THE LIFE AND EXTRAORDINARY ADVENTURES OF PRIVATE IVAN CHONKIN

Czechoslovakia, 1994, 110 minutes, Colour.
Gennadiy Nazarov.
Directed by Jiri Menzel.

The Life and Extraordinary Adventures of Private Ivan Chonkin is a film of the '90s: based on a novel by Vladimir Vojnovic, a Russian author who lost his citizenship and was expelled from the Soviet Union for writing this novel, and directed by Jiri Menzel, the celebrated and Oscar-winning Czech director (Shop on the Main Street, Closely Watched Trains) who, during the oppressive regime in Czechoslovakia, was not allowed to make films for a period of five years.

The film is set in the Soviet countryside in 1941, a sunny but poor place where the townspeople tried to do their collective farming and are ruled over by very petty (very) bureaucrats. The slow-witted Private Chonkin is sent to guard a plane, but enters into the life of the village and into a relationship with one of the local women. The film is treated in a very light-hearted way - but there are dark undertones with the bureaucracy, the orders from on high, the outbreak of the war and the fear of the advance of the Germans. However, with misunderstandings and stubbornness, the petty bureaucrats turned the events into a kind of Catch-22 war.

The film is quite extraordinary as a Russian film critical of the communist regime and, especially, the Stalinist years. There is an ironic humour and humanity about the film, even in its criticism of dire times.

1.A film of the '90s, the satire on the Soviet Union, the satire on war?

2.The Russian settings, the village, the '40s? Poverty and the look of the village and the countryside? The musical score? Songs?

3.The title of the film (and the echoes of the classic The Good Soldier Schweik), the echoes of such stories as Catch-22?

4.Stalin and his regime in retrospect, the opening with the flag, anthems, the history of communism, the distinction between communism and socialism? The Soviet bureaucracy even to the local level and its control, literal understanding of regulations, encouragement of reporting? The icons of the Soviet Union? Authorities, control, economic plans, military deployment? Espionage and denunciation? The atmosphere of war?

5.Private Chonkin and his work on the garbage, in the kitchen, his questions? The drill? His punishment? The question of the plane, his being taken to guard the plane, going to sleep, the encounter with Anna, a genial young man, finding Anna good company, working in the garden, the vegetables, the food and the meals, the sexual relationship, looking after the house? She at work and he at home? The encounter with the scientist, his theories, the making of vodka - and the smell of his house and being sick? His jealousy of Anna? His being fed stories? The story of the pig? The hostility towards the pig? The reconciliation?

6.The story of the plane, the crash, the reaction of the village, the various individuals and authorities, the lack of supervision, the officers in charge of Chonkin having to do drill? The pilot, the needing of the sentry, the choice of Private Chonkin?

7.Anna, her work, the post office, alone in the house, looking after the pig, the garden? Her encounter with Chonkin, her response to him, their life together and its happiness? His jealousy, the question of the pig? The reconciliation?

8.The picture of local authorities, their drinking, fears of inspection, the accountant and the denunciation, the phone calls to the authorities, the authorities and their discussions about going fishing? Their lack of intelligence and comprehension?

9.The local party secretary, torture, secretary and sexual encounters, the fishing, the antagonism towards the Jewish prisoner and his name of Stalin? The fear of the authorities?

10.The build-up to the announcement of the war, the advance of the Germans? The growing complications, the siege, the house and its destruction, the advance of the Russian soldiers? The full-scale battle and the idiotic misunderstandings?

11.The final resolution, the future of Russia in the war? Ordinary citizens like Chonkin? The authorities and the Stalinist era?

12.A humorous critique of a dangerous time?

THE PRINCESS AND THE WARRIOR

Germany, 2000, 132 minutes, Colour.
Franca Potente, Benno Fuermann.
Directed by Tom Tykwer.

The Princess and the Warrior is the third feature film of writer, director and musical composer, Tom Tykwer. He found international recognition with his second film, Run Lola Run. His first film, Winter Sleepers, was also released and found international fame.

This is a more ambitious film. It was made in Wurputtal, a provincial German city. The film focuses on Sissi, a nurse in a psychiatric hospital who, by chance, encounters a former military man, out of work after the death of his wife, Bodo. It transpires that Bodo and his brother are planning to rob a bank in order to go to Australia. However, while being chased through the town, he helps Sissi, who has been knocked over by a truck. She sets out to find him - and their paths cross also during the bank robbery.

