PAS DE SCANDALE

France, 1999, 105 minutes, Colour.
Fabrice Luchini, Isabelle Huppert, Vincent Lindon, Fahina Giocante.
Directed by Benoit Jacquot.

Pas de Scandale is a film about middle-aged people, designed for an intelligent adult audience. However, it is generally understated - and audiences might benefit from a bit more detail which they have to fill in to understand the characters and the situations and emotional crises.

Vincent Lindon portrays Louis, a television star, who has given over the ownership of a factory to his older brother. However, the older brother has been jailed for money-laundering in a government crackdown on industry. He comes out of jail, out of kilter, trying to resume his life. The film shows mainly his first day where he encounters his wife and children, Isabelle Huppert, his brother, his wife's hairdresser with whom he finds a sympathetic friendship and, by chance, her boyfriend whom he encountered briefly in jail. The film resolves itself at his mother's birthday dinner where the whole family, including a sister who is a nun, discusses the situation and the TV brother announces that he has an illegitimate child that they did know of. When the older brother leaves, the younger follows him and they are reconciled on a train.

The film is well written, well acted, makes its audience somewhat insecure in its wondering about who each character is, the nature of the relationships, the social problems as well as the personal problems and how these can be resolved.

1.A French film of relationships, emotions? A verbal film with emphasis on dialogue and discussion? Yet an understated screenplay in terms of motivation and details of events and characters?

2.The Paris settings and the use of the city, the streets, the trains, the river? The contrast with Arras?

3.The range of the musical score, the use of classics?

4.The reticence of the screenplay, the audience responding to performance and dialogue, supplying their own understanding and feelings about motivation and plot?

5.Louis and Veronique and their arrival, Louis upset at the house being changed, his godmother? Walking, wanting to visit Laure (and Veronique seeing it and later visiting her and finding out the truth about the daughter)? His concern about Gregoire? The first encounter, Gregoire in the bath, his wanting a plan of action as regards the media? His relationship with Agnes in the present and in the past, their discussions? The build-up to the talk show, Gregoire not being able to say anything? The author and the philosophical discussions about fascism and censorship? His personal anxiety, yet performing on screen? Visiting his mother? The visit to Laure and the discussion about the daughter? Telling the truth to Agnes, his being late for the meal, confessing to them all, chasing the train and the reconciliation with Gregoire?

6.Gregoire and his background, the owner of the business, his going to jail for three months, his comments about responsibility and guilt? His coming out, uncertainty, Agnes coming to meet him, having no money, feeling out of kilter with society, at home, the children, having the bath, eating? Meeting Stephanie and her rebuke that he was treating her like an idiot (as did Agnes)? His appointment with her, walking, talking, the taxi home? Infatuated with her and kissing her? Her response? Going home to Agnes, the resumption of the sexual relationship? Going to work, the chauffeur, the traffic jam, uneasiness, walking to work? People warning others in the building that he had arrived? His not going to the television discussion? The chance meeting with the boy from jail, the story of the Camel cigarette cards and the experience of kindness? The return, the irony of his being Stephanie's boyfriend? His going to the meal, his lack of ease, his mother, sister? The attack by Louis on his goodness and his going out, catching the train? How good a man was he, his kindness, taking the blame for others? His future?

7.Agnes and her life, quiet, a confident woman, the friendship with Stephanie? Her response to her husband, getting him from the cafe? Her past relationship with Louis, Louis able to talk with her, her advice not to reveal the truth? Her emotional and sexual relationship with Gregoire?

8.Veronique, her moodiness, the difficulty with Louis, the visit to Laure and discovery about the daughter? Her presence at the meal - and not saying anything?

9.Stephanie, at work, the manager of the hairdresser's - and the long chat with Gregoire, his later bringing the champagne and the staff drinking the toast? Stephanie and her betraying her boyfriend? His coming out of jail, going to the apartment, smoking pot with his friend, watching TV - with Louis? The meeting with Gregoire, the taxi ride, seeing him later? The chance encounter because of her boyfriend? The boyfriend, the experience of prison, the Camel cards, his pleasure in meeting Gregoire?

10.The men's mother, her advice to her son, the dinner, her handling of the situation, the old uncle and his stories, the sister and her comments about the convent, her influence on her brothers?

11.The themes of family, ethics, emotions and relationships?

JOHNNY THE PARTISAN (Il Partegiano Johnny)

2000, Italy, 135 minutes, Colour.
Stefano Dionisi.
Directed by Guido Chiesa.

Johnny the Partisan is based on a well-known Italian novel by Beppe Fenoglio. It is set in northern Italy and takes place over two years of World War II. The focus is on a student, Johnny (played by Stefano Dionisi, from such films as Farinelli).

The film starts with newsreel footage of the surrender of Mussolini to Eisenhower. However, the action of the film is the gradual retreat of the Germans from northern Italy, the clash between the partisans and the fascists, centred on the town of Alba.

