THE CHOCOLATE WAR

US, 1988, 95 minutes, Colour.
John Glover, Jenny Wright, Bud Cort, Adam Baldwin.
Directed by Keith Gordon.

The Chocolate War is a film about schools and schoolboys. It is based on a novel by Robert Cormier and written for the screen by its director, actor Keith Gordon (Christine).

The film invites some comparisons with such school movies as If..., Catholic Boys (Heaven Help Us), Dead Poets Society. It is also reminiscent of some of the films about military academies like The Lords of Discipline.

The film focuses on a religious order of brothers with John Glover somewhat maniacal as the acting principal absorbed in controlling the boys as well as making a great success of raising funds by selling boxes of chocolates. This becomes the be-all and end-all of his life in the school. There is a group of special students called the Vigils, who have secret meetings, give boys special assignments and aim for control of the school. Brother Leon (Glover) works in coalition with the Vigils. One boy refuses to sell the chocolates and becomes a focus for the conflict within the school.

The film is interesting in its portrayal of education, power control within a school, the exercise of power by schoolboys as well as by religious authorities.

1.Interesting and entertaining films about schools? Education? Power?

2.The background of the city, the school? Audiences becoming familiar with the school and at home in it? Authentic atmosphere for the melodrama being played out? Musical score?

3.The title and its focus on the selling of the chocolates, raising funds, repercussions for each of the characters, the conflict growing into a war? The waging of the war, the winning of the war?

4.The picture of the school (and comparisons with other films about schools): football practice, the peer pressure, the Vigils and their marking off the students, calling meetings, giving assignments? Classes and their eccentricities? The brothers and their authority within the school? The fundraising? The assemblies, the fights amongst the boys themselves? The final confrontation? Audiences identifying with the school experience?

5.Brother Leon and his personality, slightly maniacal, more than slightly obsessive? His position in the school, his treatment of the boys in class, discipline, flicking them in the face, etc? Blackmailing them for their marks? His obsession about the chocolates, checking the finances, checking the lists, the deals with the Vigils and with Archie? His spending the money? The meetings, control, menace? The seeming failure, growing desperate? The deal with Archie? The deal with the other Vigils? The success of the sale, his finally getting control again?

6.The other brothers - merely glimpsed, the eccentric brother and his class about the environment, the boys reacting on the orders of the Vigils, his having been tipped off by Archie for the absurd class?

7.Jerome Renault as the centre of the film? At football, wanting to be in the team, picked on by the Vigils, his assignment about the chocolates and sales? His relationship with the other boys, friendship with Goober? Clashes with the Vigils? The memories of his mothers illness and death and the flashbacks? The encounters with his ineffectual father? The girlfriend and communicating with her? Isolated in the school? Behaviour in class, with Brother Leon? His decision not to sell the chocolates, his making his stand, holding firm, the pressures from the boys, from Brother Leon? The pressure about the homosexuality, the boy being blackmailed by the photo, his taunts, attack, getting the young boys to bash him? Renault and his being at home quietly, the anonymous phone calls, sad? Goober and his support? The build-up to the confrontation, not selling the chocolates? Archie and his manipulation of the boxing match, the irony of Archie being substituted as his opponent, the taunts, his knocking him out - and realising that he had been set up? The final words with Goober and his realisation that he had been defeated? The portrait of an adolescent, wanting an education, new, the peers, peer pressure, authoritarianism, power, self-assertion, being defeated?

8.The boys in the class, their work, reporting to Brother Leon, his blackmailing them about marks, the selling of the chocolates? The rah-rah attitude towards the sales? The Vigils and their manipulation of public opinion - the in thing to sell the chocolates? Goober, being victimised, his decisions, betrayals, friendship with Renault?

9.Archie and his assistant, watching the boys, making lists, the Vigil meetings? Archie and his control? The secretary and his glee, laughing at the jokes? Carter and his strong presence, influence in the group? The pettiness and ugliness of their assignments to the boys? Archie, his manipulation, control? Cleverness? Contacts with Brother Leon? The final meetings, his control, the selling of the chocolates? The move against him, forcing him into the boxing ring, his defeat? The assistant becoming the secretary and dominating, his malicious glee, control of Archie?

10.The sketch of Renault's parents, the memories of his mother, her death? His father? The girlfriend?

11.A portrait of malice, power, manipulation? The school as a microcosm?

CHINA 9, LIBERTY 37

Spain/Italy, 1978, 109 minutes, Colour.
Warren Oates, Fabio Testi, Jenny Agutter, Sam Peckinpah.
Directed by Monte Hellman.

China 9, Liberty 37 is in the tradition of the spaghetti westerns as well as the tradition of the Sam Peckinpah westerns (epitomised by The Wild Bunch). Peckinpah himself has a cameo role in this film and the star is Warren Oates, who appeared in The Wild Bunch.

The film was made in Spain and has the characteristic look of the west, Spanish style. The film also highlights some of the key plot lines of the western: prison break, lone gunfighter, isolated family, marital strife, gamblers, saloons, gunfights, revenge.

The star is Giuliano Gemma, star of many westerns of the '60s and '70s. The international cast also includes Jenny Agutter as Warren Oates's wife.

The film was directed by Monty Hellmann, a cult director who has not made many films but is esteemed by film buffs and writers. His films include Ride the Whirlwind, Two-Lane? Black Top, Cockfighter (also with Warren Oates).

1.Interesting and entertaining western? The blend of the American traditions with European and spaghetti westerns? The violent western?

