VERTICAL LIMIT

US, 2000, 125 minutes, Colour.
Chris O' Donnell, Bill Paxton, Robin Tunney, Scott Glenn, Izabella Scorupco, Temuera Morrison, Stuart Wilson, Nicholas Lee, Robert Taylor, Roshan Seth, Ben Mendelsson, Robert Mammone.
Directed by Martin Campbell.

A warning: not for those who get vertigo! This is a big-budget stunt-filled action show (actually filmed in the mountains of New Zealand's South Island) that relies on thrills and death-defying challenges, selfishness and heroism, all larger than life. Chris O' Donnell, usually rather a stolid hero, has had to cut his father loose on disastrous climb and has not been forgiven by his sister, Robin Tunney. By chance they meet in Pakistan where she is photographing a climb by an unscrupulous tycoon, Bill Paxton. The main action is a rescue attempt, a race against time, that sometimes defies belief. It is all updated Saturday matinee stuff.

1. The popularity of mountain climbing, mountain rescue films? Exhilaration, endurance, danger?

2. The Arizona settings, New Zealand standing in for the Himalayas? The beauty of the mountains, the snow, ice, avalanches and blizzards? The musical score?

3. The title, altitude, endurance, human limits on the mountains? For climbers, for rescuers?

4. The prologue, Monument Valley, the Garrett family, their exhilaration in climbing, father, son and daughter, the accident, the decisions, the father wanting his son to cut the rope, the daughter saying no? The moral decision for the son, his cutting the rope, his father falling to his death? The aftermath with Peter becoming a photographer, with Annie joining an expedition in Pakistan?

5. Pakistan, the political situation, the Colonel, his comments about rich Americans coming to climb, the border dangers, his advice about the rescue, the dangers of the weather, Indian attacks? Firing the cannon?

6. Elliott Vaughn and his money, his previous attempts to climb K2, the death of Montgomery Wick's wife? His entourage, publicity, wanting to climb the mountain, yet promoting his air service? His character, domination? Genial surface, ruthless? His relationship with Monique? Her presence as a nurse? His relationship with Annie? The leader of his expedition? The meeting with Peter Garrett? His guides, his team? The ascent, the weather reports, his ignoring them, Tom wanting to go back down the mountain, the pressure from Vaughn? The blizzard, the group falling, people swept to their death? Tom, Vaughn and Annie in the crevasse? Their attempts to survive, the altitude Illness, Tom and his injuries, the small amount of medication, Vaughn and his decisions, telling Tom that he should die, Annie's reaction? Their survival, the radio contact? Vaughn smothering Tom? The movement and the hole in the crevasse, their climbing out? The dangers, the rescue by Peter, by Wick? Wick and Vaughn on the rope, the dangerous situation, Wick urging Peter to cut the rope again and the two falling to their death? Poetic justice for Vaughn, movie style?

7. Peter Garrett, the experience of climbing, his father, meeting his sister again, their conversation? The dangers, his photography? His decision to go to the rescue, the explosives, getting the team, discussions with Wick? The hazards of climbing, the climbing with Monique? Falls, avalanches? The contact with Annie, her telling him not to come? The arrival, the leap over the open gorge? Wick holding him? The final decision to cut them loose? His character, the relationship with Monique? Monique, her relationship with Vaughn, volunteering for the climb, wanting to get out, the bonds with Peter, the deaths, especially of the young Australians?

8. Montgomery Wick, the wild man of the mountain, his mourning his wife, his vengeance against Vaughn for his wife's death? Climbing the mountains, his prayer and meditation? Peter's plea for him to come, his decision for the rescue, taking command? The helicopter landing and its hazards? The three groups, the dangers? His finding his wife, the meditation, his saving Peter, the confrontation with Vaughn, his not killing him? Finally letting the rope be cut and Vaughn and himself go to their deaths, his prayer before dying?

9. Skip, his skill on the mountain, his being left at the bottom in order to coordinate the rescue? Frank Williams, the offer of the money? Tom and his leadership, pressurised by Vaughn, dying?

10. The two Australians, their wisecracks, their bonds, cheeky? Sounding as if they were not going, their climbing, the dangers, deaths?

11. The Pakistanis, their motivation for being there, on the mountain, participating in the rescue?

12. The combination of special effects, location photography, the dangers, the challenges? The basic human story in this environment?

