CASUALTIES OF WAR

US, 1989, 113 minutes, Colour.
Michael J.Fox, Sean Penn, John Leguizamo, John C. Reilly.
Directed by Brian de Palma.

Casualties of War is a powerful Vietnam war film written by David Rabe (ex-Vietnam veteran, author of Streamers) and directed by Brian de Palma, best known for his Hitchcock homages like Obsession, Sisters, Dressed to Kill as well as The Untouchables.

The film is based on a true incident of the war, 1966, written up as a short novel for The New Yorker by Daniel Lang. It focuses on a small group who go out on a patrol, kidnap a village girl, use her as a prostitute and then kill her. Sean Penn is quite persuasive as the leader of this group. Michael J. Fox, a serious Lutheran from the Midwest, is the voice of conscience and the audience sees the incident through his bewildered and disgusted eyes and shares his moral dilemmas.

The action sequences are particularly strong. The rape sequences are particularly vivid and bring home to audiences of men and women the utter humiliation and degradation inflicted on the rape victim. The film is highly critical of American macho attitudes, the presumptions of soldiers during war. With its emphasis on civilisation and the loss of civilised behaviour, the film is also a critique on the war.

The film has a quiet ending - which seems to undermine the high and powerful drama of what has gone before.

1.The traditional Vietnam War films in the '80s? This perspective from the late '80s? A memoir of the '60s? The waging of the war, American involvement? Moral issues? Justice?

2.The perspective of David Rabe and his war experience? Brian de Palma and his melodramas? An effective combination?

3.The use of Thai locations, Panavision? Audiences immersed in the war? Action, stunts and special effects? Ennio Morricone's score, choral effects?

4.The perspective of Sven Eriksson? In the train, his seeing the Vietnamese girl, his anxiety, his memories? The flashback technique? The devout Lutheran, the American soldier, committed to the army? His not being in Vietnam long? In action, the attack, the explosion, his being wedged in the ground, his legs in the tunnel? Terror, the bombardment? Meserve rescuing him? His experience of the horrors of war?

5.Meserve, his personality, in command, tough, the daring rescue of Eriksson? His friendship with the group, his black buddy and his death in the field? His relationship with the group? His attitude towards the enemy, bitterness? The attacks on the Viet Cong? His criticisms of Eriksson as a sympathiser?

6.Eriksson and his gentle manner, ploughing with the old man? The children and the fruit? The Viet Cong attack, his shock? Criticisms of him as a sympathiser?

7.Back at base, hospital, recuperation, orders, the wanting of a night on the town, not being able to go to the brothel? Angers, against the VC? Racial attitudes, prejudice, hatred of the enemy?

8.Meserve and his decision about the mission, the attitudes of the rest of the group? Their trek through the jungle, arriving at the village? Choosing the girl, the brutal taking of her from her mother? The girl's anguish? The forced march, Eriksson on point, the girl carrying the pack? Arrival at the hut?

9.The focus on the girl, kidnapped, her mother, her pain and anguish, bewilderment, language? The attitude of the men? Leering? Carrying the pack, her cut back? The rape sequence - from Eriksson's perspective? The brutality, using her? Her fear? The aftermath, the shame? Her hunger, Eriksson trying to help her, trying to free her? Caught by Clarke? At the railroad? The orders to kill? Clarke stabbing her, her staggering across the rail, Eriksson trying to save her? Her being shot? The pathos of her experience and death?

10.Meserve and his attitude, callous, presumption? Macho, using women, the enemy? His rationalisations about her being Viet Cong? The arguments with Eriksson? Diaz and his not wanting to rape the girl, wanting Eriksson's back-up and vice-versa? His loyalty to the group, being cowed by them? His participation in the rape? Clarke and his viciousness? Hatcher as the dumb American soldier? The talk about beer?

11.Leaving the hut, the mission? Eriksson on guard? The river, the shooting? The transportation of weapons? Hatcher and his ignorance, giving positions away by shooting? Clarke and his wanting to kill the girl? Eriksson ordered to shoot, the others and their refusal? Clarke stabbing her? Eriksson firing the shot and disrupting his group? The helicopters, the raid, the bombardment?

12.Eriksson going to the authorities? His talking with the black commander, the commander giving the allegory of his own experience and humiliation, the birth of his child, his wife on the floor? His advising to forget and things would be calm again? The officer and his abuse of Eriksson, the silence, wanting to transfer him? Eriksson and the attempts on his life? Getting drunk? Talking to the chaplain and telling the story?

13.The group and their revenge on Eriksson, the tension of the grenade in the latrine? Eriksson taking the shovel and hitting Clarke, challenging Meserve? Disgusted that the authorities didn't care?