The film is beautifully made. The action sequences and some of the interactions are compelling. The film is also one of coincidences - which stretch the imagination a little. However, the film moves into a touch of magic realism in the last half hour and has the theme of people finding their true identities and letting go of their false identities (presented visually literally on screen in the case of Bodo).

In many ways a visceral film. Also, a romance as well as a more philosophical exploration of suffering and meaning in life.

1. The work of Tom Tykwer? His previous films and expectations? The impact of this film?

2. The settings in the city of Wurputtal, the streets, the shops and banks, the mental institution? The landscapes and the cityscapes? The range of the musical score (contributed to by the director) and its range of moods, piano accompaniment, orchestra, classical music, contemporary songs?

3. The title and the mythological tones? Who is at war? Why is Sissi a princess? Fights, battles, chivalry and rescue? The magic realism of the end, especially with Bodo finding his true character?

4. The opening with the woman writing the letter, our following its journey through the post to Sissi? Establishing Sissi as working in the mental institution? Her friend Maria, her relationship with each of the patients, the group sessions and her presence? Her generosity, their depending on her - emotionally, the young man and his sexual dependence, the blind man and his support?

5. The contrast with the world of Bodo, his relationship with his brother, moodiness? Out of work, the story about his wife - and the later flashback and the truth about her suicide? His relationship with his brother and protection? His getting a job, weeping at the funeral (and he irony of the dead woman later being in the locket that Sissi finds in the bank)? His continued weeping, his getting the sack - and his volatility in moods? The martial arts with his brother? The chase through the streets and his escape from the service station men? His hiding under the truck, encountering Sissi, his first aid, giving her life and breath? His disappearance?

6. Sissi and her writing the letter to her friend, going to the bank, accompanying Otto and his blindness? Being hit by the truck, under the truck and her voice-over letter, powerless to move, to breathe? Her watching Bodo and his coming back? The hospitalisation, her recovery, 53 days, the doctors saying there is a miracle? The return, the patients with the cake, their various reactions? Her own moodiness? Her desire to find Bodo? Taking Otto, reconstructing the accident, his remembering the shop, the hostility of the gunman, the photo on the wall, her finding Bodo's house, watching and the martial arts, his violent hitting of her? Sending her away?

7. The plan for the robbing of the bank, Walter and his knowledge, the plans, the digging of the tunnel? Sissi coming back and his rejecting her, allowing her in, telling her the story of Bodo's wife? Bodo and his reaction and sending her out in the rain?
The various patients in the hospital, their illnesses, dependencies, the man hitting Sissi and wanting to be tied up? Emotional outbursts? The breaking of the light by Otto and his eating the glass? The young man ringing the police and telling them that Bodo was in the hospital?

8. The bank robbery, smoothly done, the guard recovering consciousness, Bodo arguing him out of shooting, the manager and his shooting Walter? The presence of Sissi, her arguing the manager out of shooting? The escape through the sewer, leaving the money, the gunman as the getaway driver, going to the hospital?

9. Sissi taking Bodo to the institution, to her room? His wakening, coming into the session, his hearing the news on the television and breaking it, being sedated, assumed that he was a patient?

10. The plan for leaving, Maria and the car, the young man phoning the police, remembering his killing of his mother and trying to kill Bodo in the bath? The chase to the roof? The impact of the three on the roof and the decision of Sissi to jump? Into the water, the escape in the car?

11. The drive, going into the service station, the two Bodos and their getting in the car, the one getting out and going into the imaginary bus with his brother? Bodo and Sissi driving to the seaside to meet Sissi's friend?

12. The blend of realism, imagination, philosophical exploration of meaning and coincidence, finding purpose in life, love, help? The blend of dialogue, visual action, human relationships, music?

THE PRINCE OF BEL AIR

US, 1987, 95 minutes, Colour.
Mark Harmon, Kirstie Alley, Robert Vaughan.
Directed by Charles Braverman.

The Prince of Bel Air is a bland telemovie, capitalising on the television popularity and charm of Mark Harmon (St Elsewhere, Sweet Bird of Youth, Summer School).

