PHANTOM OF THE OPERA

US, 1989, 93 minutes, Colour.
Robert Englund, Jill Schoelen, Alex Hyde White, Bill Nighy.
Directed by Dwight H.Little.

The Phantom of the Opera has been a popular story since Gaston Leroux's publication in 1911. Lon Chaney was the Phantom in 1925, Claude Rains in 1943, Herbert Lom in 1962. However, Andrew Lloyd Webber's musical has made the Phantom of the Opera part of English-speaking consciousness. This new film version, dissociating itself from any other version as well as the musical, nevertheless capitalises on this popularity.

The film was severely criticised for being a cheap horror film. However, the Phantom was always a horror story. The ingenious producers, especially Menahem Golan, asked Robert Englund, so publicly successful as Freddie Kruger in the Nightmare on Elm Street series, to be the Phantom.

In fact, the production is quite lavish and tasteful. It is a blend of the tasteful and the blood and gore of some of the slasher movies of their '80s. (But this was also behind the presentation of the versions of the '40s and '60s, if not of Chaney's version.)

The film opens in contemporary New York but then moves back to the period of Leroux's story, translating the action from Paris to London. By and Large, the screenplay keeps to the original story and those familiar with Lloyd Webber's will recognise the plot and characters.

Robert Englund plays the Phantom in a more subdued style than his Freddie Kruger. In fact, often he is made up to look like Jack Palance and sounds like him. As is to be expected, there are some gruesome murders as well as a play for horror as the Phantom removes pieces from his face.

This will not appeal to the fans of Andrew Lloyd Webber. It may be a bit slow for the fans of Freddie Kruger. However, it is a surprisingly better production than might have been expected.

1.The reputation of the story, its popularity, the many versions? Audience familiarity with characters and the play?

2.The insights of the author, the period? The film transferring from Paris to London? The film being Christine's nightmare? The additional touches of the Faust legend (and the use of the opera)? Echoes of Jack the Ripper and London?

3.Audience knowledge of character and plot, faithful to the original? Characters and period? The presentation of opera and operatic sequences? Moving outside the opera house? The scenes below the opera house? Musical score?
4.The prologue, contemporary New York, Christine and Meg, finding the Destler music, Christine singing, the audition, her being hit and the collapse? The experience of the nightmare? Awaking, the doctor and his smooth style (and Robert Englund as his normal self)? His being the producer, promises to Christine, her recognising him as the Phantom, his skin, the confrontation and the killing? Christine walking free?

5.The situation at the opera, the worry of the owners, finance, Carlotta as prima donna and her conditions, Christine as the understudy? Meg and her friendship? Richard, management of the theatre, love for Christine, proposal?

6.Christine and the memory of her father, the Phantom as the Angel, coaching her in her singing, teaching her, demanding her to sing better, with more passion? Performance? Standing in for Carlotta, the acclaim of the audience? The unpopular review? The deaths in the opera? Joseph? Her going to the cemetery to her father's grave? The fascination, seeing the Phantom, following him, his music? talking with Meg, her fear for Richard? The ball, her being taken by the Phantom, her fear, the fight with him, his death?

7.The Phantom and his story, the flashbacks during the opera songs? Faust and his pledge with the Devil? His capacity for composition, the loss of his face? Hiding his face? The gruesome sewing the skin onto his face? The death of Joseph and taking his skin? Teaching Christine, his promises to her? Defeating Carlotta? His joy in Christine's performance? Going out into London, the prostitutes, the equivalent of Jack the Ripper? The encounter with the thieves in the hotel, on the street, his killing them? His dislike of the critic, going to the Turkish baths and killing him? At the cemetery, his happiness, taking Christine, down into the cellar? The possibility of being with her? Clash with Richard? The ball, the encounter with Carlotta? The guide, snaring them down to the depths? The fight, the police? Christine, his death? Love and music are forever?

8.The owners of the opera, their fears, the encounter with the critic, his death? Richard, the police, the proposal, the ball, search and death?

9.The police and their investigations, the inspector and his theories, following the Phantom, Davies and the inspector with Richard searching in the cellars? The death?

10.Carlotta, her vanity, the ball and her death?

11.The archetypal plot and its mystery? Horror nightmare? How successful was this version?

PETER AND POMPEY

Australia, 1987, 90 minutes, Colour.
Clayton Williamson, Lynette Curran, Paul Chubb, Amanda Muggleton.
Directed by Michael Carson, Esben Storm.

Peter and Pompey is one of the Australian Children's Film and Television Fund bicentenary series, Touch the Sun. Each state was represented and this is the Queensland film.