14.The trial, justice in action, the cross-examination and the attitude of each of the group - their values, lack of values? Their sentences? Meserve and his whispering to Eriksson?

15.Waking up in the train, getting out, giving the girl her scarf, her talking to him, talking about waking from a bad dream? His own, American society's?

16.The comment on the macho soldiers, the talk about Genghis Khan and rape? Attitude towards the victim? The pathos of the victims?

17.Themes of war, the title? Civilisation and values? Eriksson's comment that if men are about to die, they should act better and not recklessly? A challenge to conscience?

CASUAL SEX?

US, 1988, 97 minutes, Colour.
Lea Thompson, Victoria Jackson.
Directed by Genevieve Robert.

Casual Sex? is a with-it sex comedy of the late '80s. Based on an early '80s play about promiscuity, the film has been adapted for the screen in view of the AIDS situation. A question mark was also added to the title.

The film keeps some of the devices of the play: the focus on the two central characters, their reminiscences about the past from a stage, the staging of their dreams. The film is fairly frank in its treatment of '80s attitudes towards sexuality, AIDS, contraception. However, it also highlights the nature of relationships and commitment. It is one of those films which tries to have its cake and eat it - presenting its questions dramatically with a touch of exploitation as well as trying to make points.

1.The title, expectation, a film of the '80s, reflecting permissiveness, the reality of AIDS?

2.The American cities, lifestyle, the holiday resort? The songs and the rock 'n roll background?

3.The adaptation of the play for the screen? Stylised effects, the speeches of the two girls, the dark backgrounds, the soliloquies, their speaking to the audience, the dreams, the frank talk?

4.The memories of the early '80s, young women and their attitudes towards sex, the girls in themselves, their values, the nature of their relationships, remembering the boys and the sexual encounters, the contrast with the visualising of their dreams - and how they helped the boys?

5.Discussion about relationships, commitment, insufficient relationships, their effect? Promiscuity and AIDS? The test, Stacey's prayer, the advocate of safe sex?

6.The personalities of Stacey and Melissa? Their friendship? Communication, discussion about sex and relationships? Their hopes in going to the resort, impressions, exercise, socials, massage, etc? The effect of the holiday on each of them? Stacey and her friendship with Nick, his singing, the encounters with Vinnie, especially being landed with him as partner? Melissa and Matthew, his psychological background, advances, pushing him into the pool? The friendship with Jamie and the massages, talking? The sexual encounters with Vinnie, their talking?

7.Melissa and the experience of futility, the decision to leave, Jamie coming after her, her relationship with him, the return to the resort, the finale?

8.Stacey and Nick, concern about his music, worry about Melissa, their leaving, going back to the city, sharing the apartment, Stacey's realisation that it was impossible, Nick's career and his self-preoccupation? Stacey growing up, relationship with Vinnie? The finale?

9.The return from the resort, the change, the passing of time, marriages and family?

10.The sketch of people at the resort, their expectations, dating, sexual encounters, consequences? The effect of permissiveness?

11.The film's moral tone? The touch of exploitation with the touch of message?

CAST THE FIRST STONE

US, 1989, 94 minutes, Colour.
Jill Eikenberry, Richard Masur, Joe Penny, Lew Ayres.
Directed by John Korty.

Cast the First Stone is one of the many telemovies focusing on rape which were issued in 1989. It is a telemovie, for the wide popular audience. It focuses on a teacher who is raped in a motel, becomes pregnant, decides to raise the child herself, becomes the victim of the censorious attitudes of the school board and takes the issue to court.

Jill Eikenberry (L.A. Law) gives a strong performance, showing the nerviness and the breakdown of the woman as well as her strong recovery. Richard Masur is her prosecuting lawyer. The film is well made, highlighting the injustice and violation of the rape - and the traumatic consequences for the woman involved as for the man escaping scot-free. The film also raises issues of morality, judging others - hence the title with the quotation from John's Gospel chapter 8, where Jesus speaks on behalf of the woman taken in adultery. The direction is by John Korty, veteran movie director (River Run, The Autobiography of Miss Jane Pitman).

1.Strong telemovie, issues of rape, single motherhood, public opinion, justice?

2.The portrait of the town, its ordinariness, the school? The courts?

3.The religious background of Diane: the title of the movie, St John's Gospel? Jesus' words? The innocent? The convent background, her training to be a nun, her decision to leave? Her prayer, strong Catholicism? Abortion issues? Personal self-doubt?

4.The portrait of a woman, her crisis, ability and inability to handle a crisis, the consequences? Personal crisis, social and professional?