Johnny is a student, a student of English literature. However, when his friends are killed, he wants to go out and fight. The film is very episodic, giving the names of various seasons or particular dates when action happens (which makes it seem arbitrary and difficult to follow for the outsider). Johnny meets up with various friends, there are various skirmishes and campaigns, they are often on the run, they are often hungry and dirty. They have to make decisions about hostages, killings, spies, exchange of prisoners and remaining loyal to the people in the district.

The film is photographed very darkly - much of the action actually in the dark, which gives the film a gloomy look and makes it very difficult for audiences to respond. Once again, there are many characters, but they seem arbitrarily drawn, sketches and glimpses every so often of particular people.

While the underlying politics of the partisans, the communists, the fascists in Italy during the '30s and 40s is of interest, the film is not particularly engaging for most audiences, and so the exploration of the themes is difficult and audiences are alienated.

PAROLE

US, 1982, 100 minutes, Colour.
James Naughton, Ellen Barkin, Lori Cardille, Mark Soper, Patricia Wettig.
Directed by Michael Tuchner.

Parole is an efficient telemovie on the subject of prisons and their effect on prisoners and the build-up to parole and its difficulties for the ex-convict. The film is set in Boston and stars James Naughton (Glass Menagerie) as a dedicated parole officer. Mark Soper is introduced as Jimmy, the main convict on whom the film focuses. Ellen Barkin (The Big Easy, Harry and Son, Down by Law) has an early role as the girlfriend.

While there is nothing particularly new in the film, it shows life in prison to effect and the grim side of prison politics, especially sexual pressure. It also shows the difficulties of the parolee trying to adjust to a world that has changed. Direction is by Michael Tuchner, British director of such films as Villain, Mr Quilp, Summer of My German Soldier.

1.A worthwhile film about prison, the system, its effect on prisoners? The question of parole, preparation for parole, difficulties for ex-convicts? The dedication of parole officers?

2.The details of prison life? The city life and its grim side? The musical score?

3.The themes of prison and parole: observing the system, justice and injustice, cruelty, probation and parole, lack of preparation, expectations of success and failure on the part of the system, on the part of the ex-prisoners?

4.Jimmy and his arrival, the usual scenes of going into prison, the shower sequence and its suggestions, in his cell, the pack rapes, the effect on him, the dining-room, the black protector? The system, informing meaning death? The other men, the young man who hanged himself? Sense of betrayal? The pain, surviving? Working, in groups, the dining-room? The effect on Jimmy?

5.The preparation for parole, the board, giving an account of himself, his hopes, his assessment of what happened in his life, the hold-up, the shooting? Expectations, hopes?

6.Andy and his work, skills, the discussions with Marco, getting his help? His personal self-doubt and the options of studying the law? His relationship with Suzanne, her music, her(?) not supporting her sufficiently, her concert, their talking things over?

7.His meeting Jimmy, blunt with him, the walk, explaining things, offering trust? The bond between them, not sufficient trust? His hopes?

8.Jimmy and his getting out, the address for criminal contacts? His sister and her help, his brother-in-law and complaints? His doubts? Meeting Donna again, her visits to the prison? Her giving him a ride to work? Working in the doughnut place? Efficient work, friendship of the girl? The customer making advances, his violence? His being sacked? Not telling Andy? The talk with Marco and the empathy? Trying to find a place to stay with Donna, finding her with a boyfriend? The sexual failure, insecurity, uncertainty? The bar, the man touching him? His going to the criminal connections? His job, the car-chase, Andy's intervention, the chase along the beach, the walk?

9.In jail, talking with Andy, the bare cell? His hopes, self-pity, blaming? His not being skilled? Learning to make conversation, prospects of high school study? His proposal at the half-way house? Andy finally helping him with the furniture?

10.The message about young prisoners, their motivation, criminality, the effects of prison, damaging the prospects for their life, emotional uncertainties, prospects on leaving prison?

PARKLANDS

Australia, 1996, 53 minutes, Colour.
Cate Blanchett, Tony Martin.
Directed by Kathryn Millard.

Parklands is a short feature written and directed by Kathryn Millard. It has an Adelaide setting, a story of a young woman returning to the city for her father's funeral, intersecting memories of her childhood, of her young adulthood and relationship with her father, probing a mystery and suspicions about his death and his being involved in corrupt police activity.

The film varies in its styles: a realistic and naturalistic treatment of the present, the use of material from past decades (both colour documentary and advertising as well as black and white television programs starring, amongst others, Ernie Sigley), and a more faded style for some of the flashbacks.

The film focuses on the journey of the young woman, her relationships and probings, her ultimate letting go of her father and not probing the mystery of his behaviour.

The film stars Cate Blanchett, who was to go on to star in such films as Paradise Road and Oscar and Lucinda. Tony Martin, award winner for his role as Neddy Smith in Blue Murder, is the father.