It is an entertaining fantasy, focusing on young schoolchildren in Queensland and the discovery of a boat and a manuscript from Roman times. The boy Pompey had written the manuscript and the youngsters in the 20th century translate it, Peter actually seeing visions of Pompey, their trying to set him free.

The film is entertaining with its picture of Queensland life, the children at school, complex family backgrounds, an ex-footballer mayor, a go-getting chef etc.

The film nicely balances the present with flashbacks to the Roman past. However, of particular interest is the encounter of the Romans with the Aborigines. At first hostile, the Romans are overcome by the Aborigines who attack them but peace is soon made and images are given of a happy harmony between newcomers to the land and the traditional settlers. Obviously, the contrast is with the coming of the British. In fact, the Aborigines look after the Romans, help them to understand and appreciate the land, care for them in their illness.

The film highlights the achievement of youngsters - in studies, in relationships, in care and concern.

1.Entertaining family film? For children? The Australian Children's Film and Television Foundation background? The bicentenary series to affirm youngsters as winners?

2.The Queensland background, the coastal town, life in the town, the cave, the boat, the flashbacks to the Romans? The Romans and the Aborigines? The musical score, the songs?

3.The title and the focus on the two boys and their bonds over the centuries? Peter and the kinship with Pompey, seeing him in the bush, in the cave? Reading his manuscript? Pompey in Peter's dreams? Pompey reaching out for somebody to free him?

4.Peter, his home life in the caravan, his mother and her ambitions to go to Brisbane, his absent father, his mother's friendship with the local policeman? At school, friendship with Meg, clashes with Wayne and fights? The teacher? His not getting the lift with Wayne's father, wandering the beach, hearing the voice, seeing Pompey? Fascinated, finding the boat? The Latin? Enlisting Meg's help? Her growing interest, their going to the cave, Wayne following them, the discovery of the boat? The secret? Meg and the translations, Peter's looking up the books, understanding what had happened to the Romans? The exile, the sacrifice to the gods, the encounter with the Aborigines, the sacrifice of the boat, Pompey and his being left by himself, the manuscript and his plea for liberation? The discovery of the boat, the mayor and the townspeople taking it over, big business and tourism, the parade in the street? Peter and his trying to learn more, the discovery that the boat must be burnt, enlisting Meg's and Wayne's help? The burning of the boat? His freeing Pompey? The bonds with Meg and Wayne, with his mother?

5.Pompey, the plausibility of the story, the exiles at the end of the world? Drifting, the sacrifice to the gods, not burning the boat? Landing, the relationship with the Aborigines, his father's illness, the attempt to burn the boat? The others hiding the boat? His illness, his writing the manuscript? Appearing in Peter's dreams? The bonds between the two? His final liberation?

6.Meg, precocious and intelligent, her father not wanting her to win at everything so that he could be elected and not intimidate people? Friendship with Peter, suspicions? Her good marks in Latin, translating Pompey's document, her growing interest? The boat, the secret? Sharing the adventure? Wayne's intervention? The discovery of the boat, her thinking everything was over - and her ambitions to edit the document? The final burning of the boat? Wayne, being pushed around by his father, spoilt, wanting to make money, following Meg and Peter, the boat, the secret? Clashes and selfishness? Victimised by his father? His helping them with the car and the burning of the boat?

7.The Romans, the Aborigines - the confrontation on the beach, the mutual fright, the Aborigines throwing spears? The growing friendship, learning to fish and hunt? The peaceful co-existence? Illnesses and the Aborigines' care? The sacred rituals, the burning of the body? The support of Pompey? An image of collaboration and cohabitation in the land?

8.The adults - with the touch of the caricature: the mayor, his football experience, not wanting to think deeply (not the Queensland way), love for his daughter, the intended marriage, his girlfriend and her being intimidated and leaving? The elections, the finding of the boat, the parade, the TV interviews? His defeat? The woman and her love for Meg? Wayne's father, the chef, his political ambitions, money? The lavish home, training Wayne in the same way - but the touch of violence? Peter's mother, the relationship with the policeman, his attitude towards Peter, the boat? The teacher and his interest in the discovery?

9.The crisis, the boat and the parade, making money, the tourist? TV interviews? The children burning the boat and freeing Pompey?

10.A pleasant blend of realism and fantasy?

PERSECUTION

UK, 1974, 96 minutes, Colour.
Lana Turner, Ralph Bates, Olga Georges Picot, Trevor Howard, Suzan Farmer, Ronald Howard, Patrick Allen.
Directed by Don Chaffey.

Persecution is a psychological thriller directed by veteran Don Chaffey, one of many horror films coming from England in the early '70s. It offers an opportunity to see Lana Turner at age 50. Ralph Bates, star of a number of horror films of the period, is her son and Trevor Howard has a guest role.

