COME BACK TO THE FIVE AND DIME JIMMY DEAN, JIMMY DEAN

US, 1983, 113 minutes, Colour.
Cher, Karen Black, Sandy Dennis, Sudie Bond, Kathy Bates.
Directed by Robert Altman.

Come Back to the Five and Dime Jimmy Dean, Jimmy Dean is based on a play by Ed Graczyk. It is directed by Robert Altman. Altman had great success in the '70s with such films as M*A*S*H, McCabe? and Mrs Miller, Nashville, A Wedding. However, he was less successful in the '80s and filmed several plays including this one, Streamers by David Rabe, Christopher Durang's Beyond Therapy.

He filmed Come Back... on 16-millimetre on a very small budget. However, the film is well made and quite effective - many of the American critics were very harsh on Graczyk's play but praised Altman's creativity with it and the strength of the performances. The performances are particularly good. Sandy Dennis, always mannered, will appeared to her fans with this complex performance. Cher in her first film since Good Times with Sonny Bono shows what an effective actress she was to become during the '80s. Karen Black handles a complex role effectively. The supporting cast also makes an impact including Sudi Bond as the owner of the five and dime, Kathy Bates (later to win the Oscar for Misery) as the wealthy Texan, Marta Heflin (who had appeared in a number of Altman's films including A Perfect Couple, A Wedding) as the mousey Edna Louise. Mark Patton is effective and credible in a key role.

The play and film reflect the star system and its impact in the United States, a group of Texans in an out of the way town whose greatest moment was when Giant was filmed nearby and some of them appeared in the crowd scenes. But James Dean also died at that period and had a profound effect on the fan clubs. This one is called The Disciples of James Dean and in Mona's mind, he is likened to a God figure, a Christ figure.

The film shows a range of characters, a crisis situation when they assemble for the 20th anniversary of James Dean's death - and, as with so many films and plays, truth games are played and truths revealed.

1.The quality of the play? Robert Altman's direction? Making a film version of a play - and still using the one set, but fluidly?

2.The title and its tone, the yearning? The cult of James Dean and the clubs?

3.The background of James Dean in the '50s, his few films, making Giant, the Disciples, his death and its effect, memories?

4.The single setting, the five and dime? The play made fluid within the one set? The interiors, mirrors? The background of the heat - and then the rain, the passing storm?

5.The mood of the '50s contrasting with the mood of the '70s? The actresses moving in and out of periods? Clothes, songs, hairstyles? The changes in age, manner - and in American society from the mid-'50s to the mid-'70s?

6.The time-shifts, the stage used effectively for times? Superimpositions? Close-ups? Group contact?

7.The episodes in the past: the atmosphere of the '50s, the young women, the small town, isolation of Texas, girls and their dreams, at work? The place of religion and prayer groups? Alcoholism? Hypocrisy and cover-ups? Power? Sexual identity, sexual ambiguity, intolerance, brutality? The portrait of the '50s as was lived by the characters? As remembered?

8.The contrast with the '70s and the passing of 20 years, the women the same yet different, the photo of the group, Texas in the 70s, the isolation? The disappearance of the five and dime stores? The hold of religion? Attitudes towards sexuality, greater freedom? Sex operations? Disappointments, hurt, hopes?

9.The '50s meeting of the club, the members, the jackets? The minutes of the meetings? Listening to the news of Dean's death? Belief and disbelief? The photos in the store - as a shrine?

10.Sandy Dennis's portrait of Mona: the young asthmatic, college, returning to the town, her friendship with Joe and reliance on him, founding the club, holding it together? Her relationship with the other women? Their imitating the Maguire Sisters? Going with Joe to be in the movie? Her story, the night with James Dean, echoes of the virgin birth, her son as a Christ figure? Yet his retardation, her treatment of the boy? His disappearance? Her revisiting the scene 20 years later? Coming back for the reunion, interaction with the women, the heat and her asthma, her clashes with Sissy, the fight? Her memories of Joe, meeting Joanne, remembering something, disbelieving the truth? Her stating she was sick, her disgust? Her revulsion against things physical - yet her own sense of physical dependence, her illness? The effect of the reunion, the behaviour? Anxiety about her son, his driving away? Her being persuaded to tell the story again, Joanne and the revelation of the truth, admitting it? The disillusionment, coming down to some reality - and joining in Sincerely?

11.Cher as Sissy, young, sexuality, her bosom, skating, her relationships with boys? The change after 20 years, decorating the place, friendship with Mona and clashes? Taunting Juanita? The true story, her having been married, abandoned? The operation and the loss of her breasts? The good-time girl - still hoping? Acknowledging Joe, listening to his story, her reaction about the telling of her own story? Her being resigned to the truth?

12.Joe, the young boy at the store, his relationship with the girls, in the club, dressing up and singing? Deceiving the boy and the brutality? In the cemetery? The arrival of Joanne, her wealth, the superimpositions on the memories of Joe, her revealing the truth about herself, the story for Sissy and its malice and revenge yet with its bitterness, her praising Edna Louise for her glow, telling the truth to Juanita about Sidney (and also they touch of revenge)? The telling of the truth for Mona, making her realise the truth about her son? Her being the father? The memories of the group in the past, the happiness, the violence at the dance? His mother, the inheritance, having the operation? Having some regrets? The Porsche, the son stealing it, the phone calls? Drinking, coming to terms with the past? Joining in the singing at the end?