It is a short feature - and much of it might have been amplified with a longer running time. Photography is by Mandy Walker, one of the most noted cinematographers in Australia during the '90s.

1.The significance of the title? The visualising of the parks and the flowers, the opening credits, the ending? The information about the layout of Adelaide and its being surrounded by parklands?

2.The different styles of photography for the different eras? The present, the immediate past, the '60s and Rose's childhood? The intercutting and editing of the various styles? The musical score - bright, echoes of songs and TV jingles, the more solemn style of music, especially at the ending?

3.The length of the film, the portraiture, the introduction of themes, the exploration of issues?

4.The structure of the film: the presentation of the parklands, Rose and the funeral, relationships, memories of her girlhood, memories of her father, the photos, the television? The intercutting of the advertisement about the model homes and the satisfaction of parents and family with such homes - making the past seem idealistic? The flashbacks to Rose's relationship with her father, with her family?

5.The character of Rose: as a little girl, accompanying her father on his work, her love for her father, her comment that she was not in any of the photos of his life? Her leaving for Sydney, her return visit? The funeral, the introduction to Jean, deciding to stay with Jean, friendly towards her? Her discussions with her brother, with her mother? With the wife of the deceased policeman and her suspicions? Her probing, the puzzle about her father's retirement, drug-dealing, his death? The box and it being given to her by the widow? Her final decision to burn it on the beach? The scenes of her walking, reflecting, thinking - the motives for her final decision? The solution of the puzzle? Her future?

6.Cliff and his relationship with his children, the photos, the TV, the ideal home? His conscientious work in the police force? Taking Rose with him? The alienation from his wife, walking out, taking everything with him, including his photos? His intending to marry Jean? The relationship with friends in the police force? Suspicions, his imminent resignation? The background of police investigations and corruption in Australian states in the 1990s? His death and people mourning him?

7.Jean, friendship with Cliff, understanding him, the possibility of marriage? Her offering friendship to Rose? Rose staying with her, a genial person, offering information about Cliff? The searching of her house?

8.The contrast with Cliff's wife, dignity, deserted? The separation? Rose's brother and his speculations? The memories of their life in the past?

9.The widow, her grief at the wake, indicating suspicions to Rose, Rose's visit, the discussions, giving her the box and her wanting it out of the house?

10.The picture of the police, detective work, the temptations, the drugs - and the marijuana burning? Cliff being corrupt or not?

11.Themes of the Australian family, bonds, separations, probing of mysteries?

PARKER KANE

US, 1989, 95 minutes, Colour.
Jeff Fahey, Marisa Tomei, Amanda Pays, David Caruso, Billy Wirth, Stellan Skarsgaard.
Directed by Steve Perry.

Parker Kane is a routine private eye thriller, set in California, the kind of action film that Jeff Fahey made in great numbers during the late '80s and early to mid '90s. However, several of his co-stars did better than he in the '90s: Marisa Tomei winning an Oscar for My Cousin Vinnie, Stellan Skarsgaard starring in Breaking the Waves and internationally with Good Will Hunting and Ronan, David Caruso going into NYPD Blue as well as feature films. The producer was Joel Silver, notable in the '90s for his Lethal Weapon productions, Die Hard 3 and Matrix. The director of photography was Jan de Bont, who went on to direct Speed, Twister and Speed 2.

1.Private Eye film? Ex-policeman? The loner unable to relate to the team and to his wife? The investigation and the murder mystery?

2.Los Angeles settings, the wharves, factories? Apartments?

3.Parker Kane as the '80s or '90s private eye? His age, lack of following rules, inability to relate? Yearning for his wife? Good friendships? Bending the rules? Charm when he wanted? Macho bravery?

4.The plot: Kane and his investigations, his dealing with married women who wanted their husbands spied on? Money deals? His friendship with Joey, suspicions, Joey's death? Clashes with the police? His own investigation into Joey's death? The lead with the importer, the friendship with Sarah? The clashes with the thugs? April and her support? The affair, his further investigations, Sarah helping him and then being taken? The confrontations with the importer? His rules - and his not shooting anyone - unless necessary? His interrupting his wife's wedding?

5.Parker Kane as a character, American type, macho type? The one who wins out in the end?

6.The importer as villain: migration, setting up business, buildings, contamination? His factories, the cover-ups? Joey and his discovery, his being eliminated? The thugs? His public appearances? Confrontations with Kane, taking Sarah, the final fight? His death? The characterisation of his thugs?

7.Joey, his friendship with Kane, his death - and the discovery of his car, bike, wealth? His information about the contamination?

8.Sarah, PR, the attraction to Kane, the affair, helping him, her being taken and in danger, the final chase and shootout?

9.The people at the bar - April and her friendship, being taken for granted, charging him $10 for coffee? The proprietor and his support? The characters around the bar?

10.The police, investigations, the former partner, the clashes with Kane? The investigations and his bending the rules?

11.Typical American action investigation show?