VALENTIN

Argentina, 2002, 82 minutes, Colour.
Rodrigo Noya, Carmen Morae, Julieta Cardinale.
Directed by Alejandro Agresti.

Alejandro Agresti is one of Argentina's foremost filmmakers. This brief film is a piece of autobiography. Agresti has reminisced about one year of his life (1969) and shown us Buenos Aires in those days, well before the Generals and the dictatorship. A young priest gives a sermon on the death of Che Guevara and challenges his congregation in a liberation theology way and the wealthy walk out.

The character who stands in for him is called Valentin, a cross-eyed eight year old boy, whose mother has abandoned him, whose father is too busy with work and finding a new partner to attend to him, who lives with his widowed grandmother who has reached the age of aches and complaining.

Valentin wants to be an astronaut but Neil Armstrong beats him to the moon.

Valentin is very observant and gives us quite a literate and perceptive voiceover commentary on what is going on in his life, in his care for his grandmother, especially cajoling a doctor into paying a house call, in his puzzle about his absent mother (because his grandmother and father toss off the line that she was Jewish). Two people whom he does befriend are one of his father's girlfriends, a beautiful and friendly young woman called Leticia, and his neighbour Rufo, who teaches him the piano and with whom he can talk about all the issues of the world.

Agresti lived the details of Valentin's life. He also plays the father in a scene of brutal anger that Agresti said was most difficult to play because of memories that it brought back. Most audiences will like Valentin's story and not simply because he seems a 'cute' child but because of its emotion and truth.

1. The work of Agresti, his place in Argentinian filmmaking? His re-creating of the late 1960s, the memories for Argentina, his own autobiography, of himself, a year in his life, his father and grandparents?

2. Buenos Aires, the city, homes, cafes, streets? Authentic atmosphere? Score?

3. The portrait of Valentin, his ability as a storyteller, the ending and his becoming a writer, his detailed voice-over, his interpretation of the events, the portrait of an eight-year-old with an adult mentality, his grandparents, his comments on his grandmother, the grief at the grandfather's death, her complaints, his absent parents, his father's arrival and his anger, doing his work, his girlfriends, accusing Valentin of turning his girlfriend against him? The prejudice against his Jewish mother? His wanting to be an astronaut, building things and reading about astronauts? His schoolwork, life at home, his care for his grandmother, his observations of people, his uncle's visit and enjoying it, his friendship with Rufo, learning the piano, their discussions in the restaurant? The meeting with Leticia, her charm, beauty, going out with her, her gift, the discussions, the meal, going to the movies, his talk about his father? His father's anger at his turning Leticia away? His going to the doctor, his plan for his grandmother, pressurising the doctor, his visit, changing the household? His buying the gift of the painting and giving it to the doctor? His grandmother and her illness, going to hospital, dying - and the phone call while he was sleeping and Rufo answering? The death of his grandmother, the selling of the house, his never being able to go back inside the house? Meeting the man with the shirt, the comments about his mother and her love for him? Going to stay with friends? The visit of Leticia, the phone call, setting her up with Rufo - with the consequences he intended?

4. The grandmother, her age, experience, grief, her attitude towards her son, Jewish daughter-in-law, her care of Valentin, her illness, her death? Her stories?

5. The sketch of Valentin's father, his absence, his driving his mother away, his brutality in interrogating his son? The contrast with his kindly uncle?

6. Rufo, his friend, his girlfriend, the playing of the piano? Their discussions in the restaurant, meeting Leticia, dressing up?

7. Leticia, a good woman, charming, her listening to Valentin, the gift, her taking his advice about his father? Her return, the meeting with Rufo, the happy ending?

8. The visit to the church, the death of Che Guevara, the priest and his sermon on liberation theology (a real-life occurrence for Agresti as a boy)?

9. His friends, the friendliness of Valentin, chatting with people, his hopes, observations? The irony that his observations were made by a cross-eyed boy? His worldly-wise attitudes? A child's perspective on the world?

VENGEANCE VALLEY

US, 1951, 82 minutes, Colour.
Burt Lancaster, Robert Walker, Joanne Dru, Sally Forrest, Ray Collins, John Ireland, Hugh O' Brian, Carleton Carpenter.
Directed by Richard Thorpe.

Vengeance Valley is a brief and brisk western. It portrays the cattle-ranchers of north-west America, the life in ranching, the movement of the cattle throughout the seasons. In this respect, it is a vivid portrait of the west.