13.Juanita, owning the five and dime, the absent Sidney, her Texan talk, suspicions of strangers, wanting things proper, the prayer group and the intentions? Her relationship with Sidney? Her sharing the reunion, the decorations, the arrivals? Her suspicions of Joanne, Joanne telling her the truth about Sidney and her reaction? Her change of heart, wondering about the drink? Not shaking Joanne's hand but calling her "Ms"?

14.Edna Louise, quiet, pregnant, nice but mousey, Joanne talking about her glow? Changing the dress, uncomfortable? Spending so much time changing? Her being the butt of Stella May's jokes? The author favouring Edna Louise and no mocking of her?

15.Stella May, loud, wealthy, the Texan hat, the drinking? Poking fun at Edna Louise? Her telling the story about James Dean coming - and Edna Louise blurting it out? The reunion, the photo, the drinking, her reaction to Joanne's story? Her bitterness about her happiness?

16.The people off-screen - Sidney and the descriptions of him, his behaviour, his persecution of Joe? James Dean himself as seen through the memories of the women? The boy who was attracted towards Joe and beat him up? Marrying Sissy and leaving her, the episode of flirtation with Joanne? Jimmy Dean and his disappearance, the women talking about him, growing up retarded, his abilities, working in the garage, taking the Porsche?

17.Small people and their dreams, a piece of Americana, glimpse of Texas? Women - and their hopes?

THE COLOR OF MONEY

US, 1986, 119 minutes, Colour.
Paul Newman, Ton Cruise, Mary Elizabeth Mastrantonio, Helen Shaver, John Turturro.
Directed by Martin Scorsese.

The Color of Money is, in some ways, a sequel to the 1961 The Hustler, directed by Robert Rossen.

It is said that the only thing in common is the character of Eddie Falson played by Paul Newman. However, the origin of the film is attributed to the author Walter Tevis, author of both books. However, the character of Vincent (played by Tom Cruise) is introduced into the film and does not appear in the novel. This means that the theme of The Colour of Money is very similar to that of The Hustler, the young pool player and the worldly-wise adviser.

The film is strongly acted, with Paul Newman winning an Oscar for his performance. It marked the emergence of Tom Cruise as a significant actor (Rain Man, Born on the Fourth of July). Mary Elizabeth Mastrantonio is also a strong presence.

The film was directed by Martin Scorsese and was well received.

The film has a great detail of pool games and playing and may be somewhat monotonous for those not familiar with or not interested in the game. However, there is strong interaction among the characters.

1.The status of The Hustler? A sequel coming a quarter of a century later? The time span in Eddie Falson's life? The Paralleling of the two films? Themes and setting?

2.The quality of the acting, Paul Newman and his Oscar, the associate cast? The status of Tom Cruise in the mid '80s? The work of Martin Scorsese and his intensity?

3.The film as a piece of Americana: the settings of the various states, the road to Atlantic City, the American roads, pool halls, characters in these environments? The musical score?

4.Paul Newman's portrait of Fast Eddie Falson: the memories of the past and his success as the expert hustler? 25 years later, the liquor, bankrolling players, still hustling? His eye not being as strong as it was? Interest in Vincent? Encounter between the two, the hopes for Vincent, the plan, the training, the tricks, the learning? Carmen's presence - a strong presence? The various tricks and the flirting? The pool halls, the range of opponents, the matches, Vincent losing and Eddie's anger? The gains, the reputation? Eddie's personal life, relationship with Janelle, the tricks and Carmen and the flirting, Vincent jealous? His break with Vincent? His own training, his getting the glasses? Wins and losses? Janelle and bringing her back? The complexity of the final competition, motivation, having his success in Vinnie? Vinnie being used? The rematch - "I'm back." Vincent and the parallel with Eddie? Tom Cruise's style? Vincent in himself, background, type? The relationship with Carmen? Casual, jealousy? His abilities? Slick, wins and losses? Letting feeling enter in? Being attracted to Eddie, the games and the delight, the tricks, the training? His dance around the table? Winning and not losing? The jealousy, the fights? The opponents? On the road, separating from Eddie? The road to Atlantic City? The competition, its complexities? Winning, going into the top rank? The money, returning it to Eddie, Carmen bringing it back? The final rematch? His future? Paralleling that of Eddie?

5.Carmen and her presence in this masculine world, her relationship with Vinnie, motivation for being there? Relationship with Eddie and his keeping his distance? Emotional distance? The tricks, the flirting? Her competence? Tension with Vinnie? Winning and losing the matches? The decision for Eddie and Carmen to go on their own? Returning with the money? Her place in Vincent's life? In Eddie's?

6.The contrast with Janelle - the old flame, the relationship, sharing, talking, sexual? Eddie's decision to move away? His wanting her back, her coming, support? The quality of the relationship?

7.The picture of the players and the lifestyle of the pool players? On the road, the pool halls, the victims, the winners, the hustlers? The old man capitalising on his age? The strengths? Moselle and the matches? The bets?

8.The world of pool as a sport, gambling? The halls, the hotels, the bars, the apartments? The gallery of characters?

9.Skills and sport, gambling, hustling, achievement? The possibility of success and achievement - even of redemption?