He is a pool cleaner who serves as a kind of gigolo for the bored housewives of Los Angeles. He is commissioned by a wealthy constructor (Robert Vaughan) to try to educate his shy son. He turns him into an image of himself. In the meantime he falls in love with a cousin of the young man, played by Kirsty Alley. Needless to say, true love has its ups and downs, the hero discovers that there should be some depth in his life - and, of course, everything works out right in the end.

Typical popular television material - no more, no less.

1.Enjoyable telemovie? Among the rich and famous? Los Angeles and Bel Air?

2.Los Angeles locations, the wealthy homes, the swimming pools? The art world? The pool cleaner's headquarters? Reality/unreality? Musical score?

3.The title, Robin Prince - and the play on the word "prince"? Irony? Mark Harmon and his screen presence?

4.Robin Prince, pool cleaning, his friends and their talk about sex, his relationships with the wives - and the lack of suspicion of their husbands? Boasting with friends? Friendship with Stan, offering him partnership? Asking him to look after Justin? Educating Justin, getting his friends to help, the dates - Justin with the two women and his angry reaction? Meeting with Jamie, friendship, posing for her art, a different kind of relationship, her criticisms? His discovery of some depth? Her asking him about his ambitions? Change of heart, telling Stan off, marrying Jamie - a future?

5.Stan, wealthy, wanting his son to be a man's man? Paying Robin? Offering him the job - after telling him to keep away from Jamie? Robin telling him off?

6.Justin, awkward, the pool table, reaction to his father? Working with Robin, awkward? Discussions with the friends, emphasis on sex, dates, talking at the beach, the two women in the house, Robin's angry reaction? His going off to college? His future?

7.Jamie, cousin, swimming, her art, her point of view on life, morals? Infatuation with Robin? An affair? The art gallery, her friends? Sharing, talking more deeply, changing Robin's point of view, her suspicions of him, the happy ending?

8.The friends, talk about sex? Robin's married friend and the children? Going to the boat and talking things over with his friend there? The influence of the men about town?

9.The women, sex, relationships with pool cleaners? The film's point of view on the sunny and amoral life of California?

10.The film as a moral fable for the wide television audience, the alleged good life, the proper good life?

PRIME TARGET

US, 1989, 91 minutes, Colour.
Angie Dickinson, David Soul, Charles Durning, Joe Regalbuto, Yaphet Kotto.
Directed by Robert Collins.

Prime Target, despite its going over old ground of corrupt police in New York City, is an absorbing telemovie. It stars Angie Dickinson, reprising a role that is reminiscent of her skills in the TV series Policewoman. The film has a good cast including David Soul as the police commissioner and Charles Durning as Angie Dickinson's father.

The film also raises women's issues: women sacked from the police force and suing the city to be readmitted on equal standing with men, with the consequent hostility of many men on the force. There is also a serial killer, corrupt police trying to defend themselves by threats and murders. The film uses New York City locations very effectively, draws interesting characters as well as showing the complexities of the police force, corruption and detection. Written and directed by Robert Collins.

1.Interesting and entertaining police story? Investigations? Police corruption? Human drama?

2.The use of New York City locations, authentic atmosphere? Night and day? Special effects and action sequences? Chases? Musical score?

3.The title, the focus on the women police? The motivation behind their deaths?

4.Kelly as central character, her reputation, her skills? The investigations? Her relationship with the police commissioner, going on to the committee? Her interrogations, hostilities? Discovering the antipathy of the police officers towards the women, the footage of the protests by the women and their suing the city? Her going to see Pilar to tell the news of the death of her friend? The clash with the officers? Brown and his support? The threats by the officers and her decision to stay with the case? Roselli and the interviews, Scully and the clashes? Her private life: her relationship with the actor, their friendship, living together? Her visit to her father, the story about his career, his injuries, the pressure by the police force? The visit to her incapacitated mother? Her meeting Maguire and helping her? The final investigations, the death of Maguire, the interrogation of Tom? Going to Scully at the funeral Mass? The chase, getting the truth from him? Her standing by her work as a policewoman?

5.The women who were killed: by accident, Pilar and her corruption, her murder? Maguire and her fears, pregnant by Tom, her death? The theme of the women being sacked, suing for reinstatement? The hostility of their partners and the telephone calls? Kelly and her becoming a prime target?

6.The police commissioner, smooth style, relying on Kelly? Brown and the internal investigations? Pressure, the wires? The pursuit of Kelly and Scully?

7.Roselli, the squad corruption, the pressures? Scully and the murdering of Roselli - for the honour of the badge? Cover-ups?