2.The Spanish locations, the town, the hills, the river, farms and the railway? The musical score in the spaghetti western tradition?

3.The title and its focus, the signpost, isolation, the towns, travelling, the lone gunfighter's riding?

4.The focus on the cowboy, the hanging, the escape? The deal? The character of the cowboy, his career? Leaving and travelling? Encountering Matt and settling? The work, the bond he made with the family? The commission to kill Matt? The attempts - and his decision not to kill him? The infatuation with Matt's wife, voyeur as she bathed in the river? The relationship with her, sexuality? The build-up to the confrontation, his leaving? The pursuit? The brothers and their pursuit? The build-up to vengeance and the gunfights, the shootouts? The irony of his help? The achievement? His future?

5.The background of railway interests and their wealth? The antagonism towards Matt? Wanting his farm? The deal with the cowboy to get rid of him? The financial deals, violence and murder? The manoeuvres?

6.Matt and his settling on the farm, the mine? In the way of the railway? His past and settling down? Work? His relationship with his brothers, their families, the family gatherings? With his wife, love for her? The tensions? The arrival of the cowboy, accepting him, in the shed, working? Growing suspicions? Their discussions? The killing? Anger, pursuit? The build up to the confrontation, the shootout? Being saved - but dying?

7.The wife and her relationship with her husband? How she came to be there, why she stayed? Their life together? The gunfighter's arrival, watching him, his watching her? Coming together? The morning after, her decisions? His leaving? The pursuit, her being taken, the shootout, the transformation of her life?

8.The railroad businessmen, their attitudes, greed, violence, deals?

9.The people in the town, the saloons, the gunfighters? The contrast with the settlers and farmers?

10.The influence of Sam Peckinpah, his presence in the film? The mythology of the western that he created? Highlighting the tension, the violence and its consequences on people?

11.Themes of law, order, justice? A stark west, a European view of the west and the American western?

CHILD'S PLAY 3

US, 1991, 89 minutes, Colour.
Justin Whalen, Perry Reeves, Brad Dourif, Andrew Robinson.
Directed by Jack Bender.

Child's Play 3 brings back the character of Andy from the original two films, now grown up to an adolescent and going from institutions to a military school. In the meantime, scandals over the Chucky Doll having died down, the company foolishly decides to reissue the doll. It is the opportunity for Charles Lee Ray to inhabit Chucky once again. He gets himself transferred to the military academy, wants to enter the body of a young black boy in the school - all the ingredients for the expected confrontations.

The film was written by Don Mancini, writer of the original. The film uses the device of the military school and the parallels between Chucky and the harsh authoritarians, both adult and adolescent, to make points about violence. It also means that the film, while having some gruesome deaths, is strong on atmosphere and not as gruesome as Child's Play 2. However, the film has the expected characters, sets up the victims (thus creating suspense) - and has a strong heroine who teaches our hero how to be defiant, a rebel against authoritarianism as well as how to shoot guns. However, she is wounded in the final confrontation, leaving the field open for the hero to confront Chucky.

Expected nightmare thriller.

1.The popularity of the first two films? The sequel? Repeat, reworking of the original material? The young boy growing up - the adolescent hero?

2.The company making the dolls, executive officers and apartments? The military school, the institutional rooms? The military style and parades? War games? The carnival? Popular settings for the thriller? Songs, musical score? Atmosphere?

3.The stunt work and special effects for the Chucky Doll? Brad Dourif again providing the voice? The crassness of Chucky's personality and language? The menace, the killings?

4.Audience knowledge of the previous films? Chucky and the confrontation with Andy? The re-establishing of the dolls, the board meeting? The executive and his philosophy of greed? Alone in his apartment, the television, the confrontation with Chucky and his murder? Chucky and his shrewdness in finding out from the files where Andy was at school? Getting himself posted to the school?

5.Andy and his background, going to the military school? His absent mother? The officer in charge and his severity? The roommate - and his dislike of things military? The meeting of de Silva, her defiance of Shelton, the push-ups? Their friendship - with a touch of romance? His friendship with Tyler? The wariness about the Chucky Doll, the advertisement on television? The parcel? His fears for Tyler? Trying to find the doll, the encounters in the rooms, with Shelton? With the officer? Chucky going into the garbage - and killing the collector? The confrontation with the barber and his death? With the chief officer? The war games - and the live ammunition? Trying to find Tyler in the darkness? The carnival, the pursuit around the carnival, de Silva's being wounded? The final confrontation and Chucky's dismemberment? The happy ending for Andy? For the time being? Portrait of a troubled adolescent, the past, trying to make a new life, victimised by the officer and Shelton? Friendships and the disruption of Chucky?

6.Tyler, lonely, his absent father? Friendship with Andy? The parcel, the Chucky Doll? Playing games with Chucky? Becoming Chucky's victim? Escaping? The jealousy with Andy? The episodes in the night with Chucky? The war games - Tyler getting lost, Chucky pursuing him? The incantations and wanting to take him over - the final rescue?

7.The cadets, Shelton and his dominance, Andy going to his room in the night - and the cadets having to do drill during the night? His behaviour on parade, in the rooms? The war games - and his being shot with the ammunition? The contrast with his victim, not wanting to be in the army, the roommate? Polishing Shelton's shoes? The discovery about the doll? The live ammunition - sacrificing himself with the hand grenade? Knowing the truth because of the barber's death?

8.The officer, his strictness of discipline? Attack on Andy, supporting Shelton? Throwing the doll away - his death? The barber, the sadistic comedy about the haircuts and his inspection in the dining room? His wanting to give Chucky a haircut - his death?