5.Diane, babysitting, teaching, her experience in training to be a nun? Her strong friendship with Sandy, going on retreat, being very busy? Policy towards hitch-hikers, self-reliant? Picking up Andy, ordinary talking, the rain, his coming to the motel door, her wanting to help him, letting him into the room, the impact of the rape, the knife, her reaction - the shower, not informing the police, trying to telephone Sandy?

6.Diane as a teacher, her skills, methods, strictness? The dyslectic girl and her angry mother? Parents' complaints and threatening the law? Her severity after the rape? The various incidents with teachers, children, parents? Bill and his being on her side? Mediating with the board?

7.The rape experience, credibly presented, her decisions, blaming herself, the aftermath? The statistics about women who do not report rapes? Talking with Sister Angela, with Sandy? Elaine and her disbelief, unwillingness to listen to her sister, reading too much into the story about the deacon? Bill and his concern, Frank and his sympathetic attitude? Her not facing the reality of the rape? Its build-up inside, her gradual collapse, the need for therapy? The two versions of the rape and the reasons for this? Her final behaviour in court?

8.Discovering she was pregnant, the possibility of abortion, her principles? The phone call and her not following through? The home for adoption? The possibility of keeping the child? Her pregnancy, her job, meeting people, the birth? Raising her son? Wanting to do everything for him, relying on Sandy but shouting at her? The pills, deciding that suicide would be better? His two years birthday?

9.Diane as a person, her religious background, lack of sexual experience, her self-image, the effect of the rape on her, growing harsh, reaction to her pregnancy, fear? The board and her getting angry? Her harshness towards Sandy while relying on her? Choices, lawyers? Nervy? Discussions with her father? The pills, despair? The therapy, becoming poised and fighting back?

10.Sandy as a strong person, faithful friendship, support, Diane and the baby living with her, her infinite patience?

11.The contrast with Elaine, her severity towards her sister, disbelief? The Stantons unwilling to adopt the child? Her answers in court?

12.The picturing of the board, Frank as chairman and knowing Diane? Bill and his evaluation, receiving the teachers' complaints, not being able to stand up for Diane? The members of the board, the man who stood up for her? The teachers and their hostility? Parents and their testimony in court, scandal, not wanting their children exposed to this kind of thing? The statements and the accusations of immorality?

13.The lawyers, the prosecutor, the defence lawyer, the lawyer's support, handling the case? Winning?

14.The sketch of the rapist, the plausibility of the scenario? His having gone - and no idea of the consequences?

15.The friendship of Sister Angela, her understanding and support?

16.Themes of the '80s, women and their struggles, injustices? Values? A portrait of the harsh and hypocritical society?

CASBAH

US, 1948, 94 minutes, Black and white.
Tony Martin, Yvonne de Carlo, Marta Toren, Peter Lorre, Hugo Haas.
Directed by John Berry.

Casbah was the third version of the Pepe le Moko story in ten years. There was the French classic with Jean Gabin. There was the American remake with Charles Boyer and Hedy Lamarr. This version, coming soon after World War Two, updates the story a little (especially with the ending at the airport rather than at the port).

Tony Martin is Pepe le Moko - not an immediate choice for the role. He is fairly bland - and has a number of songs. Marta Toren is introduced as the femme fatale for whom he gives his life. Yvonne de Carlo is Inez. However, the film is stolen by Peter Lorre as Inspector Slimaine. There is a good supporting cast led by Thomas Gomez.

The film keeps the outline of the original story - presents it efficiently enough, with some atmosphere of the Casbah - and the Harold Arlen, Leo Robin songs. Direction is by John Berry who was later blacklisted and directed only a few films, some in France, until he began acting and directing in the '70s.

1.Enjoyable thriller? The tradition of Pepe le Moko and Algiers? The quality of the remake?

2.Black and white photography, studio sets, re-creation of the Casbah? The insertion of the songs? Their mood?

3.The police framework of the plot: Slimaine and his plan, Peter Lorre in the role, casual and insinuating, meals with Pepe le Moko? The clash with Inspector Louvaine and his attacks? Friendly with Gaby, advice to her? Manoeuvring her and Pepe? Ultimately arresting him?

4.Pepe le Moko as the king of the thieves in the Casbah: Tony Martin in this role, charm and songs, reputation, association with Slimaine, relationship with Inez, protected by people in the Casbah? The friendship with Carlo, trusting him, the ultimate betrayal? Omar and the guards and his friends? Meeting Gaby, the dance, the infatuation? His arrest and return? His wanting to meet her, Inez's clash? The decision to go to her? Carlo's betrayal? His going to the plane, being shot?