COLOR OF NIGHT

US, 1994, 123 minutes, Colour.
Bruce Willis, Jane March, Ruben Blades, Leslie Ann Warren, Scott Bakula, Brad Dourif, Lance Henriksen, Shirley Knight.
Directed by Richard Rush.

Color of Night is an erotic psychological thriller directed by Richard Rush, a strong director who had an up and down career starting with bike and druggie films of the '60s but making interesting features, especially the Oscar-nominated 1980 The Stuntman with Peter O'Toole.

Colour of Night is a psychological drama. A psychologist is murdered and a new psychologist, played by Bruce Willis, joins the group and has therapy meetings in order to discover who the murderer is. In the group he encounters a young woman, played by Jane March, with whom he has an affair - and, of course, she is the murderer.

The film has a very strong cast and brings to life some of the lurid and erotic action of this kind of popular melodrama.

1.Psychological murder mystery? Lurid and baroque psychological erotic drama? Critics and their comment on it being a worst film - but yet very entertaining?

2.The title, the colour red, Bill's colour-blindness? Its cause? The colour of blood?

3.New York and Los Angeles settings? The modern city? Its style, pressures? Its psychology? Police precincts? Psychologists' offices? The variety of locations for the patients? The musical score - saxophone-playing? The title song?

4.The prologue, psychodrama, discussions about sexuality, the interview, the disturbed patient, her death, its effect on Bill?

5.Bill and his work, discussions, his grief, colour-blindness? His going to Los Angeles? The friendship with Bob, their past friendship - and rivalry?

6.The introduction to the group, the information given about each of the group, their behaviour in the session? Bill's radar and the various reactions? Credible psychological sessions? The needs of the patients, the possibilities of help and therapy?

7.Bob and his style, the book, the violent death, the mystery, the reasons?

8.The picture of the police, Martinez and his Hispanic background? Investigations, questions? Attitude towards Bill? The people in therapy? His presence during Bill's work, his cynical attitudes? Sudden arrivals? The visits, the search? His return, the discovery of the truth, the final interview - and the brutality of his being nailed to the wall?

9.Bill and his dilemmas, the decision about the group, whether they keep going? His discoveries about Bob? Whether to reveal the information about Bob? His various visits and their effect, the deepening mystery? Rose and the crash, the red car, his colour-blindness? The infatuation? The steamy sexual encounters - appropriate of exploitive? Her disappearance, her reappearance, tantalising him? At home, the kitchen, provocatively sexual? His being hurt by her behaviour? The effect on his life? The mystery of Bob's death? The car chases?

10.The appearance of Rose, her sexuality, her appearance and style, clothes? Taking a variety of shapes? Schizophrenic? Whether the audience knew Richie was Rose right from the beginning? The explanation? The adaptations, the finale with Dale? The fall, Rose to be saved? A possible future?

11.Richie and the ambiguities in the therapy sessions, erratic behaviour, violence? Becoming Rose? Becoming Bonnie and the relationship with Bob? The relationship with the various patients, knowing their background? The relationship with his brother, the doctor and the sexual abuse? The doctor's death? Adapting to Dale? Pleading with Bill? The furniture and the nails? The finale?

12.Sondra, the nymphomaniac, her reactions, her reactions to Clark and his obsessions? Bonnie and the sexual relationship? The seductions? Her relationship with the trainer? Bill's investigations, the insult? The reality about her attitudes - and Richie adapting to her perceived sexual needs?

13.Clark, his compulsive obsessive behaviour, his attitude towards the law, his appearance, counting things, memorising numbers? The affair - and Richie perceiving his felt sexual needs? His clashes with Sondra and the violent outbursts?

14.Casey, his art, the sado-masochist background, painting, the father, the flip, death. The model, the heads being cut out of the paintings, their mutilation? Buck and his place in the group, no communication, the deaths, revenge? The confrontation with Martinez, the truth? The thunder and lightning?

15.Bill's investigation about the doctor who abused Richie? His visit to his widow? Their discussions, her fear, hostility?

16.Bill's visit to his old mentor, Ashland, the discussions, the advice, the wisdom?

17.The background of the police, their investigations, the departments, their attitude towards the murders?

18.Dale, in the background, his relationship with Richie, the final confrontation, the furniture, the nail gun, his violence? His motivations? The modes of the various murders?

19.The film as a kind of bestseller paperback melodrama and mystery? The holes in the plot? The character of Richie/Rose? The theory of the passive character who adapts to the needs of all that they encounter?

COLD STEEL

US, 1987, 91 minutes, Colour.
Brad Davis, Jonathan Banks, Sharon Stone, Adam Ant.
Directed by Dorothy Ann Puzo.

Cold Steel is a revenge thriller with a Los Angeles police setting. It was directed by Dorothy Puzo - and is interesting for a woman's perspective on the police thriller, car chase, violent American thriller. The film indulges the violence and sensation at times, especially car chases and the crashing of cars on a racecourse.

Brad Davis is a brash young policeman whose father is murdered. He sets out to avenge his father's death. Ultimately, his search brings him up against a former friend, played with sinister relish by Jonathan Banks. Sharon Stone is the feminine lead - and there is a twist in her character halfway through.

The film shows the police at work, the camaraderie amongst the police, the pressures. It also highlights the drug-dealing world of Los Angeles. While the film is predictable and entertaining in this routine way, it has some brutal touches.