8.Rooney and his partner, their hostility towards the women? The masks and the threat to Kelly?

9.Kelly's father, memories of the past, his character, his illness, going to see the mother?

10.The complexities of the New York police force? The focus on the corrupt? The dangers and threats? The investigations? The tribute to police who are able to manage their work honestly?

11.The popularity of police telemovies and movies in the '80s?

THE PRICE OF POWER

Italy, 1969, 96 minutes, Colour.
Giuliano Gemma, Senta Berger, Van Johnson, Fernando Rey.
Directed by Tonino Valerii.

The Price of Power is a very interesting spaghetti western of the late '60s. It was directed by Tonino Valerii and stars Giuliano Gemma, star of many of this kind of western. An interesting piece of casting is Van Johnson as the American president.

The film is stylishly presented, the use of wide screen especially strong for the framing of central characters (especially at the side) with other characters framed in the background. The action sequences are also effective. (And the musical score takes its cue from Ennio Morricone's scores for the Sergio Leone westerns.)

What makes the film of particular interest is that it is a dramatisation of the Kennedy assassination in the context of a 19th century western. The setting is Dallas (with the opening shot of a photo of President Lincoln being burnt). As regards assassination theories, the point of this film is that the racist powers, defeated in the Civil War, have asserted themselves in Dallas and pay the sheriff and hired assassins to try to kill the president - first of all by blowing up a bridge and destroying the train he is journeying in and secondly, actually shooting him as he and his wife travel through the streets of Dallas in a carriage. The film also speculates on the two gunmen from an overpass. There is also a Lee Harvey Oswald type character, an African- American who wants to defend the president and tries to shoot the assassins and who is blamed for the murder and is assassinated by a posse of irate citizens.

There is also a government official who wants the signed confession of the sheriff implicating the powers of the city. The document then will be suppressed for the good of the public.

The film is particularly interesting as yet another Kennedy assassination hypothesis film - others include Flashpoint with Kris Kristofferson and Treat Williams, the film version of Richard Condon's Winter Kills with John Huston and Jeff Bridges. And, of course, there is Oliver Stone's JFK.

1.An interesting and entertaining spaghetti western? The qualities of the spaghetti western? The use of the genre and conventions of the western? The use of European locations, atmospheric musical score, the Continental actors and their performing, American style, but more intensely? The focus on individuals, especially in silent close-ups? The violence of the spaghetti westerns?

2.The use of wide-screen photography, Dallas, the surrounding countryside, the mountains? The desert? The action sequences? The train on the bridge, the pursuits, the shoot-outs? The musical score - and the song in English in the saloon?

3.The title - and its reference to post-Civil War United States? Washington and reform? Texas and local power? Violence and power?

4.The focus on Willer as hero? The background of his imprisonment for treason (and the flashback revelation that he refused to shoot his father)? His father and the knowledge of the plot, his confrontation with Jefferson, reassurances? Wallace and the gang pursuing him and killing him? Willer's friendship with Jack, Jack in prison and escaping? Their working together to try to prevent the assassination? The confrontation and fight with the group at the bridge? Saving the president's life, his meetings with the president and his loyalty? His wanting to avenge his father? The confrontations with Jefferson - and the single bullet, the absence of lights, the cigar fire? His working with Jack, the meeting with McDonald?, Mc Donald seeming to change sides? The confession from Jefferson? The friendship with the doctor, getting the bullet removed, the doctor's loyalty and death? The friendship with the editor of the paper, with Nick in his wheelchair, Nick coming to his rescue? The plan, the money in the box and the explosion killing the guards? The shoot-out with Jefferson? The compromise with Mc Donald and his returning the documents to him? His grief at Jack's death, bringing his body to the courtroom? The picture of the American western hero?

5.The president, the parallels with Kennedy, the president and his wife, the reforms in Washington? Issues of race and the post-Civil War American consciousness? The hostility of Texas? The warnings by McDonald? His being saved on the train, the meeting with Willer? In Dallas, meeting the authorities, discussions with Willer? The assassination? His wife's grief (and the parallels with the Kennedy assassination)?

6.Jefferson, upholding the law, the murder of Willer? The imprisonment of Jack? The torture? The plan, hiring Wallace and his gang? The president escaping assassination? The deals with Pinkerton? Confrontations with Willer, surviving, his playing Russian Roulette with Willer? The deals with Pinkerton and the cover-ups? Escaping from the courtroom? The final shoot-out?