5.Gaby and her wealth, background, relationship with Claude, in Algiers, the fascination with Pepe, seeing him, the decision to stay, the discussion about going, her return, being told that he was dead? In the plane and not seeing him?

6.Inez, the fiery relationship, her place in the Casbah?

7.Omar, the guides, their descriptions of Algiers, friendship with Pepe, helping him after the arrest?

8.Carlo, the friendship, the betrayal?

9.Inspector Louvaine, blustering, the police, the raid? The threat by the men of the Casbah?

10.The Casbah as home, prison? The mood and atmosphere, the tourists? The exotic Algerian atmosphere?

CARLA'S SONG

UK, 1996, 115 minutes, Colour.
Robert Carlyle.
Directed by Ken Loach.

Director, Ken Loach, has won a number of ecumenical prizes for such films as Riffraff, Raining Stones and Ladybird, Ladybird. A very quiet and mild-mannered man, once he gets behind the camera there is an intensity of concern for people and social problems. The first half of Carla's Song is set in Glasgow. Robert Carlyle (Riffraff, Priest, Go Now, Hamish Macbeth) is a bus driver who befriends a Nicaraguan refugee. Loach, as always, presents a vivid realistic portrait of working class people in the city. The feeling he creates provides us with a strong emotional base for what he shows us of Nicaragua.

The second half is set there when Carla goes back to see her loved ones who have been devastated by war, poverty and repression. These scenes are what we might expect from film-makers disgusted with the cruelty and injustice of civil war in Latin America and US financial, military and political aid. We remember films like Romero. The audience, as outsiders - like George the bus-driver, are jolted. This is serious but satisfying entertainment that helpfully - and hopefully - challenges our values and priorities.

1.The films of Ken Loach? His social concerns? Left of centre politics? His life dedicated to social causes? The quality and impact of his films? Awards?

2.The Glasgow settings, the '80s, the town, the streets, flats, the buses? The contrast with Nicaragua, the city, the towns and their squalor, the streets and the countryside? Affluence and poverty? First and Third Worlds? The use of Panavision photography?

3.The musical score, the echoes of Central American music? The use of songs?

4.The background of the '80s, Scotland and Glasgow, the era of Thatcherism and the move to the right? The contrast with Nicaragua, its history, the American influence, Samosa and his tyranny? The revolt of the Sandanistas? The Contras and their clash with the Sandanistas? American support for the Contras? The information given during the film - George's sister and her explanations of Nicaragua? Audience response (especially to Bradley’s speeches about the CIA and the role of the Americans)?

5.The United States and Nicaragua, the manifest destiny of the United States? Its spheres of influence? The Monroe Doctrine? As applied to Central America, Nicaragua from the 1920s? The role of the CIA in the '80s, supporting the Contras from Honduras? The training of troops? The violence and the killings?

6.The film as an examination of conscience for the First World in its dealings with Third World countries and the sufferings of Nicaragua?

7.George, the typical young Scotsman, bus driver? In himself, cheeky? The issue of Carla's not paying her fare, the inspector and his meticulous demands, George paying the fare? His attitude towards the public? Friendly? The clash with the taxi driver and his taking a stance? His being reported to the bosses, his reports and reactions? His decision to take Carla and the bus to Loch Lomond, being bogged down? Receiving the letter of dismissal?

8.George and his family, the relationship with Maureen, love, dances? His friendship with Sam and calling him a good man, relying on him? Doing his odd jobs, handy around the house? His sister and the discussion about Nicaragua?

9.The attraction to Carla, falling in love with her at first sight? Helping her with the ticket? Her visit to his home, the discussion, offering her the cup of coffee, her giving him the wrong number, his trying to find her, seeing her dancing in the mall? With her, taking her to her lodging, the officiousness of the authority and her being ousted? Taking her to Sam's and Sam helping? Falling in love, the trip to Loch Lomond, his special place of beauty and reflection? The discovery of her attempted suicide, hospital, discovering it was the second time? The audience getting to know more about Carla with George?

10.Carla as a refugee, being on tour with the dance group, knowing Glasgow and the irony of her being so out of place there? On the bus, not being able to pay for her ticket? George and his help, her leaving him? Tracking him down, yet refusing the coffee, giving him the wrong number, wanting to avoid him? Her dancing to raise money? George coming to her home, her picture of Nicaragua, gradually revealing more about herself? Being ousted? Settling at Sam's, the love for George, going to Loch Lomond, being bogged in the mud? The suddenness of her suicide attempt - and it being the second time? George taking care of her, the decision to go to Nicaragua?