PARIS BY NIGHT

UK, 1988, 103 minutes, Colour.
Charlotte Rampling, Michael Gambon, Robert Hardy, Iain Glen, Jane Asher, Andrew Ray, Linda Bassett.
Directed by David Hare.

Paris By Night was written and directed by playwright David Hare. His other writings for the screen include Plenty, Saigon, Year of the Cat and he directed his Strapless and Wetherby. His work is strongly critical of Britain and its social history, politics. This film, particularly, focuses on Mrs Thatcher's Britain.

All of Hare's works offer very strong characters for women actresses. Here Charlotte Rampling is at her best as the Tory politician, a firm woman who wants control of her life as well as her work in politics. She is married to an ineffectual and alcoholic British politician while she works for the Common Market. Michael Gambon is excellent as the weak politician (in contrast with his performances in The Singing Detective and The Cook, The Thief, His Wife and Her Lover). Robert Hardy is a sinister Tory historian, Iain Glenn is a romantic inventor, Jane Asher is Charlotte Rampling's sister, Andrew Ray is a weak but good failed businessman.

The film works well on the political level, highly critical of Mrs Thatcher and her style of government with its elitist condescension. It is also critical of corruption and the condoning of poor and immoral behaviour because the parliamentarians are part of the establishment. However, the film also works as a thriller, the central character murdering the ineffectual businessman and then trying to cover her tracks.

The film is probably the most accessible of David Hare's work - interesting and enjoyable,

1.Impact of the film as political thriller? Political and social observation? Character study?

2.The work of David Hare, his plays, television movies and films? Political background, social comment? Strong portraits of unusual women?

3.The London and Paris settings, contemporary, the cities, France and England - and their mentalities, symbols of meaning? The musical score?

4.The cast and its strengths?

5.The title, the expectations - and their ironically being dashed?

6.Charlotte Rampling's portrait of Clara, her waiting at the opening, brittle, charm, the executive, her work for the European market and community? Her return home, the alcoholic husband and her dragging him along the floor? The absent son, her visits and her ability to smile to her family (as well as business and political associates and constituents)? Her insulting Gerald? The encounter with Michael, his threats, her thinking over his proposition, response to his desperation, her fear? Her rejecting him, his pursuing her at the mansion? Maltreated by the guards? The background of the relationship with Michael, Gerald's failure, the documents, the business and Michael taking over, financial loss? The background of the anonymous phone calls and her fear, assuming them to be Michael?

7.The sketch of Adam, the Tory background, history, writing on the family? Smooth dinner-table talk? Business, sense of menace, in Paris? Offering Clara the job? His wanting her to be subservient to him? The irony of his attitude of men dominating women? Her recognising his voice, her phoning him at the club, using the same words? Her entering into the club and denouncing him publicly?

8.The portrait of her family, the relationship with Gerald, with Pauline, her son, the visits, playing with him, yet ignoring him? Her son's dependence on Pauline? Pauline's criticisms of her sister?

9.Her philosophy of order and control, elitism, responsibilities, consequences of actions? How true was this of her own life? Wallace and his pointing out the other aspect of her life? Her wanting it to come out, yet her dominant control?

10.Clara as a pattern of Mrs Thatcher? Tory politics, business and industry, her research, briskness? Studying documents at home? Relationship with politicians and the business community? Her background, the consequences of her action? Immoral? Her condoning malpractice? Elitist attitudes? Guilt and responsibility?

11.The clashes with Michael, and her going to Paris, the accidental meeting with Wallace, her change of mind, sharing the meal with him, the visit to his family and the Jewish- French community, relaxing? Wanting to walk during the night? The chance encounter with Michael - and her assuming it was his deliberate following of her? Her killing him? The lost bag, walking, revisiting Wallace, her cover story and her ability in acting, the control with which she manipulated events?

12.The news of her son's illness, her reaction, more concern about the bag, staying in Paris, returning to Wallace, the passionate lovemaking and the collage of their relationship? Her listening to him and his insight into the other side of her character? The phone calls to Gerald? Wallace and his realising the truth about her son's illness and his bewilderment?

13.The embassy, getting her money back, the credit cards? Brisk organisation? Meeting Michael's daughter, her composure and pose? Taking the daughter to a meal, the daughter's hysteria and the reaction? Her paying?

14.Her return to England, going to see her son, her devotion at the bedside, with Pauline and Pauline's criticism, seeing Gerald and the perfunctory greeting, the tension between the two? Speaking of divorce? The encounter with Adam, the interview about the new job, denouncing him at the club?

15.The political speech, her candidacy? Stirring the crowds? The Tory content? Meeting Michael's wife, the talk between the two, his wife and her explanation of Michael's weakness and accepting the consequences? The irony of Wallace coming after reading of Michael's death and the finding of the body? The truth? The phone call from Gerald and her assuming it was Adam? Her abuse of him? Plans for the divorce, the continuing of the affair, driving back to London?

