaceship, the irony of the 1000 years passing? The information from the screen? The solution of the mysteries, the origin of apes' intelligence, Simosa and his wiping out the humans? Setting the ape dynasty in motion? The scene with Thade visiting his father? The explanation of the tradition, the family keeping power, his father's death? His ruthlessness?

13. The setting up of the battle, Leo and the fuel for detonation? The humans hiding behind the spacecraft? The front line, the young boy - and his horse falling on him and his having to be rescued by Leo? The first wave of the apes running and attacking, pursuing Leo, the explosions and their being stunned? The battering of the apes by the humans? Thade and his impatience, sending the next wave in?

14. The timely arrival of Pericles in the spacecraft? Hand in hand with Leo? The reaction of the apes, the reaction of the humans? The possibility of co-existence? Thade pursuing Leo into the spacecraft? The battle between the two, the gun and his father's advising him about weaponry? Thade menacing with the gun, Leo trapping him behind the plate-glass and his firing, his finally cowering in defeat?

15. Leo and his decisions to leave, the affection for Ari? For Daena? His decision to go back home?

16. Ari, the humanitarian, her servant? The leniency of her father? Concerned about slaves, non-violence? An idealist and pacifist? Her helping them to leave, going with them, the fear of water, her being branded with the human symbol? The farewell?

17. Daena, the attraction towards Leo, his leaving her behind?

18. Thade and Attar - power, control, militarism? Attar and his seeing the truth about Thade and his rebelling against him after the confrontation with Krull?

19. The range of characters of the apes and their "aping" humans? The humans and their animal-like behaviour?

20. Leo and his return to Earth, Washington, the Lincoln Memorial, Lincoln as an ape, the parody of the police squads arriving and the police all being apes? The irony of the ending?

21. The film as a contemporary parable about human behaviour, power, inter-species relationships, humans becoming more truly human?

THE PERFECT MOTHER

USA, 1996, 90 minutes, Colour.
Tyne Daly, Ione Skye, Justin Louis, Dee Wallace Stone.
Directed by Peter Levin.

The Perfect Mother is a telemovie focusing on Tyne Daly as a Greek- American matriarch. In the opening, she seems a devoted mother, helping to arrange the marriage of her youngest son to an attractive music teacher. Signs of difficulties appear at the wedding, especially through the character of one of her other daughters-in-law. During the first year of marriage, it emerges how much hold the mother has over her son, giving him a house, paying him cash for his work at a garage, having him come to breakfast every morning. When the wife is pregnant and then gives birth, the matriarch is even more possessive. Eventually, she resorts to the courts and then to a hired killer. In fact, the audience becomes more and more appalled as the nature of this woman who does everything for family is gradually revealed.

While audiences may have some difficulties with the psychology of the woman moving in such an enormous sweep, the point about a dominant matriarch, an interfering mother-in-law, a dominant mother are all made very strongly. The film doesn't pull its punches with showing the death of the daughter-in-law. Direction is by Peter Levin, director of many telemovies including the impressive film against capital punishment, In the Name of the People.

1. The impact of the film, for television audiences?

2. The city suburban settings, homes, schools, churches, garages? An atmosphere of authenticity?

3. The irony of the title, the focus on Yelena, her role as mother, matriarch? Her seeming the perfect mother and then moving to an insane criminal?

4. The opening of the film with Yelena speaking to her family but speaking to the audience? Audience curiosity, the film as a flashback, finally arriving at her speaking and trying to justify herself?

5. The introduction to Yelena, at the function, watching the children sing, talking with Kathryn's mother? About interfering in the family? Arranging that John should meet Kathryn? Arranging the wedding, paying for it, the deed on the house? Her dancing with her son? Her watching Kathryn and seeing her with a former friend? Engendering an atmosphere of suspicion? Her gradually interfering more and more, having John under her thumb, coming to breakfast? Her hostility towards Kathryn with the suspicions? Ever-present, the pregnancy, giving her peanuts against her allergy, being harmful and spiteful, poisonous ideas? The birth of the child and her growing more possessive? The wanting her to sign the document, Kathryn's refusal and the beginning of her vengeance? Poisoning her son further with lies about Kathryn's behaviour, insinuating her infidelity? Wanting the grandson at her house? The build-up to the court case, Yelena and her threats, haunting Kathryn, the phone calls in the middle of the night? In the courts, John and his change of heart? Daniel and his lies? The aftermath, trying to abduct the child, the phone calls, John discovering the truth and her lies? Her hiring the hit men, her picking up the hit men and being arrested?

6. The character of Kathryn, a good woman, daughter, music teacher, with the children? Happiness at the marriage? Perfectly normal, reacting against her mother-in-law, trying to get John away from her dominance? The beginnings of the alienation? The discussions with Charlene and Charlene's warnings? The pregnancy, the birth? Trying to separate the family from the matriarch, trying to tell John she and the child were his family? The growing suspicions, her exasperation, support from her mother? Going to the police and their not believing? The phone calls, the presence of Yelena, the abduction attempt? Preparation for the court, her lawyer, the evidence about the false bills, trying to track down Charlene, Charlene opting out? The verdict in her favour? The growing persecution, John wanting to come back, the possibility of reconciliation? The final threats, the disbelief of the police, taking the number of the car? The impact of her being shot? The pathos of the funeral? A good woman?

7. John and his place in the family, devoted to his mother, not realising her power? The happiness of the courtship, the wedding? His still dependent on his mother and going to her, discussing things with her, working for her? His mind being poisoned, growing more suspicious? The birth of the child? The divorce, the court case, his going back on his word to his mother? Return to Kathryn, love for his son, the continued insinuations and accusations? His mother putting on a heart attack turn? His final return, talking with Kathryn, the impact of her death? The funeral, his separating himself from his mother, kissing her and riding away on the motorbike?