11.The quest? George as the ordinary First World man going on a journey of enlightenment? Making decisions, a possibility of salvation for him and for her, self sacrifice?

12.The flight to Nicaragua, the arrival, Carla and her feeling at home? Her having to face her past, her fears, her literal nightmares and trauma, her love for Antonio?

13.Meeting old friends, the secrecy about Antonio and Carla, Antonio's location? The audience and George puzzled by the mystery? Finally the truth being revealed by Bradley, the description of the battle, the description of the torture - it being hard for George to listen to as well as for the audience? A harrowing verbal description of torture by Contras?

14.The poverty of Nicaragua, the dusty city, the old buses, the streets? The friendly people and their singing and dancing? Carla and her gifts and having to leave them? Meeting Norma, seeing her at work, friendship, limited information? Raphael and his teaching, the support for Carla? Her finding her family and their welcome? George following along, not able to speak Spanish - yet being gradually drawn into this world?

15.Bradly and the Christian group of witnesses? Their meeting, the issues? Bradley not wanting poetry of suffering, but detail for action? The incursions of the Contras? Bradley and his support of Carla, hostile to George? Driving the vehicle - and George's practicality in fixing it with soap? The attack on the village, Bradley with George, facing George with choices, whether he should seek out Carla or not, travelling in the bus and the violence of the shooting? His explanation about Antonio and the effect on George? His explanation about himself, working for the CIA, training killers? His life in Nicaragua as a reparation?

16.George and Carla in Nicaragua, joy in each other's company, George and his discoveries, love, sharing, travelling, visits? The amiable evening and the swapping of T-shirts with Harry - and then the sudden attack and his death?

17.The violence of the raid, the accuracy of the attack of the Contras and the targeting of schools and medical centres? Shielding Carla, Harry's death? The impact on George - not used to this kind of violence and unable to take it any more? The letter? Carla's child? The truth about Antonio?

18.The reuniting of Carla and Antonio? Carla's nightmares - and the dramatisation and reconstruction of what happened in the raid, Carla's escape, the violence and death, the torture of Antonio? Bradley giving the details?

19.Carla and her option to stay with Antonio - his music despite his not having a tongue, his disfigurement? Carla and Antonio as symbols of what happened to revolutionaries in '80s Nicaragua?

20.The impact of the film for a Nicaraguan audience? For First World audiences?

CARIBE

US, 1987, 86 minutes, Colour.
John Savage, Kara Glover, Stephen Mc Hattie.
Directed by Michael Kennedy.

Caribe is a routine thriller about arms smuggling and the CIA in Central America. It's chief advantage is beautiful Belize scenery. Filmed on location, the sea, rivers and mountains of the country make more impact than the plot and the stars. John Savage is the hero, Steven Mc Hattie the villain. Routine material.

1.Popular thriller elements? Heroes and villains? Arms smuggling? The CIA? Chases and confrontations?

2.The title, the Caribbean? Belize locations, the town, river, sea, mountains? Central American ruins? Musical score?

3.The plot outline and its familiarity: the embezzling of money, arms deals? The Chicago secretary, her crooked boss? His crooked partner, the CIA and the double cross? The henchmen? American Intelligence, working for the British? The double-crossing, the murders, the pursuit, the confrontation, the final explosion?

4.Helen and Roy, their background in Chicago, the books, the arms? The villain and his double-dealing? The rendezvous, Jeff and his arrival? The delay, Roy and his discussions - and his death? Helen and her escape with Jeff? Up-river, the pursuit? The meeting with Tommy, his eccentricity? His help? The villains and their pursuit, the boat, the shootouts? The pursuit in the mountains, Tommy and his assistance? The final explosion?

5.Helen, glamorous, rescued by Jeff? Her double-dealing? His saving her? Jeff, on the beach, computer, reports? Pursuit, shot, helping Helen, falling in love with her? The confrontation, the pursuit in the mountains? His finally rescuing her?

6.The villains, CIA, tough, selling arms illegally? The henchmen? The pursuit, the brutality, shootings?

7.Tommy, the eccentric in the Central American mountains, drugs, rituals? Crazed? His helping out?

8.Formula ingredients for popular entertainment?

CAREER OPPORTUNITIES

US, 1991, 85 minutes, Colour.
Frank Whaley, Jennifer Connolly, Dermot Mulroney, John Candy.
Directed by Bryan Gordon.