9.The comparative absence of women in the plot, the photo of Andy's mother, the two cadets? De Silva and her defiance of Shelton, the press-ups? Friendship with Andy, the war games? Her friend - laughing at Andy's falling in the dining room?

10.The character of Chucky, the serial killer? His insanity, crassness? Into the doll, the murder of the executive? Shrewdness in getting to the school? In the parcel, the friendship with Tyler, wanting to use him, the incantations? Voodoo background? Into the garbage - and his murdering the collector? His killing of the officer, of the barber? The maniacal behaviour amongst the cadets? Changing the ammunition from blanks? The war games? The images of the carnival, the ghost train and its horrors? His confrontation with Tyler and Andy - and his destruction?

11.The horror story and nightmares - and the references to horror stories - especially the cadets telling gory stories around the campfire? This film a variation on that kind of storytelling?

CHILD'S PLAY 2

US, 1990, 85 minutes, Colour.
Alex Vincent, Jenny Agutter, Gerrit Graham, Brad Dourif.
Directed by John Lafia.

Child's Play 2 is a reasonable sequel to the original thriller, written by Don Mancini and directed by Tom Holland. This time the writer continues but the director changes with John Lafia directing.

Once again Alex Vincent is Andy. However, Kathryn Hicks as his mother is under mental care and he is fostered out with Jenny Agutter and Gerrit Graham. Christine Erlise is very good as a delinquent teenager. Once again Brad Dourif provides the voice of the Chucky doll and obnoxiously foul-mouthed he is.

While the film lacks the originality of the first, it presupposes the information from the original and capitalises on the sinister Chucky doll, its violence, its wanting to take possession of Andy. There is a quite effective climax in a toy factory.

1.Entertaining horror story? Horror thriller? The impact of the original? A sequel?

2.The Chicago settings, the streets and the darkness, the factories and warehouses, homes and institutions? The special effects for the Chucky doll? Stunts, editing and pace? The ominous musical score?

3.The title, its irony with children and sinister dolls?

4.Andy and the ordeal in the original film, the effect on him, nobody believing him? His age, character? Love for his mother? At the institution with Grace? The psychologist? Their explaining that everything was a dream? His fear of Chucky? Going with Joanne and her husband, passing the truck with the Good Guy dolls? In the house, meeting Kyle? The threat about the fragile porcelain and its breaking, his being blamed? Trusting Joanne? Seeing the Tommy doll? Playing with Kyle and the swing? His continued fear? Chucky in the cellar? Going to school, the teacher, being kept in, the murder of the teacher? The middle of the night, going to the cellar, the husband's death? The murder of Joanne? With Kyle, pursued by Chucky, Chucky holding on to him? Going to the institution, Grace's death? Running away with Kyle, the climax in the toy factory, the confrontations with Chucky, saving Kyle? The effect on him?

5.Joanne and her husband, kindly foster parents, love for Andy, the husband's exasperation, comments about his psychology? The room, their discussions and arguments? The broken porcelain, school? Going down into the cellar, their deaths?

6.Kyle, her style, many foster homes? Friendship with Andy, on the swing? Going to school? Friendship with Joanne? The horror, discovering the doll, the husband's death, Joanne's death? Confronting Chucky, his making her drive to the institution? The police, crashing the car? The pursuit of Chucky in the truck, into the factory, the dangers, the threat to her life, defeating Chucky? A future with Andy?

7.Grace and the psychologists, their concern about Andy, foster homes, the violent death?

8.The school, the cranky teacher, Chucky and his abuse, keeping Andy in, the confrontation with Chucky and her death?

9.The background of the manufacture of the dolls, the factory manager, his assistant, the doll going berserk? The deaths? Forcing the assistant to drive him to the institution, killing him?

10.Chucky as a character, the background from the original film? Murderer? Foul-mouthed? Audience response to the lifelike doll and its behaviour? As a doll, as human? The credits and its being scraped down and reconstituted? Killing in the laboratory? The assistant, going to the home, breaking the vase and killing the Tommy doll and burying it? In the cellar, getting out of the cellar, murder at the school? Killing the father, Joanne? Taking Andy and wanting to possess him, the toy factory, the incantation, not being able to transfer bodies? The climax of the pursuit, the machinery in the toy factory, Chucky's destruction?

11.The popularity of this kind of film in the '80s? Horror tales of the imagination? How well done, combining intelligence and horror?

A CHILD LOST FOREVER

US, 1992, 100 minutes, Colour.
Beverley d'Angelo, Dana Ivey, Max Gale, Will Patton, Mackenzie Astin.
Directed by Claudia Weill.

A Child Lost Forever is a telemovie which was very topical in the early '90s and continues to reveal the extraordinary changes in western culture consciousness about child abuse.

The film opens in the early '70s in Minneapolis with a 17 year old having to give up her child for adoption. There is complete pressure from the Welfare Department for her to sign the documents as well as for the father to sign. It was said that when the child turned 18 it was free to search for its birth mother. She finds that she is able to send a letter to her son and if he wishes, he can reply. However, she is told that the boy has been dead for 16 years.

With the help of her three children, she makes contact with the adoptive mother and a story of violent abuse by the adoptive mother appears. There is an investigation and a court case.

The screenplay highlights that doctors and social workers in the mid '70s were not aware of the extent of violent abuse of children and did not have the medical and legal knowledge. Things had changed by the early '90s and continued to do so throughout the '90s.