The film was also a psychological western. These had become popular in the late 40s. Burt Lancaster and Robert Walker play foster brothers with Ray Collins as their father. Robert Walker has been the spoilt brother, always getting his own way with his adopted foster brother defending him. Burt Lancaster plays the older brother as a decent man in every respect - though fairly fast with his fists when occasion requires. Joanne Dru gives a strong presence as Walker's wife, disillusioned by his behaviour and his getting her friend Lily (Sally Forrest) pregnant. Carleton Carpenter is the cowhand in love with Sally Forrest. John Ireland and Hugh O' Brian are her brothers who want to know who is the father of her child and who are bent on vengeance.

The film is really a variation on the prodigal son theme, which turns to a kind of Cain and Abel conflict as Robert Walker begins to be more devious, wanting to get all the property and power, arranging for assassins to kill his foster brother.

The film was directed by Richard Thorpe, a veteran at MGM who was to move in the early 50s into the spectacles of The Knights of the Round Table, Ivanhoe and Quentin Durward and other like adventures.

1. An interesting and entertaining western? The western themes, the cowboys, the cattle, the spreads, their work? Themes of law and order, vengeance?

2. The film as a psychological western, the nature of family, family conflicts, sibling rivalry, sexual jealousy? An atmosphere of violence and tension? The title?

3. The colour photography, the spectacle of the cattle runs? The landscapes? The action in the landscapes? The musical score?

4. The focus on the opening up of the west, the comments about the Comanche camps and the boys throwing stones at them? The changes, the open range? Cattle, cattle rustling, cattle deals? The spectacle of the large herds? The rich landowners?

5. Owen, Burt Lancaster's presence, an upright and decent man? The background of his being fostered, his devotion to Arch for fifteen years? Training Lee, making excuses for him, as regards drinking, as regards women, as regards Lily's pregnancy? His delivering the $500 to her? His devotion to Jen, but his decency in her regard? The confrontation with Lily's brothers, their pulling the guns, the fights? At home, on the farm, stopping Lee whipping the horse during the training? In town, friendship with the sheriff? The men together, the breakfast scene? Hewie and his friendship? Owen saving Lee from the violence? Lee and his double-dealing behind Owen's back, Owen's suspicions? The rustled cattle, his recovering them, the fight? Going on the travels, the meeting of the two herds, his discovering that the herd was for sale? His confronting Lee? His being bashed and Jen helping him, Lee taking the opportunity to pretend to be suspicious? Lee persuading Owen to ride with him, the set-up, the ambush? His being wounded? His chasing Lee, the confrontation, his being quicker on the draw? Lee's death?

6. Lee as a character, weak, his relationship with his father, getting his own way, drinking, gambling, shooting? Lying? The return home, leaving Owen to give the money to Lily? Avoiding meeting Jen? His attempts to settle down, his inability to go straight? His relationship with his father, persuading him to let him be a partner? The clash with Jen, suspicions of Owen? The rustled cattle and his buying them? The decision to sell the cattle at a large price, to leave, to get Lily's brothers out of jail, in amongst the workers, and arranging for the ambush? His complacency, malice, his death?
7. Arch, the genial patriarch, taking the blame for his son's behaviour, spoiling him, his mother dying, yet wanting Owen to be a father figure for him? His wise words to Jen, his support of Owen?

8. Jen, orphan, a good woman of the west, her marriage to Lee, disillusionment? Her devotion to Owen? Lily, the baby, not revealing that Lee was the father?

9. Lily's brothers, pulling the guns, the vengeance for the honour of their sister? The fights, in jail? Their being let out, joining the crew, the ambush and their deaths?

10. Hewie, the commentary, supportive of Owen, attracted to Lily, supporting Owen at the end?

11. A satisfying western, a satisfying human and psychological drama?

VIVIAN BULWINKEL

Australia, 1988, 45 minutes, Colour.
Rachel Ward.
Directed by Rod Hardy.

Vivian Bulwinkel is one of Mike Willesee's Australians, a Bicentenary project of 13 biographies of significant Australians. Rachel Ward plays the nurse of World War II who is captured and helps fellow prisoners in the prisoner-of-war camps. The character is not as familiar as some of the others in the series - however, she stands for those many nurses who had a strong humanitarian sense and who rose courageously to crises during World War Two. The film was directed by Rod Hardy, director of telemovies and television series.