1.Entertaining thriller? Police? Vengeance? Los Angeles? Drug world?

2.Los Angeles settings, homes, the streets, the dealers? Stunt work and special effects? Musical score?

3.The title, its tone, Isaac killing Johnny's father, knives, Isaac's injury, the final confrontation with Johnny?

4.The opening, the celebration amongst the friends, the photo, the passing of five years? The ironies? The confrontation with the gang, Johnny's flashback memories and explanations to Cathy? The drinking, the friends, the fight with the gang, Isaac's assertiveness, Cathy's brother's death, Johnny being injured, Isaac's throat wounded, their survival? Isaac's enmity, his explanation of the incident, blaming Johnny and getting revenge?

5.Johnny and his partner, effective work, trigger-happy? Patrol, investigations, drugs? Watching the fish man, his clients, his death? Johnny and his relationship with his family, his mother, father, the phone call, his father's death? Going to the psychologist? His angers, superiors, his violent outbursts and bashing of suspects in the jail, being suspended? His drinking, the friendship with Kathy, falling in love with her? The contrast in moods, his puzzle? Going to see her, her pointing the gun at him, the telling of the truth? Getting help from his colleagues? The build-up to the confrontation with Isaac, the fight, Isaac's death? Saving Kathy? The conventional policeman, pressures, vengeance?

6.Isaac as villain, the iceman, sinister, with Mick, the violent robbery, killing Johnny's father? The drug frenzy? Mick and his assistants, arrested, Isaac killing the fish man? His brutality? Brutality with the knife? His obsession with his own injury? Pressurising Kathy, turning her against Johnny? Kidnapping her, drawing Johnny on, the confrontation, the desperate fight, his death? The ugly underworld of Los Angeles? The cop gone bad? Victim of his own aggressiveness?

7.The police force, Johnny and his work with his partner, their friendship, sharing experiences, on the job? The daring, the initial competition, the timing, daredevil and the car over the train? The chase and the violence of the chase?

8.The drug world, the fish man, his connections and customers?

9.Kathy, her story, meeting Johnny, the seduction, her hesitation, her brother's death, turning the gun on him, his telling the truth, Isaac making her victim, the rescue?

10.Familiar material? Original touches? Entertaining police thriller?

COLD FEET

US, 1989, 94 minutes, Colour.
Keith Carradine, Sally Kirkland, Tom Waits, Bill Pullman, Rip Torn.
Directed by Robert Dornheim.

Cold Feet is a kind of shaggy dog, shaggy horse western. Co-written by Thomas Mc Guane (Rancho Deluxe, 92 Degrees in the Shade), it is an ambling kind of comic western with touches of irony. Musician Tom Waits gives an engagingly eccentric performance as a killer. Sally Kirkland (Anna) is very good as the hero, Keith Carradine.

The film is a story about thieves who hide jewels in the belly of a horse, the horse being then taken to a farm in Montana. There are various humorous adventures on the road and in Montana. Jeff Bridges makes an unbilled cameo appearance as a bartender. Direction is by Robert Dornheim (Echo Park).

1.Engaging shaggy dog story? Crime? The west?

2. Mexico locations, the open road, the state of Montana? The picture of the American west, the farms? The musical score?

3.The title, the joke? Whose cold feet?

4.The prologue, the horse, Monte, Kenny and Maureen and the vet, the hiding of the emeralds, Kenny killing him?

5.On the road, the plan, Monte taking the horse, the others' reactions, the beginning of the search?

6.Bud and Laura, nice, their farm, the horses, the relationship with Monte, his coming home, bringing the horse, their hopes, his presence with them, Rosemary coming, their looking after her, the preparation for the wedding?

7.Kenny as an engaging mad killer? Driving, the range of his reactions to Maureen, exasperation, his exercise, his points about food, his manias, the postcard to his mother? The plans, the holding up of the children at the survival school? In Montana, buying the boots, throwing them away, getting the map, cutting Monte's ear, asking Rosemary about the horse, the wedding plans and meeting the sheriff, taking Bud, with the guns, the vat, his being pushed in - and his reappearance during the final credits?

8.Maureen as a hooker, her pastel-bright clothes, passion for eating, talking, erratic behaviour during the drive, the fight with the woman at the survival school, the chase looking for Monte at the station, with Kenny, finding Monte, love for him, sex, the proposal, her eating, the build-up to the wedding, her dress? The arrest?

9.Monte and his shrewdness, love for Rosemary, his being on the farm, fear, the gun, the horse and trying to hide it, relationship with Bud and Laura, especially with Laura? The arrival, Kenny and the cut, Maureen and the sex, the build-up to the wedding, the arrest?

10.The sketch of the sheriff, his shrewdness, his posing as the minister, arriving to do the wedding, his marrying them, arresting them? The store manager and his assistant, selling the boots, recovering them, phoning the sheriff?

11.The wit, the ironies? Humour in the west? The justice tongue-in-cheek ending?

COLD COMFORT FARM

UK, 1994, 104 minutes, Colour.
Kate Beckinsale, Eileen Atkins, Ian Mc Kellen, Rufus Sewell, Freddie Jones, Miriam Margolyes, Joanna Lumley, Stephen Fry.
Directed by John Schlesinger.