Lana Turner has the opportunity to be a glamorous vindictive mother, loving her cats more than her son, vengeful against him and ultimately wreaking revenge.

1.Entertaining psychological horror thriller? Star vehicle for Lana Turner? English setting? Elderly woman and cats drama?

2.The title, Carrie persecuting her son, her son persecuting her?

3.The English setting, the black and white flashbacks, the wealthy estate? Eerie atmosphere? The focus on the cats - and the cats' eye perspective of the action? Musical score?

4.Lana Turner as Carrie, her relationship with her son, her disdain, his gifts, shunning him, the meals and her behaviour towards him, spurning his gifts? Her love for her cats? The flashbacks and her marriage to her chauffeur, her remembering him pushing her down the stars, her injury? Her visit with Paul Bellamy, blackmailing him for 24 years? Father of her son? Her not publicising the truth? David and his growing up, her resentment? His marriage, the child? Her offhandedly telling Paul Bellamy this information? Her criticisms of her daughter-in-law? The cat killing the baby? Her fondness for the cat, the series of cats? The daughter-in-law's illness, her going to the nightclub, hiring the prostitute, getting her to care for her daughter-in-law, getting her to seduce her son? Setting up the daughter-in-law to discover them? The final confrontation between David and Carrie, his digging up the skeleton, putting the hand in the bed, the death of the cats? His humiliating her like a cat - and drowning her in the milk just as he had drowned the cat? Punishment for an evil woman?

5.Paul Bellamy, his public career, the relationship with Carrie? Her visit with him, the 24 years of blackmail? The phone calls and her demands? His place in her flashbacks - and the irony that it was he who pushed her down the stairs? The contrast with Robert Masters, her chauffeur, marrying him, his not wanting the child, her murdering him and burying him in the garden?

6.David, the unwanted child, the cat loved more than him, his drowning the cat? His antagonism towards his mother, trying to win her affection, the gifts? Grown up, marriage, the possibility of happiness, the child? The accident and the death of the baby? His resentment towards his mother, care for his wife? The coming of Monique, seductive, his liaison with her? His wife's death? The confrontation of his mother, the photos, tearing up Paul Bellamy's photo, the discovery of the truth? His humiliating his mother, making her cry like a cat, killing her?

7.Monique, the nightclub, coming to care for the daughter-in-law? Seductive, the encounters with David? The night with him? Her leaving the house and being paid by Carrie? Her being murdered by David?

8.Psychological horror tale? Plausibility? An attempt at 1970s style Gothic horror?

PERSONAL AFFAIR

UK, 1953, 83 minutes, Black and white.
Leo Genn, Gene Tierney, Glynnis Johns, Pamela Brown.
Directed by Anthony Pelissier.

Personal Affair is a brief drama from the early '50s. A British production with an American star - Gene Tierney. She portrays the nervous wife of a respected schoolteacher who is blamed for having a crush on a student and causing her death. The student is played by a 30-year-old Glynnis Johns.

The material is familiar - and the style of the film tends to the rhetorical rather than the dramatic. There are many long speeches which seem artificial and contrived.

Leo Genn is strong in the central role and Glynnis Johns quite persuasive as the student. Gene Tierney is forced to act with a histrionic style. However, the supporting cast includes Pamela Brown in one of her familiar sinister roles as a repressed aunt. Megs Jenkins is the mother. Direction is by Anthony Pelissier. The film seems somewhat dated - although the material is always relevant.

1.Interesting drama? Issues? Education, relationships, sexual harassment, teachers and minors?

2.Black and white photography, English town setting? Musical score?

3.The title, the focus on Barbara, Stephen? The affair - and the lack of an affair? The response of the townspeople? Suspicion and slander? Its effect on all the characters?

4.Barbara as an adolescent, her crush on Stephen? In class? After class? At his home for the special coaching? Her relationship with her family? Her disappearance - and the suggestion that Stephen murdered her? Her return, three days away, not realising the repercussions for her family, for Stephen? Her asking forgiveness? The reaction of Evelyn? Her future and learning from the experience?

5.Stephen - the schoolmaster, his Latin class, his urbane style? Awareness of the students' response? His coaching Barbara? The phone call and trying to explain the matter to her? The drama at the river? His return home, suspicions, the town against him, gossip, newspapers, his being sacked from his job? Being taken to the police station? His love for Kaye, explanations to her, concealing some details and hence open to lying? His response to Barbara's concern, reconciliation? A man of integrity suffering persecution?

6.Kaye, the American in England, finding it difficult, loving her husband? The touch of neurosis? Her reaction to Barbara and talking to her? Love for Stephen, suspicion of him? The growing pressure and her seemingly suicidal concern, hearing the voices? The reconciliation?