Beverley d'Angelo portrays the mother from the age of 17 to her forties and grows in authority as the film progresses. Will Patton is the journalist who helps. Dana Ivey, always a rather strong personality in her films, seems even more sharp and vindictive as the abusive mother. Direction is by Claudia Weill, who made a number of feature films in the '70s including It's My Turn, with Michael Douglas and Jill Clayburgh, but has continued to work in television.

1. A television movie for home viewing? The characters, the plot, the themes of parenting, physical abuse of children? The powerful impact for the home audience?

2. The Minnesota settings, towns and cities, homes, cemeteries, courts? From the '70s to the '90s? The musical score?

3. The title and its evocativeness in relationship to Dennis? To Gerry? To the adoptive parents? To the world and society?

4. The portrait of Gerry and her irresponsibility, wild, her father making her a ward of the state? In the institution, trying to escape? Pregnant, the response of Dennis? The birth of the child, the pressure on her to sign the child for adoption? Dennis signing the papers? Her being deprived of her child? The possibility of the child searching for its mother when it turned 18?

5. Three years passing: Gerry and her work as a stripper, marrying Dennis, having the baby? The anniversary of giving up the baby?

6. The years passing, Gerry making something of herself, real estate agent? Her three children and the home life? Still enjoying a good time but also her sense of responsibility? Her concern about her son? The children urging her to do something about it, her finding out that she could write to her son? The devastation when she learned that he was dead?

7. The phone call to Lois Jurgen? Her promises, her fears? Her not following up the phone call and changing her number?

8. The portrait of Lois Jurgen and her husband, upright citizens, religious? Lois disciplining Dennis in the yard with Robert? Robert always doing the right thing? Dennis being wild, refusing to come in, to eat his food? The pressure put on him by Lois? The revelation of his death, the report, the bruises (Lois calling them blotches), peritonitis? The incomplete coroner's form? The revelation of the truth, especially Robert's flashbacks, the cruelty to Dennis, Lois's niece in the court telling about the force feeding of the vomit? His being thrown down the stairs, punched and kicked? Lois responsible for his death?

9. Lois and her husband? A strong minded religious and vindictive woman? Terrorising the rest of the family? The witnesses at the time of the investigation? Her threats? Her ineffectual husband, avoiding the issues, supporting his wife, seeing Robert in the cafe, hurt by his son's investigations, in the court and his bewilderment? Lois and her sitting in the court, staring at her son, indicating his answers? The sentence and her being led away to prison?

10. Gerry and her investigations in the papers, going to the police, their inability to help, the growing interest, their supporting her case, discussions with Robert, in the courts? Her looking at the papers with her son? Going to the doctors, to the lawyers? Melissa and her antagonism? Clayton and his support? The pressure on Melissa from the law firm to move quickly with the case?

11. Frank Maxwell as the newspaper reporter, listening to the story, starting his investigation, the neighbours, writing the article? Leading to the opening of the case, charging Lois Jurgen? His presence in the court and support of Gerry?

12. The investigation, the files, the doctors' opinions? Robert and the discussions with the police, his having been in the home for five years, his relationship with his parents, his own marriage and child and entrusting the child to his mother, his worry about not having been told about Dennis's death? His changing attitudes towards testifying? Giving evidence, his memories, his being asked whether his mother had killed Dennis? His reply that she had? The visit to the cemetery, a reconciliation with Gerry and the family?

13. The trial, the witnesses, the evidence? The verdict and the judge's harsh comment on Lois and on the hardship experienced by Gerry as well as her bringing up of her family well? Her former husband coming to support her at the court case?

14. The final scene at the grave and the bringing to conclusion and closure this experience of their lives?

15. The importance of physical abuse of children, the reticence of the '70s, the transition to the '90s and the court cases, charges and sentences?

A CHILD LOST FOREVER

US, 1992, 100 minutes, Colour.
Beverley d'Angelo, Dana Ivey, Max Gale, Will Patton, Mackenzie Astin.
Directed by Claudia Weill.

A Child Lost Forever is a '90s American telemovie about child abuse. It initially focuses on Beverley D'Angelo as a young girl, pregnant, ward of the state, whose child is signed away for adoption (with the consent of the natural father). When she leaves the institution, she has work as a stripper, but (after a gap of 16 years) she is established as a real estate agent with a respectable life and three children. When she begins to wonder about her son, she finds that he died 16 years earlier. With the help of her children, the police and a newspaper reporter (played by Will Patton), she uncovers the fact that the child was abused by its adoptive mother. The audience has seen a few sequences early in the film of this abuse. The film follows the relentless quest of the woman to find out the truth and bring the abusive mother to trial. The plot is complicated by the natural son of the mother (who had also experienced some abuse) being a policeman and deciding to testify against his mother.

Dana Ivey is the abusive mother, Max Gail her husband. The film is quite strong - although it is designed for the wide television audience. It was directed by Claudia Weill, who made an impact in the late '70s with her film Girlfriends and also directed in the '80s It's My Turn.

1.The impact of the film? Social issues of the '90s? Child abuse, parents, religious motivations, the law? Community awareness of child abuse in the '70s compared with the '90s?

2.The Minnesota settings? The institution, the city, suburbs, homes, police precincts, courts? The musical score?

3.The title, the focus on Dennis? The focus on Jerry? On the Jurgens family, on Robert?