7.Wallace, his thugs, the murder of Willer's father? The attempt at the bridge? His wanting to start another civil war? The capture of Willer? His being persuaded to go back to Pinkerton? The deal and his shooting Pinkerton? His own death? His henchmen and their greed, racism? The explosion with the bait of the money?

8.Dr Stipps, his alcoholism, treating the wounded, his wariness about Jack, racism? His testimony in the court? His death, helping Willer before he died?

9.Jack, the friendship with black and white? The racism against him? Prison, torture, pretending to hang himself, escaping? The death of the old man? Saving the president? In the room, watching the parade? Trying to shoot the assassins? His being blamed, the violence, being transferred, his pleading, the posse killing him? His being carried to the courthouse?

10.McDonald, advising the president, seeming to do a deal with the enemy? The vice-president and his oath of office, McDonald? trying to get time to get the documents about the vice-president? The confrontation with Pinkerton, his death? With Willer, handing over the documents? Receiving them at the station, the cover-up about the assassination?

11.The editor, his own policy, printing the information about Jefferson's guilt? Nick, friendship with Willer, going to his assistance, the guns in his walking stick?

12.Pinkerton and the wealthy leaders of Dallas society? Resentment about the Civil War? The president's reforms? Their reaction to the president's speech and his talking about taxing the privileged rich? Hiring Jefferson, Wallace and his killers? The public face of respectability? The meeting and the vice-president's change of heart? His taking the oath of office? His wanting the documents to be handed over? Pinkerton and his presumption, his death?

13.The popular ingredients of an American western? The drama of the speculation about the Kennedy assassination? The number of shooters? The scapegoat? The public taking into its own hands the killing of the alleged murderer? The reasons for the cover-up - for the good of the American people?

THE PREPPIE MURDER

US, 1989, 100 minutes, Colour.
William Baldwin, Lara Flynn Boyle, Danny Aiello, Joanna Kerns, William Devane.
Directed by John Herzfeld.

A telemovie dramatising a sensational crime, committed in New York City in August 1986. The media took up the case and exploited it.

The film focuses on the central characters, the interactions, the events leading up to the murder. It is sympathetic to the victim and antagonistic towards the killer. It presents the parents, the family backgrounds, the educational backgrounds, the work of the police, the harassment by the media.

William Baldwin (Backdraft) is attractively callow as the pathological liar and sociopath who killed a young college student. Danny Aiello is the chief police investigator. Joanna Kearns is the prosecutor, William Devane the defence lawyer.

The film recreates well the life in Upper Manhattan, especially the night life with the young adults frequenting the bars, their wealthy backgrounds, relationships and experiments with sexuality. The film also has the Catholic background of Rob Chambers, the man convicted of killing Jennifer Levin.

The film would have had strong impact in 1989 for New York and American audiences. Afterwards, and for audiences outside the
USA, it is yet another story of a crime, detection, a trial.

1. Interesting telemovie? Based on a true story? Reconstructed for television? Impact for New York audiences, Americans? For world-wide audiences?

2.The treatment, serious or exploitive? The depiction of the characters, information given, motivations, the crime itself, detection and interrogation, the trial? Adapted for television treatment for home audiences?

3. Manhattan, the focus, the bars, night life, homes and apartments, Central Park, the courts?

4.The title and its tone? The wealthy background?

5.The atmosphere of College studies, the girls and their friendship, the bonds between them, talk, relationship with boys, the bars and their behaviour, relationships and sexuality? Context for the killing?

6.Jennifer Levin in this context, her friends, home background, the scene where the girls were to be best friends? Attraction to Rob, her boyfriend, the relationship with Rob, sexuality, not liking him as a person? Hurt by his behaviour, going for the walk - and her death? The paper's treatment of her - putting her on trial, the defence lawyer and his criticisms, innuendo, the sex diary, etc.? The people campaigning for "Justice for Jennifer"? Rob Chambers' apology and vindication of her in the courtroom?

7. Her parents, their grief, the grandfather and his experience at the morgue identifying her, the 'phone call to the natural mother and her grief? The natural mother and her 'phoning the prosecutor and her outrage against the seeming injustice to her daughter? The parents at the trial, the father's anger and confrontation of Chambers? The anguish, meeting the judge for the decision about reading the diary? Their accepting the manslaughter deal but wanting the apology from Chambers?