7.Barbara's family, her father and his work at the newspaper, his support, suspicions? The search, caring for his wife? Barbara's return and his strong response? Ordering Evelyn from the house? Barbara's mother and her loving concern? Evelyn, the story of her affair, her bitterness? Going to Kaye and slandering Stephen? Her wanting to support Barbara? Her leaving the house?

8.The headmaster and his behaviour, visiting the house? The police?

9.The portrait of people in the town, willing to be suspicious, gossip, slander? The pupils in the class? The film's comments on people ready to believe the worst?

10.Themes of relationships, adolescent crushes, the possibilities of sexual harassment and violence? Marriages and marriage tension?

PENTATHLON

US, 1994, 97 minutes, Colour.
Dolph Lundgren, David Soul.
Directed by Bruce Malmuth.

Pentathlon is a star vehicle for Dolph Lundgren. Lundgren, after appearing with Sylvester Stallone in Rocky IV, tried to carve himself a career in action thrillers. They had moderate success - and were always a touch over-violent. He teamed with Jean Claude Van Damme in Universal Soldier and with Keanu Reeves in Johnny Mnemonic. He was executive producer of this film.

The setting is interesting: East Germany in the late '80s and their presence in the Olympic Games. The contrast is made with the fall of the Berlin Wall, the freedom for East Germans and the decisions that the former Stasi officers had to make about the new world order - many of them going into terrorism and criminal activity. David Soul seems the perfect embodiment of the vicious ex-Stasi officer who moves into international terrorism.

The film is fairly conventional - but is quite entertaining of its type.

1.An action thriller, the background of sport, the background of politics?

2.The history of East Germany, the role of East Germany in the Cold War, in relationship to the United States, the involvement in sport and excelling in sport? The transition from the '80s to the '90s? The use of Eastern European locations, America and Los Angeles? The musical score?

3.The title, the pentathlon itself, the various events, winning and medals?

4.The prologue, the children, children growing up in East Germany, character-building, education, sport and achievement? The supervision and the pressures on them? Their place in family? The pressures on family by the state? The indication of themes?

5.East Germany in the '70s and '80s, the domination of the Stasi officers, their brutality, even towards children? Their moving into neo-Nazi activity? The collapse, the decline, the rallies in Germany, terrorism and craziness in neo-Nazi action?

6.Erik and his fall in the race, his father's benign attitude (and his father's death)? The race, the officer supervising him? Going to the United States? Mueller and the friendship? The escape, being shot, Julia? Los Angeles and Erik's collapse, the transitions of 1989? Julia getting out?

7.The transition to 1993, Erik's collapse, in the bars, the room, dingy, working in the hamburger joint? Seeming hopelessness? The discussions, his smile, the encounter with Creese? Creese making him exert himself, the running? The medal and the memories? His starting to train again?

8.Creese and Sheila, their friendship, getting Erik on his feet again, Olympic prospects? Success - and the shooting?
9.The fence, bad loser, Julia, their being together again? The father, the danger?

10.Mueller and the rivalry, running for Germany? The raid, going to the US? The ex-Stasi officer and his domination, his organisation, the henchmen? The championship and the drugs? Going to Los Angeles? The locals and the committee, the fanatics? The Stasi and the officer shooting? Los Angeles, the beach, following Erik, taking him, the house, the restaurant? The rally, the television, the plans, the demonstration - and their going awry? His death?

11.Mueller and the madness, the television, the death, the broadcast, confronting Erik, not killing him, his death? Erik and the change, the effect of love rather than power?

12.The sports sequences and their effectiveness? The rallies, the build-up to the climax and the excitement, the confrontation?

13.The fable of being down and out, the possibility of rising to success again?

14.An entertaining Dolph Lundgren vehicle?

PENNY PRINCESS

UK, 1952, 94 minutes, Colour.
Dirk Bogarde, Yolande Donlan, A.E. Matthews, Anthony Oliver, Edwin Styles, Reginald Beckwith, Kynaston Reeves, Peter Butterworth, Laurence Naismith, Mary Clare.
Directed by Val Guest.

Penny Princess is a pleasant light British comedy of the early '50s. It is in the vein of such films as The Mouse That Roared. In a post-war setting, it shows a little country in Europe, independent and relying on smuggling for its economy. An American millionaire buys it and a cousin, a shop assistant, becomes the princess. She has the help of a cheese salesman from England to help her revive the economy. Yolande Donlan, wife of writer-director Val Guest, is pleasant in the central role. It was early in the career of Dirk Bogarde who gives one of his standard (Doctor in the House style) romantic leads.

1.Enjoyable light comedy? Britain? Europe?

2.Colour photography, London, Switzerland, Europe? The mediaeval style settings? The stunt work and special effects for the making of the cheese and its export? Musical score?