1. Vivian Bulwinkel as a choice for Willesee's Australians? Her contribution to Australia and its spirit?

2. The quality of the telemovie, its brevity of running time? Impact for Australian audiences and Australian spirit?

3. The re-creation of the war in Malaya and the now Indonesia? The staging of war sequences? The prisoner-of-war camp? Sense of period? Musical score?

4. Audience knowledge of Vivian Bulwinkel? Her being typical and symbolic of wartime nurses?

5. The focus on nurses and war? Their volunteering, their sense of humanity? Their work with injured and dying men? The cross-section of women? Their ordinariness? Dangers, evacuation, on the ship? Civilians? Their work, the dangers?

6. Vivian seen within this context? The group and. their work? The ship hit, its going down, survival?

7. Survival on shore, helping one another? The officer and his decisions? The locals and their fear? The decision to surrender? The coming of the Japanese, their severity and brutality? The comments about the war, conventions for prisoners?

8. The arrest of the men? The sequence of driving the women into the water and shooting them? Vivian and her wound, surviving?

9. The wounded Vivian, her having to cope, finding the injured man? Her support of him? Tending him, feeding him, water, warmth? Her own wound? Going into the village for some help? The officials in the village refusing her? The villagers helping her? Survival?

10. One the road, the decision to surrender? Going to the camp? The reunion? Her having to conceal the truth because of dangers? The Japanese and their treatment of the prisoners of war? The man and his dying and Vivian's tending him?

11. World War Two, the fighting men and their deaths, the service of the nurses, their deaths and imprisonment? A memoir and a tribute?

VIRUS

US, 1998, 90 minutes, Colour.
Jamie Lee Curtis, William Baldwin, Donald Sutherland, Joanna Pacula, Cliff Curtis.
Directed by John Bruno.

Virus is a science fiction film, a mixture of influences by all kinds of films, especially Alien. (The producer of Alien, Gale Anne Hurd, was producer of this film.) The director is John Bruno, who worked on special effects for James Cameron for The Terminator, The Abyss and Aliens.

However, the special effects are not particularly striking in this film and the final mechanical monster seems more ludicrous than terrifying. Basically, the film shows a virus overtaking the Mir space station, coming to Earth and destroying the Russian ship which monitors the space station. A small boat, captained by Donald Sutherland with Jamie Lee Curtis as navigator and William Baldwin and Cliff Curtis in the crew, finds the boat, wants it for salvage. However, like Alien they are gradually picked off, some of them becoming part of the robot-like machine which is taking over. Needless to say, Jamie Lee Curtis and William Baldwin survive. It is rather run-of-the-mill horror science fiction.

1. The popularity of this kind of story? Space, aliens, mechanical robots becoming intelligent and the rise of the machines?

2. The space station, the contact with the ship in the South Pacific? The typhoon, the waves? The small ship and its ultimate destruction? The special effects for the large ship, the monster and the attack? Musical score?

3. The title, the focus on the mysterious virus which influences machines rather than humans?

4. The basic prologue, the space station, everything going well, the contact with the ship? The strange experience, the destruction of the space station? The ship being overwhelmed? The disappearance of the crew? Nadia surviving?

5. The Seastar, the typhoon, the captain and his stubbornness, the barge and his wealth, not insured? The reaction of the crew, the destruction of the barge? The sound of the ship - and their finding the deserted ship?

6. The personalities: the captain, dominating, contemplating suicide after his loss, taking advantage of the floating ship as salvage? His being taken over by the machines? Foster, her father being an admiral, navigator, standing up to the captain, tough like Ripley in the Alien films? Her treatment of Nadia, collaboration, with Baker? Her being captured, tortured, rescued just in time? In the ejector seat and saved? Baker, his signing on, his friends, the clashes with the captain, his heroics on the boat, survival? The other members of the crew, Squeaky and his going into the engine room and being destroyed, Richie and the weapons and his helping them to escape with the ejector seat, Woods and his being pierced through? Hika and his injuries, their being tended, destroyed?

7. Nadia, her surviving, wanting to destroy the ship, the captain not believing her, Foster chasing her, her being freed? Her collaboration to help them go, the explosives, the time limit, her staying behind to confront the machine? Finding her husband taken over by the machines?