8.Jennifer's friends, their support, disliking Rob, some attracted? Giving evidence in the court, the cross examination?

9.Rob Chambers, Preppie, attractive, hanging around the bars? His mother and her nursing, Catholic background, concerned about her son? His divorced father, alcoholic, wanting to support his son, visiting him in prison? The background of drugs and deals, planning the robberies, sexual relationships and opening the windows for the accomplice to steal? His relationships, with Jennifer? The sexual relationship with her, her comment to him in the bar, his hostility towards her? His worry about his mother, his capacity for invention and lies? Walking with Jennifer to Central Park? The reconstruction of the violent struggle, his brutality, his saying that she had hurt him?

10.The picture of the police, Sheehan and his partner? The body, Central Park, gathering information? The brutal death? Rob Chambers' scratches on his face, his chest and the story of the cat? Going to the parents, coping with their grief, the morgue? Bringing the grandfather back, the harassment by the media and Sheehan's violent reaction? The interrogation, working together, the soft style with Chambers, conferring, getting the confession?
The other police interrogator? Sheehan and his work with the witnesses - especially the girl who was robbed but did not report it?

11.The prosecutor, seriousness of the case, her work, performance, speeches to the jury?

12.The judge, his fairness, the discussion about the diary, his reading it and not putting it on evidence? His delivery of the sentence, his concern about Chambers' behaviour and his final speech?

13.The defence lawyer, smooth, getting sympathetic witnesses and lawyers for the bail application? The plea with the prosecutor, his performance in the court, the cross examination, the congratulations to Chambers
afterwards? The deal and the shorter sentence?

14.The girl who was robbed, her refusing to testify against Chambers?

15.The jury, the hung jury, the deal for manslaughter, the burglary charges? Chambers' behaviour in the court, his speech and apology?

16.The picture of the media, hounding the family? The brutality in the elevator? The sensationalist headlines? The discussion about the tape - the video, putting in on A Current Affair, the impact of the tape - and the range of characters watching it and their reactions?

17.A portrait of American crime? Looking at symptoms, looking at realities? Sexual violence in the United States?

PRACTICAL MAGIC

US, 1998, 104 minutes, Colour.
Sandra Bullock, Nicole Kidman, Aidan Quinn, Stockard Channing, Diane Wiest.
Directed by Griffin Dunne.

Which witch...? Back in 17th century Massachusetts they used to hang witches (but in this movie's prologue, she exercises magic and escapes only to curse any man loved by her descendants). Two eccentrically entertaining maiden witch aunts (Stockard Channing and Diane Wiest) bring up their orphaned nieces. One wants to live a wild life (Nicole Kidman). The other wants to live a perfect and perfectly ordinary life (Sandra Bullock). It all comes to a head when they have to bury a body in the garden (Nicole's violent boyfriend) and a nice detective (Aidan Quinn) comes from Arizona to investigate.

An easy blend of nice romance with a bit of daring, of special effects magic with a bit of comedy. No more than an undemanding night out.

1.Entertainment value of the film? The stars, romance, the touch of magic? Elements of the '90s?

2.The title, its focus, the sisters, the aunts? Adaptation from the novel?

3.The prologue and the 17th century? The American history of witchcraft in Massachusetts? The Puritans, their attitudes, greed, suspicion of sexuality, hypocrisy?

4.The locations, the American coast, the home, the town? The contrast with Arizona? The use of songs throughout the film? The atmospheric score, especially for the witchcraft and the drama?

5.The blend of fantasy and realism? The creation of fantasy, the use of special effects? The atmosphere of the town, 'normal' behaviour and a sense of realism?

6.Aunt Frances telling the story from the 17th century? Her tone, information, attitude? The ancestor and her hanging, the magical escape, the people fleeing? Her going to the island, her lover never coming? The curse and its lasting for 300 years?

7.The history of the women, the death of the men who truly loved them? Sally's and Jillian's mother and her death? The glimpses of the family at the seaside? Her death? Their arrival at the aunt's house? At home, the bond with the aunts, learning the spells? Sally's spell for an ideal man - with the blue and the green eye? Thinking it impossible? Jillian and her not being so successful, scatty? The taunts of the children passing the house? The bonds between the two sisters?