Cold Comfort Farm is a celebrated British satirical novel by Stella Gibbons. It is here given the British television treatment and lavish style and cast by director John Schlesinger (whose films range from Darling, Midnight Cowboy, Far From the Madding Crowd to such television films as Separate Tables and An Englishman Abroad).

The film is set in the '20s-'30s and makes quite a contrast between the flapper age in London and the remnants of 19th century isolated farm people at Cold Comfort Farm.

The cast is very strong, led by Kate Beckinsale as the adventurous heroine, Flora. Eileen Atkins and Ian Mc Callum (with fiery religious fever and a country bumpkin accent) are the older generation. Rufus Sewell (Carrington, A Man of No Importance, Middlemarch) is one of the farming sons. Miriam Margoyles and Freddie Jones work at the farm. In the meantime, there is an eccentric performance from Joanna Lumley as a London fashion designer (very similar to her style in the TV series Absolutely Fabulous).

The film is a satiric parable of English life, the transition from the 19th to the 20th century, the old Gothic superstitions that governed families and kept them together, the religious fever and preaching that was characteristic of the countryside, the younger generation caught up with the movies (and suddenly being discovered in the countryside and going to Hollywood).

The film focuses on Flora, a young woman ambitious to write, eventually, a novel like Jane Austen's Persuasion, who at the death of her parents decides to live with relatives and goes to Cold Comfort Farm. She actually transforms all their lives from gloom to happiness, including her grand-aunt who had seen something terrible in the woodshed - and the audience never finds out what actually happened. But the grand-aunt comes from splendid isolation of 20 years to go to Paris to enjoy herself. It is that kind of film.

1.British telemovie? BBC and Thames production, style, settings and decor, costumes, cast?

2.The adaptation of Stella Gibbons' novel to the screen? Plot, characters, tensions? Satire and comedy?

3.The London settings, Mary's home, social events? The contrast with the farm, the countryside, the town? The social events in the country and the transformation of the grim Gothic farm to sunny England? Musical score?

4.The title and its irony? The prologue with the little girls and something horrible in the woodshed? The family always present at Cold Comfort Farm? The tradition - and everybody, including Aunt Ada, breaking free?

5.Flora, her age, background, friendship with Mary, their discussions? The funeral? Her writing to her cousins - and the visualising of their replies? Her not accepting? Judith's letter, the challenge? The mystery, the atonement that had to be made? Flora in herself, style, modern? Her going to the station, Adam meeting her? The introduction to the house, waking up and telling her to keep quiet? Her meeting the family? Her gradual manipulation of their lives? The irony of her anticipating cousins called Reuben and Seth? Suggesting to Amos, after listening to him preach, that he go on the road in a Ford? Suggesting to Reuben that he own the farm? Arranging for Seth to be seen by the movie producer? Taking Elfine in hand and getting Mary to glamorise and transform her? Talking to her aunt and persuading her to come out - and even go to Paris? Persuading the psychiatrist to come up and study Judith and Judith going away to the institute? Arranging Elfine and Dick's marriage? The housekeeper and her daughter? The friendship with Adam? Her meeting Charles, being in love with him, getting him to help with Elfine and Dick? Her life at the farm, her writing and her reading it aloud - and its cliches and her finally abandoning it? Her enjoyment of life, going to the church and her reaction to Amos's preaching and all the Quiverers? The social, her triumph, her organising everybody to better their lives? Her modern attitudes, her explanation of birth control? Her encounters with the novelist and writer, his pursuit of her and her seeing him ousted? Her own future?

6.Judith and her sinister gypsy look, the invitation to Flora, welcoming her, the tarot cards, her relationship with Reuben and Seth? With Aunt Ada? Her misery and her mysterious ways? Everything changing, Amos leaving? Her gradually being won over? The wedding - and her interest in the psychiatrist and going to the institution with him?

7.Amos, presiding at the table, relationship with Reuben and Seth and their work? His explanation of his gospel mission? Seeing him in action in the church? Being led on by Flora, his announcement, his postcard?

8.Reuben and Seth, working on the farm? Reuben and his love of the farm, mellowing, taking it over? Seth and his self-absorption, liking the talkies, the scenes of him washing himself (and echoes of D.H. Lawrence who is mentioned in the screenplay)? His meeting the producer and the producer's reaction, going off to Hollywood to the tunes of `Tara's Theme'?

9.Elfine, her dancing, her poetry, on the hillside, talks with Flora? Her love for Dick? Urk and his spying on her? Going to London and the transformation, going to the social? Meeting Dick's parents, their initial reaction, the announcement of the engagement? The happy wedding?

10.Charles and his being almost a minister, his plane, doing everything for Flora, taking her away and the happy ending?

11.Mary, London style, fashion, her chatter, her free thinking, her butler and his reading letters and telegrams? Transforming Elfine?

12.The housekeeper and her work, her daughter and the pregnancies? The discussion about birth control? The daughter and her attraction towards Reuben?

13.Adam, his place in the household, discussions with Flora, helping with the organ, taking the three balls as he left - and this being the final scene?

14.An odd gallery of characters? 19th and 20th century styles? Epitomising aspects of England?

COHEN AND TATE

US, 1988, 86 minutes, Colour.
Roy Scheider, Adam Baldwin, Harley Cross.
Directed by Eric Red.