4.Beverley D'Angelo's portrait of Jerry? Her relationship with her father, becoming a ward of the state? The tough institution and her treatment, being a minor? Her relationship with Dennis, pregnancy, getting out of the institution, telling him she was pregnant? The advice of the obstetrician? The forced signature for adoption of the child? Her leaving, work as a stripper, relationship with Dennis? Her candle in front of her child's photo? The baptism sequence? Sixteen years passing, her competency in her work, relationship with her daughters and son? The two marriages? Bringing up the children on her own? Her skill at her work? Her longing for her child, seeking the information, finding out that he was dead? Ringing Lois and hearing the information, asking for a photo and memento? Looking up the newspaper reports with her son? Her puzzle, going to the police, their reluctance, the DA? The lawyers? Her putting on pressure? The doctor and his coroner's report, official reactions? Her going to see Frank Maxwell, persuading him, his investigations? The change in the coroner's report? Her pursuit of the case, the trial, listening, listening to Lois's brutality towards the child? The verdict? Going to the cemetery with her children, Robert coming? Dennis coming to the court and the reconciliation with his son? Her future? Coming to terms with the past? The judge in his summation considering her a victim of the system?

5.Baby Dennis, the adoption, in the Jurgens household, the treatment by Lois, playing with Robert in the yard, the bruises, the father covering over the reality? Reciting the Lord's Prayer over and over? The victimisation? The news of his death, the pain of his death? The reconstruction of what had happened? His grave, the quest of his natural mother? Robert giving testimony against his mother for Dennis's sake? His visit and the family's visit to the grave?

6.Dennis, fathering the child, irresponsible attitudes? Marriage, divorce, his work? Not going to see his son? Not interested in pursuing the case? Coming to the court and the reconciliation?

7.The Jurgens family, Lois and her rigidity, her age, her treatment of her natural son, the adoption, the brutal treatment of Dennis, the punishment, the meal table, the night prayer? The reconstruction of his death, her beating him? The testimony in court about his being sick, eating his vomit? Her talking to Jerry, promising her the photo, changing the phone number? Her explanation of her actions, with her husband, with Robert, the pressure on him not to testify? Her not feeling remorse? Her defence counsel saying that she should not have adopted the child, was brutal? The judge's severity in his summation and sending her to jail? Her weak husband, love for his wife, letting their son go off to an institution for 5 years, not wanting his son to intervene, in the court?

8.Robert, as a child, being sent away for 5 years, no explanation about Dennis's death, his feelings of loneliness? An efficient policeman? His own marriage and letting his mother care for his children? The interviews with the police, his dilemma, trying to find out the truth from his mother, his father advising him not to pursue the case? With the DA and the lawyer? His decision to give testimony against his mother? His reasons?

9.The portrait of the police, seeming to do nothing, their interest in the case, their support and investigation? The coroner and his advice? Frank Maxwell, taking on the case, friendship with Jerry, bringing her the photo, interviewing the neighbours, his achievement?

10.The DA and his friendship, the black outsider? The lawyer - as an orphan, her severity with Jerry? Pursuit of the case? Her performance in the court? The defence lawyer? The judge and his summation?

11.Jerry's other children, their upbringing, relationship with their mother, tensions, support? The irony that her natural child died because of the adoptive mother, and her bringing up three children single-handed?

12.Themes of child abuse, violence in middle-class homes, motivations, religious motivations, cover up? The role of the law? Retrospective justice?


A CHILD LOST FOREVER

US, 1992, 100 minutes, Colour.
Beverley d'Angelo, Dana Ivey, Max Gale, Will Patton, Mackenzie Astin.
Directed by Claudia Weill.

A Child Lost Forever is a telemovie which was very topical in the early '90s and continues to reveal the extraordinary changes in western culture consciousness about child abuse.

The film opens in the early '70s in Minneapolis with a 17 year old having to give up her child for adoption. There is complete pressure from the Welfare Department for her to sign the documents as well as for the father to sign. It was said that when the child turned 18 it was free to search for its birth mother. She finds that she is able to send a letter to her son and if he wishes, he can reply. However, she is told that the boy has been dead for 16 years.

With the help of her three children, she makes contact with the adoptive mother and a story of violent abuse by the adoptive mother appears. There is an investigation and a court case.

The screenplay highlights that doctors and social workers in the mid '70s were not aware of the extent of violent abuse of children and did not have the medical and legal knowledge. Things had changed by the early '90s and continued to do so throughout the '90s.

Beverley d'Angelo portrays the mother from the age of 17 to her forties and grows in authority as the film progresses. Will Patton is the journalist who helps. Dana Ivey, always a rather strong personality in her films, seems even more sharp and vindictive as the abusive mother. Direction is by Claudia Weill, who made a number of feature films in the '70s including It's My Turn, with Michael Douglas and Jill Clayburgh, but has continued to work in television.

1. A television movie for home viewing? The characters, the plot, the themes of parenting, physical abuse of children? The powerful impact for the home audience?

2. The Minnesota settings, towns and cities, homes, cemeteries, courts? From the '70s to the '90s? The musical score?

3. The title and its evocativeness in relationship to Dennis? To Gerry? To the adoptive parents? To the world and society?

4. The portrait of Gerry and her irresponsibility, wild, her father making her a ward of the state? In the institution, trying to escape? Pregnant, the response of Dennis? The birth of the child, the pressure on her to sign the child for adoption? Dennis signing the papers? Her being deprived of her child? The possibility of the child searching for its mother when it turned 18?

5. Three years passing: Gerry and her work as a stripper, marrying Dennis, having the baby? The anniversary of giving up the baby?

6. The years passing, Gerry making something of herself, real estate agent? Her three children and the home life? Still enjoying a good time but also her sense of responsibility? Her concern about her son? The children urging her to do something about it, her finding out that she could write to her son? The devastation when she learned that he was dead?