8.The aunts, their age and experience, their clothes, their spells? The house, the housekeeping? Humour? The townspeople scorning them and their reaction? Putting curses on people - the people turning away from them in the streets?

9.The girls grown up, wanting normal lives? Sally and her being dowdy, reacting against the witchcraft? Jillian and her carrying on with men, wanting sex and excitement? The blood bond? The decision of each one for their future?

10.The aunts and their reaction, the spells? The spell on Mike, his work, running to meet Sally, her going to meet him? Falling in love, the wedding, the children, the joys of the normal household, the dance in the house ...? Sally being accepted in the town, the plans to open the shop? The beetle and the significance of the spells? Her tearing up the floorboards to save Mike? The cyclists in the street, his escaping them, death by the truck? The aunts and their grief? Sally and her desperation, wanting to revive Mike - but conceding that he would not come back as himself? Her experience of happiness and normality? Her girls?

11.The contrast with Jillian, travelling, the men, the dancing, the postcards? The succession of men dying? Jimmy and her seduction, the sexual relationship, the violence? Sally and her letter and her outpouring of her heart? Jillian ringing and Sally going to rescue her? The belladonna, controlling Jimmy? The violence, bashing his head, the decision to take him home and bury him? The mysterious rose bush coming from the grave? The protruding shoes? His surviving?

12.Jimmy and his Bulgarian background, the overtones of vampires? His adopting of the American ideals, the Westons and Louis L'Amour? His violence, dominating of Jillian? Death, buried, his vengeance? Taking possession of Jillian? His coming out of her alive? The portrait of the Living Dead and his viciousness? The sisters and getting the women of the town to destroy him?

13.Sally, her grief, her wanting to help Jillian? The shop, the kids and their spells? The disappearance of the aunts? The helpers in the shop, her being on the school roster? (And Jillian altering the names on the tree?)

14.Gary, coming to investigate Jimmy's disappearance, the interrogation of Sally? The truth about the letter? Her telling lies, Jillian and the cover-up? His being attracted to Sally? Questions, her following him and telling him the truth? The appearance of Jimmy and his reaction? His leaving - and his return and love for Sally?

15.Jillian and her character, flighty? Her desperation about Jimmy? At the shop, altering the school tree? The decision to call a coven? Gathering the women from the town, the phone calls, their reactions? The bonding, the success of the exorcism?

16.The aunts and their return? The night of drinking Margaritas with the two aunts and the two nieces? The 'hens night'? The bonding between the women?

17.The ending, the three generations on the roof, stepping out into the void? Halloween?

18.A portrait of two sisters - each side different but complementary?

19.The '90s and superstitions, magical powers? Credible or not?

POT O' GOLD

US, 1941, 87 minutes, Black and white.
James Stewart, Paulette Goddard, Horace Heidt, Charles Winninger, Mary Gordon, Frank Melton, Jed Prouty.
Directed by George Marshall.

Pot o' Gold is a pleasantly slight yarn, in the vein of Frank Capra's films, especially You Can't Take It With You. And the common denominator is a genial performance by James Stewart. Paulette Goddard is a vigorous heroine. The direction is by George Marshall, who directed Stewart at this time in Destry Rides Again. He was to make a number of light comedies, thrillers and westerns.

1.Pleasant optimistic film? Picture of New York life in the '30s and '40s? Fantasy?

2.Black and white photography, the country town, New York and the apartment buildings? Jails and courts? Musical score? Songs - and choreography (and the lavish dance at the radio performance)?

3.The title, fantasy? The radio show and the giveaway? Jimmy Haskell, the James Stewart style? Poor, the music shop, his students? His cantankerous uncle? Going to New York, the chance meeting? The protest of the family, throwing the tomato and hitting his uncle? Not revealing his true name? Infatuated with Molly, joining in the music, Ma giving him a room? The clash in court, the judge on his side? With his uncle in jail, having to get the money and get out? The boys discovering the truth, giving him a chance? The radio programme? Molly discovering the truth and her antagonism, promising to give away the money? His following it through, the plan, reconciliation with Molly, his uncle being happy?

4.Mr Haskell and his greed, cantankerous, the visit to his nephew? His hatred of music? The family and the music on the roof? His factory? Wanting their building? His radio programme? His being hit with the tomato, wanting justice, in contempt of court, in jail? Wanting Jimmy to stay with him? His nerves, going away, the holiday, the remote part of Canada, the radio, his distress about the programme, the giving away of the money? Return to New York, anger, hearing others wanting the idea? The reconciliation?