3.The title, the small countries of Europe? Royalty? The ironies for the post-World War Two period?

4.The situation of Lampadora, the officials, the meetings, the poverty? The Americans wanting to transport it, buying it? Johnson Johnson and his death? The inheritance to Linda?

5.Linda, the potato peeler, her work, her learning of the inheritance, going to Switzerland, at the hotel, the encounters with Tony and their clash? Growing friendship? The officials? Tony being kidnapped and accused of sedition, her enjoyment of it, the banquet in Lampadora, the question of the cheese, getting Tony to come back? Their work together, the manufacture and the sales? The reaction of France and Italy? The smuggling of the cheese and its sales? Paying off the national debt? Falling in love with Tony?

6.Tony, his work in the store, war experience, over-educated? Going to Switzerland, the convention, being kidnapped, the night in jail, being taken back, taken again? His collaboration, the making of the cheese, the export, the strategy for export? In love with Linda?

7.The comic scenes of the British store and its management?

8.The comic scenes of the Lampadoran officials, obsequious, poor? The population and the speeches, their enthusiastic making of the cheese?

9.Enjoyable and quaint little comedy?

PECKER

US, 1998, 86 minutes, Colour.
Edward Furlong, Christina Ritchie, Bess Armstrong, Mark Joy, Mary Kay Place, Martha Plympton, Lily Taylor.
Directed by John Waters.

In the 70s, John Waters was a Baltimore rebel, a satirist who relished presenting his stories of odd characters with bad taste. But over the years he became fashionable and then accepted by Hollywood (with Hairspray, Cry Baby, Serial Mom). At the age of 50 plus the rebel has softened. There are traces of the old Waters, especially as regards sex, but there is really no swearing and the nudity is being sent up.

Pecker (Edward Furlong) is a snap-happy amateur photographer who is having an exhibition in the hamburger joint where he works. His photos are of ordinary, 'culturally deprived' neighbours. But he is taken up by a New York agent which allows Waters to highlight the contrast between arty New York City types and the blue-collar workers and street people of Baltimore. But, ultimately the tone is light-hearted and what might have been savage ends up as a suburban celebration.

It is a pleasure to see an American director not taking American attitudes and behaviour too seriously (with even a poke at cringingly pious/crazy devotion to the Virgin Mary).
Furlong is naively unambitious as Pecker and there is a generally amiable assortment of oddball characters with Christina Ricci as the obsessive martinet at a laundromat and Martha Plimpton as Pecker's gay-bar organising sister. It is a comedy of how some of the other halves live.

1.The films of John Waters? His perspective on film-making - from shocking to genial presentations of Baltimore (with some shocking touches!)? His experience, age, mellowing? The influence of Hollywood and the box office?

2.The visuals of Baltimore, Waters' love for Baltimore, the songs and the visuals?

3.The locations, the musical score, the songs? The ordinariness of the suburbs of Baltimore? Hampden? Pecker and his taking the photos? Homes, shops, the laundromat?

4.The contrast with the visuals of the New York world, the gallery world?

5.Waters' point about who is real, where real life is?

6.Edward Furlong as Pecker, his age, experience, his name and his not eating much? The credits and his taking all the photos - loosely framing them, snapping them quickly, the quality of the contents, the style? His work in the hamburger shop? The build-up to his exhibition? The cantankerousness of the hamburger shop owner?

7.Pecker's father, genial, concerned about the strip club and the displays and their influence? His mother and her concern about street people, the clothes - and the sequences of her decking out her clients in clothes (and in New York as well)? His little sister and her compulsion to eat sweets and sugar? His grandmother and her statue of Mary and her obsession about devotion to Mary and the statue talking?

8.Christina Ritchie as Shelley - working at the laundromat, bossy and obsessive, her treatment of the customers, their behaviour, her control? Her not understanding Pecker and his photos - and the later transformation when she's able to use all the artistic jargon?

9.Pecker and his friendship with Matt, Matt and his skills as a thief and shoplifter? The supermarket, putting things in the wrong baskets, causing the chaos, stealing the film? His support of Pecker? His later being disillusioned - and trying out for striptease?

10.Tina and her work at the gay bar, the owner, his philosophy of life, the strippers, her description of them, the crassness of some of the customers? Her style, appearance?

11.The exhibition, the owner and his reaction, wanting people to buy, people coming in, friends and relatives? The enjoyment of the show?

12.Rorey and her arrival, the New York world, her gushing about Pecker's photos? The humour of the comments and the irony - especially of the pubic hair? Her plans?

13.The preparation to go to New York, the show, the various arty types of the New York world, socialites, critics? The audience laughing at them? Their reactions to the photos and buying them? The meal afterwards - and the street people coming in and being ousted? A gallery of types, wealthy, art taste, the gay world etc?