7. The phone call to Lois Jurgen? Her promises, her fears? Her not following up the phone call and changing her number?

8. The portrait of Lois Jurgen and her husband, upright citizens, religious? Lois disciplining Dennis in the yard with Robert? Robert always doing the right thing? Dennis being wild, refusing to come in, to eat his food? The pressure put on him by Lois? The revelation of his death, the report, the bruises (Lois calling them blotches), peritonitis? The incomplete coroner's form? The revelation of the truth, especially Robert's flashbacks, the cruelty to Dennis, Lois's niece in the court telling about the force feeding of the vomit? His being thrown down the stairs, punched and kicked? Lois responsible for his death?

9. Lois and her husband? A strong minded religious and vindictive woman? Terrorising the rest of the family? The witnesses at the time of the investigation? Her threats? Her ineffectual husband, avoiding the issues, supporting his wife, seeing Robert in the cafe, hurt by his son's investigations, in the court and his bewilderment? Lois and her sitting in the court, staring at her son, indicating his answers? The sentence and her being led away to prison?

10. Gerry and her investigations in the papers, going to the police, their inability to help, the growing interest, their supporting her case, discussions with Robert, in the courts? Her looking at the papers with her son? Going to the doctors, to the lawyers? Melissa and her antagonism? Clayton and his support? The pressure on Melissa from the law firm to move quickly with the case?

11. Frank Maxwell as the newspaper reporter, listening to the story, starting his investigation, the neighbours, writing the article? Leading to the opening of the case, charging Lois Jurgen? His presence in the court and support of Gerry?

12. The investigation, the files, the doctors' opinions? Robert and the discussions with the police, his having been in the home for five years, his relationship with his parents, his own marriage and child and entrusting the child to his mother, his worry about not having been told about Dennis's death? His changing attitudes towards testifying? Giving evidence, his memories, his being asked whether his mother had killed Dennis? His reply that she had? The visit to the cemetery, a reconciliation with Gerry and the family?

13. The trial, the witnesses, the evidence? The verdict and the judge's harsh comment on Lois and on the hardship experienced by Gerry as well as her bringing up of her family well? Her former husband coming to support her at the court case?

14. The final scene at the grave and the bringing to conclusion and closure this experience of their lives?

15. The importance of physical abuse of children, the reticence of the '70s, the transition to the '90s and the court cases, charges and sentences?

CHILD IN THE NIGHT

US, 1990, 90 minutes, Colour.
Jo Beth Williams, Tom Skerritt, Elijah Wood, Darren Mc Gavin, Season Hubley.
Directed by Mike Robe.

Child in the Night is a murder mystery, a telemovie designed for the home audience. It focuses on a child psychologist, played by JoBeth? Williams, counselling a child who may or may not have witnessed his father's murder. Tom Skerritt is the detective.

The film is significant in introducing Elijah Wood to the screen. As Wood moved from being a child into his teens, he appeared in a number of significant films including Avalon, The Ice Storm. Darren Mc Gavin appears as the villain.

1.Interesting and entertaining murder mystery? Identifying with the child witnessing his father's death? His trauma? His blaming himself for not calling out?

2.The title, the focus on the child? The threat to the child? The strength of Elijah Wood's screen presence and performance?

3.The settings, home, the wharves, the hospital, the apartments? Audiences identifying with the characters and the situation?

4.Luke, relationship with his father, going to the office, the chat about pizza, hearing the attack, hiding, witnessing his father's death, not being able to tell the police? The care of the child psychologist? His trusting her? Yet the inability to be hypnotised? His relationship with his mother? His fear, the further murders? Running away from home, ringing the psychologist, hiding in the office? The appearance of his grandfather, the threats, his calling out to save the psychologist? His pleading for his grandfather?

5.The psychologist, her being called out, treatment of Luke, the coat for his father? Her unwillingness to go to the case? Her being commanded to go? Her relationship with Luke, trying to get to the bottom of the trauma, the failed hypnosis? The further murders, the crash in the car, the support of Bass? The phone call, going to the warehouse, her being attacked and wounded, the confrontation with Os? The rescue?

6.Bass as detective, his abilities, treatment of the child, the further murders, his assistants? The relationship with the psychologist? The final rescue?

7.The family background, the father and his relationships, the wife and her resentment, the relationship with her father-in-law? The relationship to their son? The lead-up to the violence?

8.Os, his relationship with his son, with his daughter-in-law, the revelation of the affair? Love for his grandson? His mental troubles, his son taking his company from him, institutions and treatment? The affair, the murder, the confrontation with the psychologist and the revelation of the truth?

9.Popular ingredients for a murder mystery, psychological understandings, detection?

CHICAGO JOE AND THE SHOWGIRL

UK, 1989, 103 minutes, Colour.
Kiefer Sutherland, Emily Lloyd, Patsy Kensit.
Directed by Bernard Rose.

Chicago Joe and the Showgirl is based on a true story from World War Two Britain. It concerns the only American soldier to be executed in England during the war. (Comparisons might be made with the story of Leonski in Melbourne, 1942, in Philippe Mora's Death of a Soldier.)

The film was written by David Yallop and directed by Bernard Rose (Paper House). Kiefer Sutherland is ambiguous as the innocent/guilty deserter who gets caught up with a stripper and goes on a violent spree in London 1944. However, the film belongs to Emily Lloyd (Wish You Were Here, Cookie, In Country) as the completely amoral, thrill seeking young woman who lives in her fantasies. Lloyd is most persuasive.