A slight teenage comedy written by John Hughes, whose credits range from the youth films as The Breakfast Club and Sixteen Candles through such comedies as She's Having a Baby and Planes, Trains and Automobiles to Uncle Buck and The Home Alone films. The film is a star vehicle for Frank Whalley (Rob Krieger in The Doors, and the assassin of Hoffa in Hoffa). The heroine is Jennifer Connolly (Labyrinth, The Hot Spot). John Candy appears briefly as the Boss of the Supermarket - mistaking Whalley for the new executive instead of seeing him as the toilet-cleaner and guard.

The film is fairly simple - the young man minding the Supermarket, indulging himself in fantasy about owning the supermarket, finding the girl of his dreams, trying to escape from her father, and taking refuge in the supermarket.

1.Entertaining American comedy? Teenage audience? Family themes? Rich and poor?

2.The American town, homes, differences in class and affluence, the supermarket? Musical score?

3.The title, his relationship to Jim and his hopes?

4.Jim, at school, at home, the reaction of his parents to him and his dreams? His sister and the antagonism? His behaviour at home, the possibility of moving out? Getting a job? The interview with the manager - and the comic side of the misunderstanding? The reality? In the supermarket - enjoying everything, trying everything out, the long night? The meeting with Josie, protecting her from her father and the police? The slapstick comedy with the robbers, in the supermarket, chases, pursuits, outwitting them? The happy ending in the morning - and his having spent the time with Josie, his attraction towards her, her understanding him, his self-esteem?

5.Josie, her wealth, her clashes with her father? At school? At home? Wanting to leave home? Packing up and going? The car, in the supermarket? With Jim, sharing the adventures, the robbers and teaming with Jim to outwit them? The morning-after and her going with her father?

6.The robbers, the comic characters? Their attempts at robberies, going into the supermarket, the pursuits, the slapstick routines? Outwitted?

7.The father, Josie's father, his anger, searching for his daughter? The police chief and his awareness of what the father was like? Driving round, checking in the supermarket, conversations with Jim?

8.John Candy's cameo role and his enjoyable scene where he misinterpreted Jim's application, promised him the world, found out the truth and had to back down?

9.Easy-going comedy?

THE CARD

UK, 1952, 91 minutes, Black and white.
Alec Guinness, Glynis Johns, Petula Clark, Valerie Hobson, Edward Chapman, Veronica Turleigh, Gibb Mc Laughlin, Frank Pettingell.
Directed by Ronald Neame.

The Card is an entertaining Alec Guinness vehicle from the early '50s, a period when Guinness excelled at light and satiric comedy as in the Ealing Studios comedies, The Lavender Hill Mob, Man in the White Suit and The Ladykillers. He is directed here by Ronald Neame, assistant to David Lean for his classics Great Expectations and Oliver Twist, which also starred Guinness. He was later to direct Guinness's own screenplay of Joyce Carey's The Horse's Mouth.

Guinness has three leading ladies. Valerie Hobson, who starred with him in Kind Hearts and Coronets, is always adept at aristocratic ladies. Glynis Johns is also adept at innocent-sounding but wily gold-diggers. Petula Clark, in a very early role, is the heroine, Nellie.

The film was adapted by novelist Nigel Balchin from the classic Arnold Bennett story. Bennett, like Goldsworthy, wrote about English society at the turn of the century and the early 20th century. Bennett wrote stories of the five towns of the industrial north of England.

1.A British comedy of the '50s? Satire, wit, humour? The film as an Alec Guinness vehicle, his star status at the period?

2.The writings of Arnold Bennett, the portrait of the industrial revolution and the post-revolution period, life in the five towns? British prosperity? The re creation of period, social history of Britain?

3.Black and white photography, the re-creation of the period, the musical score - especially the jaunty theme and its use for characterising Denry?

4.The title, the tone - and the American title, The Promoter?

5.Mrs Menchin and her poverty, hard work in the laundry? The birth of Denry, bringing him up? A shrewd child? His friends, behaviour in school, bets?

6.Henry growing up, his prospects - and his easygoing laziness? The finding of the wallet, searching for the job, returning it to the owner, his honesty being repaid? At work, full of ideas, the lazy touch, shrewdness?

7.The ball and the printing of the tickets? The countess? His wanting to go to the ball, forging his signature, the arrival of the ticket? His going to Ruth for the dancing lessons? The ordering of the suit - and the supplying of tickets?

8.The dance, the man about town, his friends? The Countess of Chelle? His boss? The bet, approaching the countess, inviting her to dance? The laughter, the dancing, returning to her chair? Everybody's reaction?

9.Denry's boss, his anger about the tickets, about Denry's behaviour, dismissing him?