14.Pecker and his return to Baltimore, people being unhappy about the photos, the woman with the baby, the various members of the family, Matt and his not being able to be a thief, Tina being sacked? The people at the strip joint? The unhappiness and the challenge to Pecker?

15.The discussions with Shelley, her understanding his art? The episode of the voting, the supervisor and her strictness, Pecker and Tina in the ballot box?

16.The build-up to the local show, the New York group coming down in the bus on tour, the photos and seeing themselves displayed? The initial horrified reaction? The change and their celebrating?

17.The portrait of the parents, the little sister and the Child Welfare Officer coming (and joining in the publicity)? Her being hooked on vegetables? The grandmother and the women from the Society of Mary coming and criticising her for her ventriloquist act? She thinking it was genuine? The statue talking at the end? Waters' attitude towards religion, devotion, Catholic tradition?

18.Waters and his vulgarity, the two strip shows, the photos, language, the little girl snorting the peas...?

19.Waters and his admiration for the ordinary people of Baltimore, photographing in their ordinariness, contrasting them with the people in New York? His drawing on his own experience?

PAWS

Australia, 1997, 95 minutes, Colour.
Nathan Cavalieri, Emilie Francois, Caroline Gilmer, Voice of Billy Connolly.
Directed by Karl Zwicky.

Paws is a very entertaining children's and families' film, focusing on a talking dog (though different from Babe where the mouths of the animals were electronically fixed to the speech). Here the Scots Terrier has the voice of Billy Connolly - and a quite elaborate computer explanation is given for the voice and the choice of Billy Connolly's. The dog and the voice make an excellent combination.

The film is something of a detective story - it has an inner-Sydney setting, in Glebe and around the Harold Park greyhound stadium. A computer expert is killed by his greedy former wife (from Iceland) and the disk giving information about where his wealth is stored is given to a pleasant family. However, the dog has an accident and is taken up by the neighbouring family. There are a lot of adventures, a bonding between the dog, PC, and Zach, a young computer expert whose father has died and his mother remarried and the family moved, unwillingly, to Sydney. The friendly neighbours are English.

The film is often very witty, enjoyably slapstick and has an over-the-top performance by Sandy Gore as Anja, the villain, who looks as if she is doing an exaggerated audition for the role of Cruella de Ville. Musician Nathan Cavaleri is the boy, Joe Petruzzi is his stepfather, Norman Kay is the computer expert, Rachel Blake the boy's mother and Caroline Gilmer is the friendly neighbour.

The direction is by Karl Zwicki, director of many television episodes, children's television as well as the thriller Vicious. There is an amusing animated sequence at the beginning which gets audiences in the mood for the film.

1.Popular entertainment and its appeal, for families, for children?

2.The inner-city settings, Glebe, Harold Park, the harbour bridge, the homes and the streets?

3.The framework of the mystery and the investigation? The musical score and the variety of moods? The Peter Gunn music etc.?

4.The use of special effects? The dog and its speaking? The moment where it frightens people (like Jim Carrey in The Mask)? The special effects for Sandy Gore as Anja - especially at the ending with her riding of the greyhound rabbit?

5.The opening animated sequence and its suggesting a mood? Moving into realism? Zach's voice-over and its telling the story - as well as ironic comment on the events and characters, expressing Zach's silent exasperation?

6.Billy Connolly and the choice of his voice for the talking dog, the dog and its ability to use the computer, the microphone, the translation from dog-talk - and the humour about dogs talking, vocabulary, expressions - and the fainting effect on people? Making the ploy credible?

7.The opening with the greyhound track, the characters, the races, chasing the rabbit? The mood? Alex and his reliance on PC as a courier dog? Suzie and her stall? Samantha irritated? Anja and her sinister presence?

8.Alex and his ability with computers, playing puzzles, his reliance on PC? Anja and her arrival, threats? His shrewdness with the disk? The confrontation, his death? The later information about his relationship with Anja, his skill in Iceland, her betrayal and greed, pursuit to Australia? His wanting to outwit her?

9.Sandy Gore as Anja, the Cruella de Ville villain? At the track, confrontations with Alex, his death? Her desperation to get the disk? Her lending money to Steven and audience suspicion of him? Her own wolf-like dog and its threats to PC? Her clashes with PC? The streets, hovering, confrontations with Steven? With Suzie? At home, the wigs? At the track? The finale, her wanting to get the rabbit, her desperate ride on the rabbit, pursued by the greyhounds?