16.Gerald, relationship with Clara, the failed business, the documents, a failed politician, alcoholism? Love for his son? Taking the son to Pauline? Getting the gun, Clara's arrival, his denouncing her, telling the truth, seeming to shoot himself, shooting her? His own future?

17.Wallace, the business background, as a character, the chance meeting with Clara and the attraction, the meal, taking her to his family, relaxed? Her return, her using him, in the middle of the night, the early morning? The sexual encounter? His insight into her? Bewilderment about her attitudes towards her son? Discovering the truth about Michael's death? To England, encountering her, the accusation, her seducing him again? Going to London? His future?

18.The sketch of Michael, the good man, his weakness, the mystery and its unfolding, his love for his daughter, the accident of the wrong train? His relationship with his wife - and her accepting the consequences of his actions? His daughter's concern about him? The accident of his death?

19.How effective was the film as a crime thriller, psychological thriller, political thriller? The blend?

COMPO

Australia, 1978, 80 minutes, Colour.
Jeremy Stanford, Elizabeth Crocket, Bruce Kerr.
Directed by Nigel Buesst.

Compo is a small-budget feature directed by Nigel Buesst (Come Out Fighting, Jacka VC, Bonjour Balwyn). Based on a play, the film retains the play's structure and the strong interactions between characters and their speeches. However, with good use of a public service building and its offices, the film does not seem to be merely a filmed version of a play. Outside sequences are used for the insurance company's surveillance agents.

The film is a satire on bureaucracy, on public servants and their laziness, on their lack of ambition, smugness and self-satisfaction in their work - with the consequent treatment of the customers. The film also pokes fun at people trying to cheat the system and the attempts of the compensation officers to find them out, especially by videoing them.

There is a range of characters from the sardonic boss who has given up, the assistant who has no ambitions but thinks the world of himself, the earnest worker who can no longer stay but must volunteer for work in Bangladesh, the earnest young man who is over-qualified from the university but is glad to have a job, the young woman on the staff who seems sensible and is attracted to the hero. There is also the young man who thinks himself skilful but is actually dumb. On the outside, we see the work of the surveillance agents and their shadowing a policeman - who eventually joins them.

The film is lively, often very funny.

1.Entertaining small-budget feature? Comedy, satire? Social comment?

2.The Melbourne setting, offices, the streets and suburbs? Life within the office? The musical score?

3.The film based on a play, the strength of dialogue, character interactions, opened out for the screen?

4.The introduction to the range of characters, their interconnection at the office? The separate episodes all coming together and illustrating each other?

5.In the office: Marco, thinking the world of himself, his laziness, his rudeness to clients? His vanity? His interactions with George, despising him? His relationship with Dave, giving him advice? The antagonism towards Paul, suspicions? Bad-mouthing him? Plotting against him? The mixture of competence and incompetence? His flirting, his marriage? The contrast with George, his reactions to Marco, his working 12 years, his having to give up, earnest idealism, going to Bangladesh? The young woman in the office, her work, her relationship with Marco?

6.Dave, his age, his dream nightmare with the headmistress demanding compensation? The reasons for his becoming cynical? Work, bureaucratic delays? His embodying the bureaucrat? His despising his colleagues? The interactions with Paul, understanding him, warning him off? Accepting his resignation, leading him on? The Christmas party?

7.The young man without qualifications, earnest, dumb? His hopes, interviews, relationship with the girl? Very literal, yet ambitious? His discussions about qualifications? The interactions with the others? His eating? His reaction to Paul, discussions? His skills at flying paper planes onto the building opposite? His stoicism in not getting his ambitions fulfilled?

8.Paul, the interview, needing the job? His appearance, his explanation of himself, the need to have a job? His qualifications in arts? Hard work, phone calls during the breaks, concern about people, changing appointments? The interaction with Marco and the others? His reaction to Dave's cynicism? His friendship with the girl in the office, their going out, the relationship? Hopes? The conspiracy against him, her giving him information? His putting in for the transfer? The party? Dave leading him on? Prospects?

9.The surveillance team, their styles, ferreting out fraud, the people doing exercises when injured? The policeman and his history, the discussion about his career? The videoing, showing the films? Suspicions, injuries and compensation? The injury - and the irony of the policeman joining the team? The policeman being better than the others?

10.The policeman and his story, injury, compensation, his alternate jobs? His wife and her affair, leaving him? Under surveillance, the clash with the men, discussion of the story - joining and succeeding?

11.The end of year party, Christmas party talk, the end of the year - and changes? Dave and his reaction, Paul's challenge to him, his deciding to leave - and the plans for compensation?

12.The portrait of a world, bureaucracy, limits and pettiness, laziness, lack of compassion, ambition? Possibilities for change?

COMMUNION

US, 1989, 101 minutes, Colour.
Christopher Walken, Lindsay Crouse, Frances Sternhagen.
Directed by Philippe Mora.