5.Molly, her singing, her sister? With the family? Attraction towards Jimmy, the tomato, helping him? In love, the discovery of the truth, her being upset, promising the money over the radio? Antagonism, reconciliation?

6.Ma McCorkle?, the boys, the music? The neighbours enjoying it? Hospitality all round? The meal table? The court? The radio programme? The boys, the music? Jimmy joining in? Their big break on radio, success?

7.Lawyers, their concerns, contracts? The production managers, agents? Deals, money, advertising?

8.Pleasant optimistic comedy? Genial attitude towards human nature? Criticism of cantankerous, music-hating grumps? A film of its time?

POSSIBLE WORLDS

Canada, 2000, 92 minutes, Colour.
Tilda Swinton, Tom Mc Camus, Sean Mc Cann.
Directed by Robert Lepage.

Possible Worlds is the first English language film for playwright, film-maker and entrepreneur Robert Lepage (also an actor in such films as Jesus of Montreal, Stardom). Lepage is world-renowned for his plays and the dramatic staging. He moved into film-making with The Confessional, continued with The Polygraph and No.

The film was adapted by the director with the playwright, John Mighton. It is said to be a cubist poem, a reflection on consciousness, parallel worlds, right-brain, left-brain dichotomies, dreams and imagination. The central character moves through several parallel worlds, encountering the same woman, the goal of his life. She is played with subtle differences by Tilda Swinton. The woman is a scientist, a stock exchange broker, a lover, a wife, a stranger. She is called Joyce. The central character, who is murdered at the beginning of the film and his brain removed, seeks to understand his own consciousness.

The framework of the film is a police investigation into the murder, with a thoughtful inspector and a thoughtless assistant (who is humiliated often by the man in charge).

Eventually everything comes together with the focus on the human brain, its life, its imagination. While the film has a profound base, it often seems to be saying less than it thinks it might be saying.

PORTE APERTE (OPEN DOORS)

Italy, 1990, 108 minutes, Colour.
Gian Maria Volonte.
Directed by Gianni Amelio.

Porte Aperte (Open Doors) is an award-winning film by director Gianni Amelio, whose next film was The Stolen Children, Ladri di Bambini.

This film is set in 1937, the atmosphere of Mussolini's fascism. The film opens grimly with a cold-blooded series of murders. However, when the case comes to court, deeper corruption is revealed in high places. The focus of conscience is an elderly judge, played by Gian Maria Volonte, veteran of many Italian political films from the '60s to the '90s.

The film highlights Italian politics and is a questioning fable about Italian morality.

1.A film of the '90s, the perspective on an Italy of the '30s, the fascist period in hindsight, social and human justice?

2.The Sicilian settings, the decor and atmosphere of the period? Musical score?

3.The title and the focus on justice?

4.Scalia and his arrival, the clash with Spadafora, the killing, the talking with his assistant and helping him with his files? His children, taking his wife for the drive, the sexual encounter, killing her? Coming home to his son, and the arrest seen through his son's eyes?

5.The transformation in jail, shaven, in the cage, handcuffed? Referred to as `Monster'? His speeches, anti-fascist, his pleading for execution? His explanation of his boss, the financial implications of corruption for five years, his taking the blame? His relationship with his wife, his having to take her for sexual favours to his boss? The brutality of the deaths? His motivation, his being driven to kill?

6.The court case, the witnesses, the explanations about his wife and her behaviour, the chauffeur and his stories about driving? Spadafora's wife and her comments? The money, the keeping of the books? The boss's wife and her lies - and her later discussions and revealing the truth?

7.The bench, the judges and their political stances? Their questions, the witnesses, the decision for psychological testing for Scalia?

8.The judge and his tasks for psychological testing, his encounters with Scalia? His family relationships, his grief for his dead wife, seeing his father in the cemetery? Going to visit the family, the boy with his story - and the portrait of a good man, independent, caught in the atmosphere of the times?

9.The judge and his talking with the farmer, his seeing the reality behind the crimes, exercising his conscience?

10.The trial, the votes, the justice done, what was behind the justice done? The execution of Scalia? The comment on Italy of the '30s - and the aftermath in the defeat of Mussolini?