10.Zach and his age, character? Longing for Melbourne? Angry with Sydney? His father, the death, the computer gifts, his face on the computer and Zach able to make him speak? His love for his mother? Love for Binky - yet clashing with her? His anger at Steven? At Steven interfering with the disks? His birthday party, the presents, the clash with Steven? Friendship with Suzie, friendship with Samantha, awkwardness, The Midsummer Night's Dream and his decision to do the lights, the rehearsals? PC causing chaos at the play itself and his reaction? His jealousy of the boy actor? His discussions with PC, his reaction to Steven? The gift and his change of heart? PC, exasperation, his running away, the hundred-dollar hairdo for the dog? Following Steven, discovering the truth? The action adventure at the end and the appropriately happy ending?

11.PC and his personality, with Alex, witnessing the murder, trying to retrieve the disk, the accident, friendship with Zach, typing on the computer, talking, the microphone? Choosing Billy Connolly's voice? His terror, cowardliness, afraid of the wolf, attracted to the dog across the street - and her having a shampoo, paying for the hairdo? His finally becoming a hero?

12.Suzie, the stall at the track, friendship with Alex, the gift of the disk, her love for her daughter, their clashes? Anja and threatening her?

13.Sam and her English background, the divorce, relationship with her mother, with Zach, The Midsummer Night's Dream, the play, the humiliation, her anger, wanting to take part in the investigation?

14.Binky, love for Zach, their clashes, bringing her girlfriend to see the talking dog?

15.Steven and his wife, trying, suspicions of him going to Anja for the money? Zach's mother and her playing the trumpet - and her explaining that his father was too busy and that she enjoyed playing the trumpet?

PASSION

Australia, 1999, 103 minutes, Colour.
Barbara Hershey, Richard Roxburgh, Emily Woof, Claudia Karvan, Simon Burke, Julia Blake, Linda Cropper.
Directed by Peter Duncan.

Passion is a story about composer and pianist Percy Grainger. Grainger had a strong reputation for collecting English folk songs and his own compositions. He was also a talented concert pianist. He is also remembered for his proclivity for masochism in his relationships, especially whipping himself and his partner. There was also criticism of his relationship with his mother, the dominant Rose. The end of the film indicates that Rose committed suicide in New York City, throwing herself from a building, because of insinuations about incest. The screenplay makes it very clear that this was not the case, and that Rose herself was concerned about Percy's masochism and wanted him to marry a loving wife.

Peter Duncan directed the satire Children of the Revolution as well as the variation on the Faustian theme, A Little Bit of Soul. Richard Roxburgh was the son of Judy Davis in Children of the revolution. He gives a blend of manic intensity as well as ordinary common sense in his performance as Percy Grainger. Barbara Hershey is Rose. Emily Woof is Karen, the Danish woman who had a relationship with Grainger but could not marry him. In support at Claudia Karvan and Simon Burke as a Danish couple, friends of Percy.

The film focuses on the years 1914-1915. It opens in Australia. However, Percy and Rose, with Rose managing his career, find that they have more opportunity for performance and reputation in England.

The film also focuses on Grainger's masochism - leading it to later in the film to give it some perspective in his whole life and outlook.

The film might be judged as not particularly passionate. However, it is beautifully photographed, gives an interesting insight into a genius and his torment. The film was based on a play by Rob George and an original screenplay by Rob George and Peter Goldsworthy. The screenplay was written by the historian, Don Watson.

1. The impact of passion? The portrait of a composer and pianist? Early 19th century atmosphere? Genius? Eccentricity? Perversion?

2. The Australian locations, the London settings, Bath, the British countryside and coast? The costumes and decor of the period?

3. The range of music, Grainger's own compositions, his collecting songs in the British countryside? The Grieg performances?

4. The opening: Percy in the Australian setting, in the countryside, playing the 'Londonderry Air', the opera singer singing at the railway station? The concerts? Percy and the possibilities of a career in Australia?

5. Percy and Rose in London, his career, performances? Rose and her management of Percy? The intensity of their relationship, at home, in public?

6. Percy and his friendship with Hiltrud? In love with her? His scatty behaviour, exposing himself at the window, on the bike ride, proposing to her? Her rejecting of him? His later criticism of her mocking him? Herman and his friendship? The group and their musical performances? Danish background?

7. Percy and his performance for Queen Alexandra? The society patrol? His sexual relationship with her? Her later coming to Bath pretending to be his mother? His denunciation of her? The later meeting between her and Rose? Her strong speaking of the truth about their relationship, Percy's growth?

8. Percy and his practice, his pupils, performances? The build-up to the Grieg concert and his unwillingness to play? His ordinary life, listening to the barrow boy and getting him to do his cry? Recording the songs in the inns? Touring and collecting the songs and editing them?