Communion is based on a best-seller by Whitley Streiber. Like The Amityville Horror, it claims to be a true story. Whitley Streiber himself wrote the screenplay and the central character is Whitley Streiber and the film is about his experiences with aliens. However, its credibility is not very strong - despite a whole lot of information given, especially at the end, about the truthfulness of the experiences.

The film was directed by Philippe Mora (Mad Dog Morgan, Captain Invincible, as well as the American horror films Howling II, The Beast Within and the Australian Howling III). Christopher Walken gives an off-keyed performance as Whitley Streiber - perhaps indicating the almost schizophrenic nature of his experiences. His performance seems to put the portrayal of his wife by Lindsay Crouse also somewhat askew. Frances Sternhagen as the hypnotist is much more reliable in her role.

The film is about a write, his paranormal experiences, his dreams about aliens, the dreams of his son, the remembering of these experiences by hypnosis, his joining in a group to share similar experiences. It is over to the audience to believe it or not.

1.True story? Fiction? UFOs and aliens? Psychology? The credibility of such events? Mental disturbance? Fantasy?

2.New York settings, the New York countryside? The real world? The aliens and their reality, artificiality - leather skins, inert masks? Their appearance, thin and fat? Their behaviour? Light and mechanisms? Credibility? Special effects? Musical theme and score?

3.The focus on Whitley Streiber? The writing of his book? Subjective perspective, his experiences? Leading to the writing of the book (and the making of the film)? The information at the end? Christopher Walken credible as Streiber or not?

4.Audience response to aliens, UFOs? The mysterious plan of the aliens? The crowded universe and expanding into the galaxies? The aliens absorbing human behaviour, mimicking? The magic show? Television sayings? Sinister behaviour, friendly behaviour? The discussion group, their experiences of aliens, as victims or not?

5.Whitley in himself, writing his book, the computer and the odd behaviour? Love for his family? Electricity and blackouts? The house at night? The effect on him? His friends going for the holiday, the light, their deciding to leave? Andrew and his dreams? Talking things over with Anne? Unwilling for psychological assessment? Going to Janet, the resistance to the hypnosis, his agreement? Resistance in going to the group, its effect on him, the effect on Anne? The return to the country house, the memories? His philosophising with Anne about the aliens, their gift? The ease of writing the book? His future?

6.Anne, her love for her family, ordinary, the experiences, the worry, going to the group and its bad effect, her own hypnosis and her fears, her philosophising about the gift?

7.Andrew and his age, relationship with his parents, his dream experiences, inheriting this from his father? The flashbacks to Whitley's youth and his always having these experiences?

8.The friends, their visit to the countryside, the night, the light, the effect on them and their going?

9.Janet, her skills, hypnosis, the group, the background of her study, her house and the artwork? Her helping in therapy?

10.The aliens and their purpose, the fright, the stripping of Whitley, taking his powers? Andrew? Anne?

11.The psychosis nature of Whitley's experiences? Hallucinations? Their effect on his behaviour and being in touch with reality?

12.Close encounters or psychosis?

THE COMMITMENTS

US, 1991, 118 minutes, Colour.
Robert Arkins, Michael Aherne, Angeline Ball, Maria Doyle.
Directed by Alan Parker.

The Commitments was one of the most popular films of 1991. It won the British Film Academy Award for Best Film and Best Director.

The film was written and directed by Alan Parker, whose career has ranged quite widely during the '70s and '80s. As regards films with musical background, he directed Bugsy Malone and Pink Floyd: the Wall. This is a more small-budget, low-key film than many of his American films like Mississippi Burning, Angel Heart, Birdie, Come See the Paradise. It is filmed on location in Dublin with unknown Irish cast. They perform well and most authentically.

The film takes themes of the 1990s, unemployment and recession, love of music, the enterprise in forming a band, even if it is short-lived. However, Irish cantankerousness is also at the fore as the members of the group clash with one another.

However, as a focus on part of Ireland, part of Dublin (the Northern Dubliners seeing themselves as the blacks of Dublin because the Dubliners are the blacks of Ireland), they play soul music. There is an energy and verve about the film - as well as a rather raucous tone, Irish swearing and bickering, and the touch of Irish irreverence as well as religion.

Comedy writers of many decades, Dick Clement and Ian La Frenais, contributed to the screenplay with the author of the novel, Roddy Doyle (a Booker Award-nominated author and a writer of a series of which The Commitments is part).

1.The popularity of the film? Awards?

2.The contribution of Alan Parker and his style of film-making? The gritty touch? The comedy writers? The adaptation of the novel and the contribution of the author?

3.The world of North Dublin, the opening sequences with the market, the streets, the yards? The clubs, the church, the halls? The views of the city, the angles, profiles?

4.The verbal humour, the Irish accent and idiom, idiosyncratic swearing, the interactions of the characters, the ironies?

5.The musical score, the range of songs, the explanation of Dublin's soul, the versions of the songs?

6.The title, Joey naming the band? The spirit of the group? Roddy Doyle's perceptions of the Irish and the band?