10.The collection of the rents, the manager of the estates and the need for collection? Denry's deal? His collecting the rents, his encounter with the people, pleasant manner, expanding his business?

11.The friendship with Ruth, with Nellie? The visit to Brighton, the amount of spending - the portrait of Brighton, its entertainments, its souvenirs? Ruth and her spendthrift manner, Denry's anger?

12.Ruth and her character, the poor dancing teacher, needing money, her setting her sights on Denry? Rejecting him? His putting her down after her spending so much money? Her going away, the widow, returning? Denry's better prospects? Her wanting to be the mayor's wife? Nellie's departure, their going to Liverpool? Denry's rejection of her? The elderly gentleman and the prospect of another widowhood?

13.Denry and his manipulation of situations, the Countess of Chelle and her car, paying the chauffeur, coming with the donkey, the riding into the town with the countess, the donkey bolting? Denry leading the bidding at the auction? Ingratiating himself with everyone?

14.His becoming mayor, his buying the fur for his mother, her packing it away?

15.Nellie and her friendship with Denry, always present, his not realising that he loved her? Ruth's return, Nellie and the family leaving, the father's financial difficulties, Denry helping? The visit to the ship, his proposal?

16.The happy ending, Denry as mayor, Nellie his wife? The jokes with the donkey?

17.Arnold Bennett's perspective on 19th century England, the industrialisation of the five towns, poverty and the way of life, capitalism and enterprise, the individual, social classes?

CARBINE WILLIAMS

US, 1952, 93 minutes, Black and white.
James Stewart, Jean Hagen, Wendell Corey, Carl Benton Reid, Paul Stewart, Otto Hulett, James Arness.
Directed by Richard Thorpe.

Carbine Williams is the story of David Marshall Williams, the inventor of the Carbine automatic. He is played by James Stewart, somewhat out of typical role. Williams was a sailor, argued with his family about working the land, was a part-time bootlegger and involved in a shoot-out with federal police. He was convicted of murder and spent many years in prison. It was his work on the Carbine, as a hobby, that changed his attitude as well as the support of the head of the prison, Captain Peoples (played by Wendell Corey). The film was told in flashback so that we see the achievement by Williams. Peoples explains the story to Williams' young son. The supporting cast is good, led by Jean Hagen as his wife.

1.Interesting and enjoyable biography? An American who made good? The moralising tone of the film about people and opportunities?

2.MGM production, black and white photography, the Prohibition period, life in prisons? The musical score?
3.The title, the focus on Williams and his achievement? based on a Reader's Digest story? The introduction to Williams, his work, the phone call from Maggie, his concern about David? The phone call to Cap, taking him to the prison, being met by Peoples in the prison?

4.Cap telling the story, trying to help David understand his father? The audience knowing that all came well at the end and its effect in looking at the young Williams?

5.Marsh, going to sea, his brothers and sisters, clashes with his father, the return from the navy, his wanting to marry Maggie, not wanting to work the land, his work, the distilling? The moonshine and the friends? The arrests? The gun and his threat? The shoot-out, the confusion, every man for himself, the death of the agent? His decision to give himself up?

6.The court case, the evidence against him, his own aggressive manner? The plea bargaining, the change of judge, his getting 30 years? His going to prison, his bitterness, his refusal to communicate with Maggie for years? With the men, his surliness, the chain gang, the knives and the violence, the attempts at escape? The transfer to the farm? His meeting with Peoples? His surliness and anger? His going to do 30 days' solitude on bread and water? His explanation to Peoples about his thinking, gradually overcoming the pain, the plan of the Carbine?

7.Peoples, his administration, tough? The men and their work? Discipline? His putting Williams in the hole? The explanation? Interest in the gun? His decision to let him keep making it? The bond between the two? Persuading him to see Maggie, their day together? The beginnings of rehabilitation?

8.The other men, violence, knives, interrogations and line-ups? Kruger and the attempt on the train, Williams stopping him from being shot? Taking the gun, knocking Williams out? His death?

9.Williams' achievement, the publicity in the press, Peoples called to account before the board, his plea that they examine the gun, their giving permission, Peoples' pledge and Williams' faith in him? The success of the gun, the patent, the pardon? A happy ending and rehabilitation?

10.Portrait of an ordinary American, his gifts, his change of heart, the support of friends and family?

CARAVAGGIO

UK, 1986, 89 minutes, Colour.
Nigel Terry, Sean Bean, Michael Gough, Dexter Fletcher.
Directed by Derek Jarman.