The film re-creates the atmosphere of England during the war - but in a stylised way, contributing to the sense of fantasy and the world in which the two main characters live. Real fantasy sequences are inserted - but it is only at the end when we realise that the names we have known each character by are not their real names and that Ricky is not a lieutenant but really a deserter from Boston with a wife and child and that Georgina is really a stripper named Betty Jones.

Some of the scenes are particularly vivid - and the murder sequences are quite powerful, especially given the callous behaviour and attitudes portrayed so expertly by Emily Lloyd.

The film was not particularly popular - but is a very interesting portrait of characters who are influenced by gangster films (and one can think of They Live By Night, Gun Crazy, Bonnie and Clyde).

1.The impact of the film, interest, entertainment? A true story?

2.The tradition of gangster movies and the glamorising of gangsters? The film genre of young people going on violent sprees? Crime, criminal personalities, law and retribution?

3.The re-creation of London 1944, names and dates? Hammersmith Station and its environs, the streets, the markets, cinema? Homes? The British countryside in the darkness of war? The blend of the stylised and the real - in the bombings and the fires, in the theatricality of the fantasies of the protagonists?

4.The title: the fantasy of each, Chicago Joe as a name for Ricky - whose real name was Kurt? Georgina as the showgirl, talking of film screen tests, but really a stripper named Betty Jones? The fantasy of the names they gave to each other? The irony of the title? The importance of the blend of realism and fantasy - but the audience discovering finally that everything is fantasy? Not just the glamour?

5.The film based on a true story, the real stories, the dates? The Boston deserter and his family? The stripper? Unmasked - and the execution of the private, the imprisonment of the actress?

6.The introduction: Georgina, the crowd, the premiere, her dress, the newsreel commentary? Her fans? Her turning and looking at her adoring fans? The final irony that she was imagining all this? Georgina at home, her mother? The talk about gangster films being real and musicals being unreal? Lennie and the black market? Her watching Ricky? The introduction, the date, his not turning up till late? The truck? Exciting her imagination, wanting to be a gangster's moll? Riding, talking, imagining him ripping off the fur for her? The different clothes for each of them in her fantasy? Her talk of gangsters - it seeming a dream? Later amoral? Her excitement and hopes?

7.Ricky, seeing him with Lennie, the black market? His uniform? His talk, Chicago Joe, stories about Chicago? His going out with Georgina, the truck, the ride? His appearance as a gangster? Talking about doing dangerous things?

8.The contrast with Ricky and Joyce, the nice English girl, her parents, Ricky visiting and his good manners, talking about being a Catholic and going to Mass? In love with Joyce? Talking about marriage? His return to her house covered in blood, his story, their washing his clothes? Her discovering the condoms and talking about fidelity and love? Her declaration of love, her hopes? Her arrest - and her face spotlit in dismay as he was taken away?

9.Georgina and her love for the movies? Going to see Double Indemnity, Barbara Stanwyck as the femme fatale, Fred MacMurray? corrupted by her, yet killing her? Georgina's discussions about the film? Her watching it with rapt attention? Joyce and Ricky watching it, but kissing? The further dates, the gift of the nylons? Her devotion to him - and her egging him on for excitement?

10.Ricky being persuaded to prove himself to Georgina? Her urging him, the fur? The nylons? His robbing the taxi driver, having to explain that it was a hold-up, smashing it through the shop window? The fur - and the encounter with Violet, her getting a lift, their being nice to her, the chat, the changing of the tyre, her holding the torch, the awkward attempts to kill her? Georgina and her dissatisfaction, the ambiguity of her conversation, egging Ricky on? The brutal attempts at killing Violet, battering her, smothering, strangling? Throwing her into the water? The aftermath and Ricky and his awkwardness, Georgina and her satisfaction? The night together? Her rash, going to the doctor - and being treated? The condoms? Her continuing to urge Ricky on, flaunting her fur? The taxi driver, Ricky shooting him, his long death, Georgina completely callous but light-hearted, looking at his photos, commenting on him? Throwing the body in the ditch? Ricky spending the night with her? His nightmares?

11.Ricky, his facing the truth, going to confession? The arrest? The interrogations, his plain-spokenness, admitting the truth, the background of his life, deserter? His final press conference as people crowded around - blaming Georgina?

12.Georgina, the arrest, the interrogation, her plausible stories, seeming innocent? Told about Ricky confessing, her malice, blaming him? In the spotlight, ashamed? Discovering that this was her moment of glory - relishing the spotlight, imagining herself as a star?

13.The overall effect of the film, portrait of psychopathic people, each egging the other on? The particular brutality of the deaths? Amoral people - and their paying the penalty?

CHERRY 2000

US, 1988, 93 minutes, Colour.
Melanie Griffith, Ben Johnson, Tim Thomerson, David Andrews, Brion James.
Directed by Steve de Jarnatt.

Cherry 2000 is a science fiction feature, an exploration of the future in the Mad Max tradition. Melanie Griffith is a strong tracker, in the tradition of Ben Johnson who is in the Zone. Tim Thomason is Lester, the exploitive leader in the Zone. David Andrews is Sam Treadwell, a future yuppy whose main relationship is with a robot, Cherry 2000.

The film has touches of exploitation. However, it is one of those pop fables about future society, the place of machines, human emotions. It also highlights the violent society of the future. The film is particularly strong in its production design and set design. It was directed by Steve de Jarnett, writer and director of the nuclear fable, Miracle Mile.