7.Dublin and Ireland in the '90s, the economy, the working class, poverty and the dole, enterprise, success and failure?

8.The Irish and the perception of themselves, the blacks of Europe, the North Dubliners as the blacks of Dublin? The affinity for soul music? Self-image, confidence, attempts to form bands? An attempt to stand out from the rest? The possibility of complacency and resignation? The ordinary people, the Irish family, parents, children? The audience for the music?

9.Jimmy as the focus of the film, his ambitions, enterprise? The mock interview with Terry Wogan interspersing the film? His sense of self, aiming for fame and achievement? His understanding of music?

10.Jimmy and his pals, the friendship with Derek and Outspan, the possibility of the group? The wedding, hearing Deko, talking things over, the idea? The auditions - and the comic collage of so many people coming to audition and Jimmy's reaction? The advertisement? The favourite bands, getting members to play? The singing and the playing? The decisions? Imelda and the reaction of the boys? Bernadette? Natalie? The build-up, the achievement, performances?

11.Joe and his arrival on the Suzuki, his religious spirit, sense of brotherhood? The memories of B.B. King, Elvis and other players? Forcefulness? His playing his trumpet - and `Moon River'? His mother and the visit to home? Her pride in her son? The mystery about Joe? His oomph, the rehearsals, the trumpet as Gina Lollobrigida and Kim Basinger? His interactions with the women, sexuality? His clothes and the performance? The name of The Commitments? His telling Jimmy's father the story about Elvis - and the vomit? His being against drugs? The changing of the band, his place? His being offended by Dean playing jazz? Wilson Pickett's arrival, the promise that he would come and jam with them? His non-arrival, Joe's going - but his telling the truth?

12.The commitments as a group, the various members? Deko and his singing while drunk at the wedding, his performance as vocalist? Dean and his playing the saxophone, his musical ear, improving? Billy and his audition on the drums in the pawnbroker's window? Steven borrowing his grandmother's piano? Derek and Outspan and the guitar? The girls as back-up? The characters, their talk together, the music, tensions? Arguments at table? Their protest and anger at Deko? The effect on all of them - Steven and his studies, and his going to confession (and the priest knowing more about record singers than he)?

13.Deko, the wedding, his singing and drinking, talking to Jimmy, vocalist and performance, crass? The electrocution problem? The baby crying? Antagonism, the breaking wind in the van? The record offer? The announcement about Wilson Pickett? The bashing? His future?

14.The girls, the boys seeing them, the invitation, singing, background? Relating? Joe and the baby? Bernadette? Imelda and her not going on holidays with her family? Natalie and her relationships? The singing, the success, the argument about Wilson Pickett?

15.The picture of Jimmy's family, talk at home, the pictures of Elvis and the Pope, the devotion to Elvis? The kids, the twins? Tough? The father at the concert? Listening to the Elvis story from Joey? The place of the mother?

16.The audiences and the ambitious musicians? The effect? The establishment of the band, the performances, the presentation in the parish hall - with the short circuit? The priest and his support, the church's support? Going on tour?

17.The fight in the pub and its effect? Success and applause - yet cantankerous and bickering?

18.Jimmy and his disappointment, the question of getting the press, the group rebelling, the record offer? Wilson Pickett not coming - and his being stopped in the street by Wilson Pickett's chauffeur? What he had achieved, raised their expectations, lifted their horizons? His final section of the interview with Terry Wogan? His explanation of the aftermath for each of the members of the group?

19.A picture of '90s recession but '90s hope?

COME SEE THE PARADISE

US, 1990, 133 minutes, Colour.
Dennis Quaid, Tamlyn Tomita.
Directed by Alan Parker.

Come See the Paradise is a line from a poem about a vision of the US, The Paradise of the American Dream.

This film was written and directed by Alan Parker (Bugsy Malone, Midnight Express, Fame, Birdie, Angel Heart, Mississippi Burning). It has more tender aspects than many of his tougher films. There is a central love story, an interracial love story of a Japanese American with an Irish American. The setting is mid-'30s - and, of course, Pearl Harbor and World War II.

While the film establishes the Japanese community in Los Angeles in the mid-'30s, social upheaval in the aftermath of the Depression and the work for establishing of the unions, the latter part of the film is more familiar with life in the camps until they were declared unconstitutional. the film highlights =the injustice done to Japanese living in America after World War I and their not being permitted to take out American citizenship and the injustice done to the second generation Japanese who were American citizens. It highlights the prejudice that runs rampant during war.

The film is a beautiful reconstruction of the period with a great attention to detail. The cast is very impressive, especially the Japanese American actors who portray the Kawamura family, especially Tamlyn Tomita as Lily. Denis Quaid, in a much more subdued role than many of his others, gives a mature and emotional performance as Jack Mc Gurn.