8. Charlene and her pregnancy, the continued criticisms of Yelena, the brutality of her husband? Her leaving, hiding, her parents refusing Kathryn's phone calls, the meeting with Kathryn, her opting out? The sons and their dominance by their mother, the crooked work, the money-laundering, the garage? The threats about the cellar? The brutality and the lies?

9. The contrast with the normal family, Kathryn and her mother, Kathryn at work and teaching? Her lawyer?

10. The film as drama, as melodrama - and the strong message about filial dependence and dominant matriarchs?

PROUD FLESH

US, 1925, 100 minutes, Black and white.
Eleanor Boardman, Pat O'Malley, Harrison Ford, Joan Crawford.
Directed by King Vidor.

Proud Flesh is a minor King Vidor film and a starring vehicle for Eleanor Boardman (who appeared in The Crowd). It has a silent version re-creation of the San Francisco earthquake and then moves into the '20s in Spain and in America. It is conventional material - but quite entertaining in its way.

1.The silent film style, fixed camera, angles and editing? The work of King Vidor? The cast? Black and white photography, studio and locations?

2.The San Francisco earthquake and its aftermath? The special effects work?

3.Fernanda and her survival, going to Spain, growing up in Spain, her arrogance? Don Diego and his attentions? Her decision to go to America? Her life in America, her arrogance, her maid? Diego being in America? The encounter with Pat, his mother? The romance, her decisions, leaving Pat? The influence of Diego? The final decision and her remaining with Pat?

4.Diego, the stereotyped European cad? In Spain, in America, attentions to Fernanda? Rivalry with Pat? His self-sacrifice - and his black book with another address?

5.Pat, the mining background, devotion to his mother, the sturdy American hero? The encounters with Fernanda? Proposal, her decision to leave him? The return and his happiness?

6.Familiar ingredients for many romances, comedies and melodramas of the future? The significance of the title? The humour and irony in the captions?

PROMISE TO CAROLYN

US, 1996, 95 minutes, Colour.
Delta Burke, Swoozie Kurtz, Shirley Knight, Bill Mc Kinney
Directed by Jerry London

Promise to Carolyn is an American telemovie. It reflects the consciousness of the '90s in a greater understanding of child abuse and a realisation of how frequently this occurred in the past. It reminds us that the general public did not think of it as an offence that should be reported to the police.

However, this is a film about two sisters in their forties who are constantly tormented by memories of the death of their sister. Their stepmother was responsible and had treated them brutally. However, the case had not come to court.

Delta Burke is the sister who has not married, who runs a kindergarten. She goes to visit her stepmother but often gets thrown out. Swoozie Kurtz is her married sister, older, who bears anger against the stepmother and wants to do something. The film shows the two sisters trying to remember, going to the legal authorities, the checking of evidence, the pursuance of the case.

Shirley Knight appears as the older stepmother, taken to court. The film is a salutary reminder of the reality of child abuse, especially physical violence. The film reflects, very much, the growing awareness of the '90s.

1.A telemovie with contemporary social comment? Impact on home audiences?

2.The American settings, the South, ordinary people? Audiences identifying with the characters, the situations, the emotions, the court case?

3.The question of abuse of children? The consciousness of the '90s? The court cases? The reality of the past, the violence within households, the cover-ups? This kind of abuse not being seen as criminal or being necessary to report?

4.The focus of the film on Debra? Her returning to her family, her relationship with Kay and the tensions? The bus ride, Christmas? The clash with the gifts? Her going to stay with her father and with Jolene? The potential for clash? Kay and her wanting information about Carolyn?

5.The contrast with Kay, tough, married, the bitterness of the past and the experience with Jolene? The clashes with Debra? The advice of her husband?

6.The structure of the film - the insertion of the flashbacks? The visual style, the drained colour to suggest 1955? The accumulation of the flashbacks and the story of the children, their being abandoned by their mother, going to live with their aunt and her kindness to them, Jolene and their father, the build-up of the violence, the ineffectual interventions of their father? The pain for the little girls, the hard work, the demands of Jolene, her anger and temper? The death of Carolyn? The burial, their sadness, memories of the dress and its colour? The portrayal of violence abuse of children?

7.The growing consciousness, especially of Debra, of what had happened? Going to the cemetery? Trying to find out from Jolene, from their father? The decision to go to the lawyer, opening up the case, Debra and her hesitations, her being very upset and not wanting to go on?

8.The nature of the investigations, looking at the records, interviewing the doctor, the nurse and her phoning? The exhumation of the body, it being intact, the forensic tests? Forensic tests on the dress - and the vindication of Debra's and Kay's memories?

9.Jolene, her relationship with her husband? In her old age? At home, quieter, her interactions with Debra? The memories of the past, her dominance, marrying her husband, the demands on the children, the physical violence, the verbal and physical abuse? The death of Carolyn and her covering it up?

10.Their father, his relationship with his wife, her abandoning him? His lack of intervention with the children? His marrying Jolene? Not intervening? His relationship with Debra and Kay later? The impact of the trial? The stepbrother, his relationship with Debra, his anger with her when the trial happened?

11.The trial, the testimony, the importance of Debra undergoing hypnosis and the violence of the memories? Her reverting to being a child? The testimony in the case concerning this?

12.The verdict, the impact on Jolene, her maintaining her innocence, her behaviour in the witness box? The information about the sentence and the suspended sentence?

13.The importance of people dealing with their past? Child abuse, the emotional abuse? The healing of memories? The significance of courts and trials, penalties? The future for Debra and Kay?