1.Enjoyable thriller? Science fiction fable?

2.The future, the cities, robots and machines, technology? The desert, the Zone? Decor and design? Special effects? Score?

3.The title, the focus on the robots and human relationship with robots?

4.Sam Treadwell: his work, executive, his friends, social life? The clubs of the future? Sleazy tone? His relationship with Cherry 2000 - and male exploitation and the Barbie Doll style? Her malfunctioning? His quest, information, finding the tracker, surprised by E. Johnson? Going with her, the adventures in the car, the dangers, breaking through barriers? Handling a gun? The tunnel and the drain? The encounter with Jake, his advice, leadership? In the desert with Lester? Finding Elaine and the memories of the past? Infiltrating the group, the attack and the burning? The pursuit, the finding of the robot? Taking her, the escape on the plane, his going back for E. Johnson? Falling in love with a human being?

5.E. Johnson, tracker, her training, her decision to take on Sam's quest, rescuing him, the attacks in the city, going through the barrier, the car, the desert, the crane and the car, the drain? Friendship with Jake? Clash with Lester and his group? The plane, her confronting the group, being rescued by Sam? Having a brain and being a human being rather than a robot?

6.Jake, his past experience, his wisdom? Helping in the mission? The contrast with Snappy and the girl? Their betrayal?

7.Lester, his role in the Zone, his followers, totalitarian? Elaine and her glamour, change of values? The confrontations?

8.The thugs in the city, the confrontation with Sam? A violent future?

9.The picture of the American future? The collapse of society? Values? Behaviour? The film as an entertaining fable?

CHATTAHOOCHIE

US, 1989, 97 minutes, Colour.
Gary Oldman, Dennis Hopper, Frances Mc Dormand, Ned Beatty, Pamela Reed.
Directed by Mick Jackson.

Chattahoochie is the name of a prison in Florida. This is a grim film, focusing on a young man, a decorated veteran of the Korean War, who suffers emotional and mental collapse, has an outbreak of violence and is interned in the Chattahoochie prison. It is a combination of all the worst aspects of ugly prisons and snakepits. However, he eventually stands up for his rights and those of fellow prisoners and takes a legal stand. He eventually triumphs. However, most of the film focuses on his struggles in the prisons.

The film was directed by Englishman Mick Jackson (A Very British Coup and then Steve Martin's L.A. Story). The film stars British Gary Oldman (Sid and Nancy, Prick Up Your Ears, Criminal Law, JFK). He is very effective as the Florida soldier. Also in the cast are Dennis Hopper as a fellow prisoner, Francis Mc Dormand as his wife and a very effective Pamela Reed as his sister.

Not entertainment, but a quite stylishly, if grim, portrait of prisons, an indictment of cruel society and hypocrisies and the need for reform.

1.The impact of the film, Korean War, justice and prisons in Florida, abuse and reform?

2.Florida, suburbia, ugly prisons? Colour photography, light and dark, shadows? The musical score?

3.The title and the focus on the prison? The perspective of the British director?

4.The prologue with the Korean War, the experience of battle, suffering and violence? The voice-over? Emmett and his being decorated and returning home a hero?

5.His violent outburst, 1955, the siege? In himself, shooting, wanting to be shot? The neighbours and their reaction, curiosity? The police and the crowds? May and her arrival and pleading with him? His being wounded - his despair?

6.In hospital, the coma, May's visit, the trial, the revelation about his insurance scheme and wanting to be killed? Discussions with the psychiatrist?

7.Going into prison and the conventions of prisoners and their humiliation as they went into prison, stripping, search, uniforms, the dormitory? Handcuffed and chained? Meeting Walker Benson and the bond between them? Mr Johnson and the squalor, his needing to go to the lavatory, his overalls? The grim comments by the inmates? The range of prisoners, the meals, their explaining why they were in prison? Madness and violence? Life in the dormitory?

8.Mental and prison institution, the routines, work, the violence and grimness of the punishment, the sadism of the warders, the fights, prisoners fighting and warders watching, warders mocking the prisoners?

9.The portrait of Emmett in himself, his background, desperation? Friendship with Walker, in the shower - seemingly wanting to drown? The experience of violence, abuse? His beginning to write letters to the prisoners' families? The interview with Dr Harwood, the attacks on his letter-writing? His continuing?

10.May, in herself, her relationship with Emmett, her child? Long delays in visiting, her angry outbursts at Emmett? Her discussions with Earlene? Her delayed visit, her pregnancy and his reaction?

11.Earlene, the bonds of brother and sister, talk about their parents? Her contact, supplying him with information, books? Listening to his pleas? His marking the Bible with all the information, her changing Bibles? Her fighting for her brother, going to Harwood's office, put off by the secretary, finding the entrance, her campaign?

12.The abuses, Emmett's list? The reaction of the families? His interviews with Harwood and the board - and their taunt that he was not sane because he didn't try to escape? The blackmailing of the homosexual warder, getting the key, the escape attempt with Walker, letting Walker go and his return?

13.Emmett and his reading, study of the law, discovery of the rights of habeas corpus? His notes, Walker and his interview, failing? The taking of Emmett's notes, his being isolated, sitting immobile and supervised, the electric shock treatment? His collapse and Earleen's finding him collapsed?

14.The recovery, the senator's interest, the holding of the hearing, the report - Harwood and his explanations? The consequences for reform?

15.A film of the '50s, in retrospect? The tradition of prison movies and films about mental institutions? Mental institutions and prisons as an indictment of society and its attitudes? The law?