Cohen and Tate is a brief, offbeat thriller written and directed by Eric Red (writer of the cult classics The Hitcher, Near Dark) collaborating with Kathryn Bigelow, as he did with her police thriller Blue Steel. This film is reminiscent of The Hitcher, the opening and the conclusion taking place in daylight, most of the film being a long night's journey into day.

The film could also be compared with The Hitcher since so much of it takes place on the road, has a crazy driver, has a young person terrorised - this time the very effective nine-year-old Cooper Huckerby. The film highlights the shrewdness of the child responding to the dangers and growing up, even outwitting the hired gunman. Adam Baldwin presents one of the weirdest screen crazies. Roy Scheider is the ruthless hired killer, ageing, sending money to family, dependent on his hearing aid - ruthless but with something of a soft spot for the young child they have had to take. The ending, while violent, also gives an emotional jolt in his care for the young boy.

The film shows the transference of state witnesses, especially the young boy who has seen a Mob murder. The cover is penetrated and the hired killers murder the family and kidnap the boy. Most of the film is the journey from Oklahoma to Houston.

Melodramatic, with a touch of the horror story - but quite effective in its way.

1.Thriller? Violence? The focus on the criminals rather than on the police? The audience's emotional response to the characters, the situations, the dangers, the resolution?

2.The stylised opening with the Oklahoma farm and its isolation? After the information given about Travis Knight and his witnessing the murder? The American road and highway, at night, cars and trucks, diners and service stations? Police blocks? Houston in the early morning? Musical score?

3.The title, echoes of the buddy films - and the irony that these buddies are hired killers who clash with each other and fall out?

4.Travis, young, the tension with his parents, the FBI agents, the agent looking at his watch - the cutting off of the phone and the coming of the killers? Travis running out with the dog, the agent dead? The killing of the agents, the shooting of the father, terrorising of the mother and her death? His return, taken by Cohen? The emotional impact of this opening? The later news of the father's survival, Travis using this as a threat - and some home at the end?

5.Travis, the little boy, the impulse to get the dog, the effect of his parents' deaths? In the car, sleeping, trying childish manoeuvres, learning to play Cohen against Tate and vice versa? Tate terrorising him? Fears, sleep? His ability in running away, across the freeway? Caught again? The policeman, the policeman's death, the false alarm with the old lady in the car, the policeman ignoring him and getting shot? The clash with Tate, Cohen shooting Tate and putting his body in the boot? The later reappearance, his running away, the confrontation between the two? His signalling with his eyes to the service station man - and the man's death? The bond with Cohen, talking about Tate, making him suspicious? Giving him back the hearing aid? The final terror? Cohen's death? His future?

6.Roy Scheider as Cohen: age, steely ruthlessness, direct killings? His code, working alone, irritated by having Tate with him? Tate's hysterical behaviour, stupidity, pointing the gun, etc? The bubble gum, the radio? Cohen's reaction against him, fulfilling the letter of the contract? Bringing the boy back? The pursuit, the killing of the policeman? The roadblock and his icy ruthlessness in getting them through? Taking the car of the passer-by? Travis's concealing the map? His anger with Tate, shooting him, the irony of Tate with the vest? Their fight, his losing his hearing aid, dependence on it? His protecting Travis, Travis giving him the aid? The ruthless killing of the service station man? Going into Houston, surrounded, asking the boy's age, hearing that he was nine, shooting himself? The irony of his posting the money to family? Portrait of a killer?

7.The contrast with Tate, young, big, bullying, his mania - the splattered insect, the run-over animal, his enjoying death, the physicality of death, noise? Threatening the boy? Clashes with Cohen? The fights, the pursuit, inability to catch Travis? Going to sleep? The final clash with Cohen and his being shot, reappearing out of the boot, the fight, Cohen's shrewdness in luring him to death at the end? Portrait of a crazy?

8.The policeman who picked up Travis, kindly, giving the information? Not believing Travis and being shot? The importance of the information given on the radio - and its unsettling effect on Cohen and Tate? Cohen thinking that the mission was bad? The police at the roadblock, obeying orders, not taking any risks? The passer-by and his car taken after being bludgeoned? The service station man phoning? The police at the end?

9.The parents, the tension in their situation, the FBI agents, at home, the mother weeping, pretending for Travis's sake? The meal? The shootings?

10.A nightmare journey, the shrewdness and survival of the boy, the code of the killers, the Mob, the portrait of each man, each man's death?

CODE NAME: EMERALD

US, 1985, 93 minutes, Colour.
Ed Harris, Max Von Sydow, Horst Buchholz, Helmut Berger.
Directed by Jonathan Sanger.

Code Name: Emerald is a very enjoyable World War II thriller and espionage story. Made in 1985, it seems a throwback to the films of the '40s, '50s and '60s.

Filmed on location in Europe, it follows the work of a double agent, effectively played by Ed Harris. On a rehearsal for the D- Day landing, an officer (played by Eric Stoltz) is captured and is interrogated for information about D- Day. The trio of Russian interrogators is played by Max von Sydow, Horst Buchholtz and Helmut Berger. It is indicated that one of them is a double agent for Britain. Emerald returns to Paris to take part in the interrogations as well as to save the young radio operator. The film shows something of what it was to live in Paris during the war, the tensions with the Gestapo and the interrogations, the place of the Resistance as well as of the collaborators.