While the latter [part of the film moves to material with which audiences are familiar (Farewell to Manzanar, If Tomorrow Comes, Bridge to the Sun), the film overall asks for an intelligent and emotional response to the characters and the situations.

1.The film as a piece of Americana, racial issues, war issues, humanity?

2.The re-creation of the '30s and '40s, the meticulous eye to detail? New York, Los Angeles, the war camps? The mood of the musical score?

3.The range of songs sung throughout the film: `Until the Real Thing Comes Along', Andrews Sisters songs, `Love's Old Story', Japanese songs.

4.The title of the film? The American dream? American constitutional rights? Paradise/Hell?

5.The structure of the film: the framework with Lily and Minnie discussing Jack's return? Memories of the ten years? Audiences knowing that there was to be a happy ending? Perspective on the whole story? Lily's telling the story - and highlighting the truth, for example the happy and sunny wedding day? The night talking with Jack?

6.The portrait of Jack McGurn: in the cinema, the smoke, the bomb, the pamphlets, the fire, trying to save people, his hands being burnt, the reaction of his comrades, his being told off, his knowledge of the law, ideals, the background of his wife leaving him, his rage? Moving to California, being greeted by his sister-in-law, discussions with her, his brother and cantankerous, fear of communists, losing his job, the arguments?

7.The intercutting of the story of the Kawamura family: putting on the play, the social, the community in Little Tokyo, the father playing cards and gambling, details of life at home, the parents, brothers and sisters? The Japanese in the US, those born in Japan not being able to be citizens, the next generation as American citizens, language, music, sport?

8.The background of the cinema, the Japanese of the '30s, the audiences? The girls watching the projectionist, his drinking, kissing, his death? The nightclub sequences, singing and dancing - and Harry's career in Hollywood? Portraying Chinese characters? Charlie and his being in charge, employing Jack, taking him to the cinema, Jack at work, singing the Japanese songs, friendships, in the foyer? Meeting Lily, inviting her to lunch, talk, the kiss? Lily talking to her sisters and their reactions? Jack’s courting of Lily, going out, dancing? Sending her home from the theatre? The discussions with Lily's father, his refusal? The decision to go to Seattle because of the laws in California? The grief for the family? Lily's telling the story of the marriage, the wedding day, quiet, in the restaurant, attending the other wedding - and dancing with all the guests? A happy time?

9.Life in Seattle, Jack working at the cannery, the industrial arguments, his interventions? The arguments with Lily and her asking him to stop? The protest, the fish on the men, anger and rights? His protest, being injured, being taken to jail? The family - and the hour with the birth of Minnie, Minnie growing up, the passing of the years? Lily’s decision to go back to Los Angeles?

10.The day of Pearl Harbor, Lily's return home, the effect on the family, the arrest of the father, the search of the home? The change for the Japanese community? Demonstrations and disruption? The packing in a few days, having to sell all the family goods, the selling of the piano, the breaking of the records, anger? The train, Jack's return, his farewell to the family? Their being housed in the dirty racecourse, so many in the stable, the latrines? The ugliness and isolation of the camps? As concentration camps and prisons? The violation of rights?

11.Life in the camp, Charlie and his anger, his hair, the Japanese bands, the demonstrations? Lily, with Minnie working to produce camouflage? The other sisters? The mother not allowed to work, Lily's anger? The return of their father, his being isolated, alleged to have betrayed to the FBI, Charlie believing this? The father and his making the chair? The younger children surviving in the camp, school, sport? The social life, the pageants, imitating the Andrews Sisters? Harry and his singing? The options and the questionnaires, loyalties? Harry going to the army, the sadness of his death, his mother receiving the medal? The daughter going off for the harvest, coming back pregnant? The hospital sequences? The demonstrations and riots? The treatment of the Japanese as prisoners? Deprived of their property, herded together? ON lines so much of their life?

12.Jack, going into the army, his probation quashed? His hitchhiking for the visit, not being able to get in, the reunion with Lily, with Minnie? The discretion of the mother and daughters leaving the hut to Jack and Lily? His second visit, saying that he was going overseas, his wanting to talk to Lily's father, the reconciliation, the support for the marriage? His own arrest, interrogation?

13.The war, its effect on Americans, their anti-Japanese stances, the need for protection of the Japanese Americans? The loss of property, of dignity? The aftermath?

14.The film as a love story, the portrait of Jack and Lily, their tenderness, Minnie? The family group. the brothers and their roles, the contrast between Charlie and Harry, Frankie as the younger, the sisters and the bonds between them? The strong portrait of the father, the gambler, wanting to return to Japan wealthy, a sense of failure. His death? The mother, her work, he being cut off from Lily, Lily's return, Minnie and the reconciliation? Her life in the camp, understanding the swearing, the death of Harry? Her stoic suffering?

15.The aftermath of the war for the family - Charlie going to Japan which he didn't know, a new life for the girls, for Lily and Jack?

16.A portrait of the US in the '40s, an examination of America's behaviour in retrospect and judgment on it?