Caravaggio is the work of Derek Jarman. Jarman was a significant figure in British film-making, especially in the '80s. Starting with his homosexual portrait of the saint Sebastian in Sebastiane, he went on to make a number of short films, using Super 8 and video techniques as well as features like Jubilee. After Caravaggio he went on to make such films as The Last of England, The Garden and his most celebrated, the adaptation of Christopher Marlowe's Edward II.

Jarman also uses a number of actors who appeared in many of his films, including Nigel Terry as Caravaggio, Tilda Swinton as Lena, Jack Burkett as the Pope. In this film Michael Gough appears as a cardinal, as does Robbie Coltrane, and Dexter Fletcher is the young Caravaggio. Sean Bean is his lover Ranuccio.

The film is a study of Caravaggio, emphasising some fictional aspects by including references, visual and sound, of the 20th century. The film is also a memoir, Caravaggio dying and attended by his mute servant Jerusaleme. Caravaggio remembers his past on the Roman streets, his being adopted by church figures and being educated and commissioned to paint, he remembers his clash with Ranuccio and Lena, his lover, and Lena's being taken in by Cardinal Borghese. He remembers Lena's death and the revelation that Ranuccio had killed her for love of Caravaggio. He then killed Ranuccio.

The film shows Caravaggio's paintings, his use of light and shade, of colours, of live models for his works of art. Many of his paintings are pictured as live tableaux.

The film can be seen as a chamber piece, not a Hollywood biopic or spectacular. It is a perception of Caravaggio, his personality, his art and his times.

1.The portrait of an artist, fact and fiction? Art and life?

2.Derek Jarman's work, his place in British film-making, his particular perspectives, visual styles, the gay perspective and interpretation?

3.Italy in the 16th and 17th centuries, Rome, the Vatican, the Vatican palaces? The contrast with the streets, the towns, the taverns? The art studios and their atmosphere?

4.Audience knowledge of Caravaggio and his art? His colour, light and shade, shadows, technique? His inspiration, religious and secular? Profane and sacred love? His life? The live tableaux? The models? The re-creation of the paintings? His themes? The musical score and its atmosphere?

5.The structure of the screenplay: Caravaggio's death, his memories, the recurring theme of his dying, his life and perspective, the voice-over commentary and its judgment on Caravaggio and his behaviour, his attitudes? The poetry? The images? The interpretation of his life?

6.The 20th century interpretation, the perspective of history, politics, the church, attitudes towards sexuality? The introduction of 20th century visuals and sounds, the motor bike, the cigarettes, the newspapers, the artist in his bath typing? The fact blending with fiction and interpretation?

7.Caravaggio and his character, his death, his eloquence, hallucinations? Jerusaleme and his fidelity and sympathy? The dead Caravaggio and the coins on his eyes?

8.The flashbacks to the young Caravaggio, Rome and the streets, the painting, the slums, selling his art, selling himself, the range of clients, sexuality, violence and mischief?

9.The portrait of the cardinal, Caravaggio ill, in hospital? The patronage of the church for the artists? Interviews, education of the artist? The portrait of Bacchus? Caravaggio and his work, the work conditions? The cardinal and his entourage, style, meals, manners? The sexual innuendo? The other members of the cardinal's entourage? The Vatican as a court? The church dignitaries and their interest in art?

10.The commissions, St Matthew, the painting, Ranuccio as a model of the killer? His relationship with Ranuccio, the knife fight and the clash, friendship? Lena and her relationship with Ranuccio? Caravaggio's tendered towards Lena? Their appearing as models for St Matthew's killer, Mary Magdalene? St John the Baptist and his execution? The painting, the violence, the bonds, sexual?

11.Vatican society, Cardinal Borghese, his worldliness, his mouthing statements about church practice? The attraction to Lena, taking her away? The party? The rivalry with Ranuccio? The reputation of Cardinal Borghese? The reputation of church dignitaries? The painting of profane love - the themes, models, profane love within the church structures?

12.Lena, with the cardinal, her pregnancy, the violence and pathos of her murder?

13.Suspicions in Rome, Cardinal Borghese, the politics? The alcoholic Caravaggio? Mourning Lena? The arrest? His being brought before the Pope - the sinister presentation of the Pope, his attitude towards art, sexuality, revolution and the status quo?

14.The portrait of Ranuccio, a man of the streets, in himself, posing for Caravaggio, his relationship with Lena, the knife and the fight with Caravaggio, his devotion to him, the death of Lena, his confession to the murder, his boasting? Caravaggio's violent killing of Ranuccio? Yet the influence on Caravaggio's life and his art?

15.The world of Rome in the 16th and 17th centuries, the contrasts between the sacred and the secular, profane and religious art? The kind of society which produced such personalities, artists and art?