The cast is strong and, while the material is not particularly new, they play it for what it is worth and keep audience interest.

1.Interesting World War II story? Espionage and interrogation? The perspective of the mid-'80s on 40 years earlier?

2.English and French locations? The atmosphere of Paris during the war? German headquarters, the Resistance, restaurants? The action sequences? Musical score (by John Addison)?

3.The title, indication of the plot, focus on Lang and his work as double agent, Emerald?

4.The background to D-Day: the atmosphere of 1944, Allied preparations, Nazi Germany wanting information about Operation Overlord and trying to capture any Overlord for interrogation? The newsreel background of the period? Incorporated into the film? The British authorities, the exercise - and information about the risk, the deaths, the decision to mislead the Nazis? The Germans and their intelligence, spies, networks, true information, false information? The German officials? The Irish spy?

5.Lang, his work for the British? His relationship with the authorities, the discussion of the operation? The capture of Andy - and his suggesting false information about his health to protect him from torture? His contact with the Irish spy? Feeding false information to the Germans? The suggestion by the Germans that he be part of the interrogation team? British support, parachuted into France? Met by the Resistance, the contact on the train, his accommodation? Making contact with the Germans?

6.The German authorities, their different styles? Brausch and his experience? Interrogations? Walter Hoffmann and his urbane style? Humane? Ritter as the Nazi, his authoritarianism, anti-Semitic stances? Their discussions, the tactics for interrogating Andy? Their allowing Emerald to come onto the interrogation team?

7.Andy, his experience, captured? Audience information about his background? With the men, love for baseball? In prison? The health report? Isolation and disorientation? Lang coming into the cell, opening up to him, giving his name? Discussions about baseball? Lang gradually revealing the truth - and the false information about D- Day at Calais? His anguish? His being allowed some freedom because of the alleged torture of Lang? His confusion? His ultimately giving the information?

8.Lang, his cover, the relationship with Clare, the affair? The restaurant sequences, Ritter and his anti-Semitic stances? His not knowing who was the spy for the British? The interrogations, the plans? The stances of Ritter? Hoffmann and his suspicions - and the manoeuvre for his death? Brausch and his support? His taking over command, taking Andy, walking him with Brausch to the car, the escape, the waiting plane?

9.Clare, the Underground, the background of the father of her child? The affair with Lang? The broadcasts to Britain? The arrest of her friend? Ritter and his spying on her, getting her ex-husband and interrogating him? Killing him? Her support of Lang, the escape with her son?

10.The Irish spy, contact with Lang? Changing allegiances with the Germans? Discovering the false report? Giving information to Hoffmann about Lang?

11.The background of German interrogations and prisons? Styles of torture? Working on information? Double agents and infiltration and cover? The Resistance and collaboration?

12.An entertaining memoir of the days of World War II and the preparation for D-Day?

CLUB PARADISE

US, 1986, 104 minutes, Colour.
Robin Williams, Peter O'Toole, Rick Moranis, Jimmy Cliff, Twiggy, Joanna Cassidy, Adolph Caesar, Eugene Levy.
Directed by Harold Ramis.

Club Paradise is a mild comedy vehicle for Robin Williams. The film has an interesting supporting cast ranging from Peter O'Toole and Twiggy to Rick Moranis and Eugene Levy. The film is reminiscent of another Caribbean story: Water, with Michael Caine and Valerie Perrine.

The film shows the tropic islands of the travel brochures, something of the reality - including local corruption, civil war, the British governor. It also pokes fun at American tourists.

The film might have been much funnier, given the talent involved. However, it is an average time-passer. Direction is by comedian Harold Ramis.

1.Enjoyable comedy? Satire?

2.Chicago locations, the fire department? The contrast with the Caribbean, the islands and the sea, accommodation? Stunts and special effects? The musical score - and Jimmy Cliff and the reggae music?

3.The title, reference to holidays and tourist packages? The ironies?

4.The opening with Chicago, the fires? Jack and his work, heroism, injury, pension, retirement? His discovery of the Caribbean?

5.Jack on the island, his isolated life, interaction with Ernest, with the Governor-General? Meeting Philippa and Toby? The politics of the island? His wanting to keep out of things? The tourism, the possibilities of renovating the hotel, the possible tourist attraction? His energy? The photos, the brochure? Preparations for the first tourists?

6.The background of the island: the Caribbean, the mayor and his corrupt politics and pressure? Ernest and his club, the music? The tourists and the entertainment? The governor and his very British style? In retirement?

7.The brochure, the variety of tourist responses? The plans to come to Club Paradise? The assembling of the tourists? The flight and the blind-flying pilot, the crash-landing? The reaction of the tourists? Their expectations, carrying their cases, trudging along the sand? The accommodation - the angled photos of the rooms and their reality? Dissatisfaction? The need for a shower - Linda and its not working, then being deluged? The beach, the tourists? The club and the music? Jack and his response, his busyness in making everybody happy?

8.The wheeling and dealing, the entertainment, the beaches, the dancing, the meals? The reporter and her looking askance at what was going on? The background of the local politics, the preparation for the uprising?