9. Herman and Hiltrud, married, introducing Percy to Karen? The friendship, her admiration for him? Falling in love with him? The relationship? Rose and her seeming suspicions, yet her support of Karen marrying Percy? Sharing much together? Percy and his inability to love? His comment on lust and affection? His telling the truth about his masochism? Her agreeing to it: the whippings, the photos? Her willingness to marry him, his unwillingness? The Grieg performance, coming home, his inability to commit himself, her leaving?

10. Rose in herself, her background, her only son? The revelation that she suffered from syphilis? The mental disturbance? Psychological and emotional manifestations? Physical illness and weakness? The truth about her husband, his coming to the concert, the note for Percy, Percy visiting him and declaring his love for him, the father's cowardice, especially about his illness and communicating it to his wife? Rose's continual deterioration, yet her supervision of Percy? Their love, his deeming it platonic and natural? Her dominance, her wanting success for her only son? Her guilt about her illness? Her collapse, never recovering, yet her satisfaction in his success? The tragedy of the postscript about her suicide?

11. Percy and his being in Australia, his sense of freedom? The decision to go to America, spending forty years in the United States, marrying, a more conventional life? His musical achievement?

12. The portrait of a pianist and genius? Talent and its demands? Maturity and immaturity? Dominance? Love, sexuality? Sadism? The status of Percy Grainger in world music?

THE PASSING OF THE THIRD FLOOR BACK

UK, 1935,90 minutes, Black and white.
Conrad Veidt, Rene Ray, Anna Lee, Frank Cellier, Mary Clare, Beatrix Lehmann, Cathleen Nesbitt, Sara Allgood.
Directed by Berthold Viertel.

The Passing of the Third Floor Back is an early British sound film, small-budget, using some of the silent techniques of captions. One of the co-writers was Alfred Hitchcock's wife, Alma Reville. The screenplay is based on a novel by Jerome K. Jerome (Three Men in a Boat).

The film focuses on an enigmatic stranger, a Christ-figure, who comes to a London boarding house and transforms the residents, a bickering and angry and snobbish group. The film focuses also on the put-upon maid who has come from a reform home.

In its brief running time, the film focuses on a range of characters, their interactions, their harshness, the possibilities of transformation - and their final change of heart. The cast includes Conrad Veidt (a star in Germany in such films as The Cabinet of Dr Caligari and later to go to Hollywood in such films as Casablanca), Sara Allgood, Cathleen Nesbitt.

The film, while creaky now, is an interesting example of a genre that was to be developed over the decades: the enigmatic stranger who comes and transforms the lives of a group of people.

1.A film of the early '30s? Its creaky techniques? Its theme?

2.Black and white photography, London setting? The streets, the boat? The boarding house? The musical score?

3.The title, the focus on the room, on the stranger?

4.The introduction to the household? Stasia and her status within the house, put upon by the manager, by the other guests, holding up her past to her? Destroying her flowers? Callous attitudes? The range of people in the house, their meeting together for meals, their discussions, their back-biting and pettiness?

5.Stasia, her background, her fears of being sent back to the home? Her work in the house, antagonism towards the landlady? Towards the other guests? Her friendship with the stranger? Interactions, listening to him, seeing her better self?

6.The stranger, his appearance, manner, arrival, the landlady not wanting him, his charming her? Accepting the room? His presence at the meals, observation of characters? Interactions? His taking them all on the boat ride - and the possibility of their being different? His telling of the truth, watching people, listening to them? His confrontation with Mr Wright - and the clash between the angel and devil characters? The robbery, his vindicating Stasia? His disappearance? The Christ-figure, the guardian angel, the enigmatic stranger who transforms people's lives?

7.The landlady, her snobbishness, her treatment of her guests, harshness on Stasia, welcoming the stranger? The outing? Her harshness, the rash judgments?

8.The family, their poverty, signing the cheque, false impressions, gentility but poverty? The pressure on their daughter and her having to marry Mr Wright? The daughter, her loving her would-be fiance, her not having the strength to go against her parents? The agony of the meal, going to her room? The parents and their encounters with the stranger?

9.Mr Wright, new money, industry, temptation - his confrontation with the stranger? His devilish manner, wanting to tempt and seduce people, especially by riches and power? The confrontation and his death?

10.The fiance, his drinking, angers, relationship with the daughter, with the parents?

11.The pianist, the stranger listening to him, classical music, jazzed-up music, the stranger highlighting his potential?

12.The snobbish woman, her name-dropping, her accusing Stasia of being a thief, finding her goods? Arrogance? The model and her presence, her arrogance, style, criticisms?

13.The organ player, the people's treatment of him, playing on the street? The final solution and the death and the robbery?

14.A fable for Britain of the '20s and '30s? The story being adapted over the decades for contemporary audiences? Human nature, the potential for good, the need for a transforming stranger?