9.The tourists: Philippa and Toby, her style, his being uptight? Her friendship with Jack, romantic touches, Toby's reaction? The womanising American men, on the beach, ogling the girls? The two girls and their being on the lookout for men, their approach, rejection? The two beach boys and their style? The poking fun at expectations about holidays and beach resorts and relationships? Randy and his wife, their differences, her demanding expectations, cajoling Jack? The comedy of the shower? Their finding each other again, romance? The pilot and his poor performance?

10.The New York travel writer, her background, arriving on the island, looking askance? Friendship with Jack? Encounters with the governor, friendship, romantic touches? Her observations?

11.Ernest, his place on the island, his place, the music, friendship with Jack, tourist ambitions? His involvement in the politics?

12.The build-up to the confrontation, the battle, the governor and his very British participation? The ironies about small wars on small islands? The establishing of peace? The island being truly Club Paradise?

13.The elements of comedy, farce, satire and spoof?

CLOSED DOORS

Egypt, 1999, 110 minutes, Colour.
Directed by Artef Hetata.

Closed Doors is a coming-of-age story, focusing on a 15 year old boy living with his deserted mother. She works for a wealthy family. He daydreams at school - especially about his brother who has disappeared in Iraq.

Failing at school, the boy takes refuge with a sheikh and is gradually indoctrinated with a fundamentalist interpretation of Islam where he wants his mother to wear a veil, give up her work, live according to the Koran. He becomes highly censorious and judgmental while experiencing sexual difficulties himself. His friend is killed in an accident in the streets, his teacher gives him coaching but the class rebels against the teacher and tear up their exams. He discovers that his mother is going to take another job, and also has fallen in love with the teacher. The film ends violently and melodramatically.

The film is an interesting look at Egypt in the early '90s with the setting of the Gulf War and Egypt's stance against Saddam Hussein. It focuses on the growth of fundamentalist movements in Egypt and the attractiveness for younger people wanting security. It also shows the changing of Egypt and the modernising as well as westernising. (Parallels could be made with Christian fundamentalist groups of the same period.)

1.A look at Egypt in the '90s, Islam, fundamentalism, traditions, modernising, westernising? The context of the Gulf War and the stances taken there?

2.The city settings, poverty and wealth, the streets and selling in the streets, the mosques? The musical score?

3.The focus on Islam, the tradition, the respect for the Koran, the mosques and the sheikhs, the renunciation of nationality and the nation of Islam? The dangers in fundamentalism?

4.The focus on Hameda: his age, at school and daydreaming, punished by the teachers? His close relationship with his mother? Spurned by the other students at class? His dreams and ambitions? A pilot? His father abandoning the family? The brother having gone to Iraq? His mother working for the rich family? His studying, wanting to leave school, going to sell things in the street - and comparative success? Going to the mosque, meeting the sheikhs, the indoctrination? His gradual change, severity as regards sin - yet patriarchal permissiveness? The neighbour and her loose living and his throwing himself at her? His ambiguity towards his mother? Pulling down the veil of the young girl at the sheikh's house? His personal confusion? Antagonism towards Mansour, the coaching, the exam? Suspicions? Wanting his mother to wear the veil, arranging the marriage for her? His growing angers and confusions, the death of his friend? The sheikh and the final advice, the knife and its being his brother's, following his mother, his anger and his murdering Mansour and his mother? What possible future? Refuge in fundamentalist groups? The portrait of the mother, the forced marriage and her reminiscences about the wedding and her husband's treatment, his abandoning his family (and her later going to confront him)? The loss of her son and the letters coming from Iraq? Her love for Hameda? Concern about his studies, at work, the influence of the owner of the house, the woman and her imperious style, her attraction towards the son and giving money for his education? Her later being sacked after revealing she knew the other apartment of the husband? Her going to see Mr Mansour and concern about Hameda's classes, willing to pay for tuition? The growing friendship with him, his helping her look for jobs, the interviews? Her not wanting Hameda to work, the money from the sales in the streets? The arranged marriage and her disgust with the sheikhs? Stance for women? Her friendship with her neighbour, their discussions? Her alarm about her son's moral attitudes? Getting the new job, the encounter with Mansour - and the violence of her death?

6.Mansour, the teachers and their exasperation, punishments? Personal teaching? Mansour's initial ambitions and frustrations, his family and jealousies? Jilted? His attraction towards Hameda's mother, helping her with the jobs, their talking, the final sequence and the murder?

7.The neighbour and her earthiness, putting the makeup on the mother, talking to Hameda, keeping him company, his sexual advances towards her, her warning the mother to get out?

8.The two sheikhs, the taking of the boys to the mosques? The lessons, the indoctrination? Respect for the Koran? The long explanation of Heaven - and it being a males' heaven with the women? The patriarchal stances, the anti-modern sexual stances? Wanting the women to be at home (and the husband going to the various homes of his wives)? The giving of money for financial support? The arranged marriage? The men renouncing their nationality and joining the Nation of Islam?

9.The friendship between Hameda and the boy, going to sell things on the street, the sexual encounters? His death on the road?

10.The rich family, the western decadence - whisky and music? The personal clashes? Vindictiveness towards the servants?

11.The various customers in the street, the rich, the poor, the sellers on the streets trying to make a livelihood? The contrast with the students at school and their attitudes - and the tearing up of the exam papers?

12.A portrait of '90s Egypt and a time of change for the nation and for Islam?