8. The action and heroics? Standard for this kind of action film? Audience identification with the characters, with the issues?

VERONICA GUERIN

US/Ireland, 2003, 98 minutes, Colour.
Cate Blanchett, Gerard Mc Sorley, Brenda Fricker.
Directed by Joel Schumacher.

Immediately after making his small budget film about truth and lies, Phone Booth, Joel Schumacher went to Ireland to film this story about the courageous Dublin journalist, Veronica Guerin. From 1998 to 2003, several films were made about crime in Dublin. They include two films about Martin Cahill, 'The General', the assassinated crime boss of the city: John Boorman's The General with Brendan Gleason and Thadeus O'Sullivan's Ordinary Decent Criminal (a phrase which is used in this film) with Kevin Spacey. Veronica Guerin herself was portrayed by Joan Allen in John Mackenzie's 2000 feature, When the Sky Falls.

Investigative journalism is always an interesting theme for a movie. It implies risk-taking, even heroism, on the part of the journalist. It implies some corruption in society which is being covered up and needs exposing. It implies that audiences really want the truth to come to light and that society is the better for being honest.

Veronica Guerin was an energetic and dedicated journalist but felt that she was being confined to safe subjects. When she began work on the crime round and contacts gave her leads, she decided that this was the area she had to investigate. It meant going to the drug slums of the city, confronting criminals and writing hard-hitting exposes. She received threats, was shot and bashed. Eventually, she was shot while driving her car - and the film begins by letting audiences know that she had been murdered.

The city of Dublin itself becomes a character in the movie, beautiful aerial shots, much location action in both squalid areas and affluent homes and properties. Veronica Guerin is a Dublin woman and Cate Blanchett brings her vividly to life. A loving wife and caring mother, she nevertheless feels impelled to continue with her dangerous work. She sees it as a vocation. Brenda Fricker is her mother. Ciaran Hinds is John Traynor, her limelight seeking but treacherous informant and Gerard Mc Sorley is alarmingly sinister as John Gilligan who was imprisoned for his crimes.

1. Audience knowledge about Veronica Guerin, her life and work, her death? A particularly Irish story? A Dublin story? Impact for the Irish? For other audiences?

2. The spate of films in the 90s about Ireland, Dublin, drug-dealing in the city of Dublin, the campaign of the media, the work and death of Veronica Guerin?

3. Dublin city as a character in the film, the panoramas and views, the overview of the city, the slums and the drug-dealing areas, the brothels? The contrast with the more affluent homes, the country stud, the police stations, the offices of the Irish Independent? An authentic atmosphere?

4. The opening of the film with Veronica going to court, her strong personality, the issue of her driving licence and speeding? The judge and his response, the lawyers? Her getting a fine? Her joy, daring, driving the car again? The phone calls, indications of her relationships, dedication to her work? The suddenness of the motorbikes arriving and her being shot? The impact of her death at the beginning of the film? The film and the flashback to two years earlier? The final information about what happened to the various characters, especially the criminals?

5. The portrait of Veronica: as played by Cate Blanchett, Cate Blanchett's screen presence? Her age, poise, her tradition of work, her family, her general relationship with her husband, his patience and caring for their son, her love for her son? The domestic sequences and their peace - despite Veronica's consistent hard work? Her relationship with her mother, her mother being a strong woman? Her brother and his concern? The broader family, the sequences at home, meals, Christmas Eve? Veronica and her work at the paper, the range of articles, interviews with people like Bishop Casey? Her thinking her work didn't amount to much? Her interest in the crime beat, the effect of her research, her articles, the wide readership? The jealousy of the other journalists? The support of the editor? The risks? Her contact with John Traynor, his contacts, visits, information? His becoming a celebrity through her? Her visit to the drug area, the old house, the young kids, the discussion with the boy, the parents and their concern, going on the demonstrations, the drug peddlers watching? Her gathering of information, getting the truth, being misled? Her confronting Martin Cahill, then the massacre of Cahill and his gang? Monk Hutch and his being under suspicion, truth and lies? The discovery of John Gilligan, his being behind the scenes? At Martin Cahill's funeral, checking on the identities of who was there with her police friend? John and the phone call at the cemetery, his feeding her lies, blaming Hutch? Gilligan's threats, Christmas Eve, her working at home, the caller at the door, masked, shooting, wounding her only in the leg? Her going to hospital, her impatience in hospital? The police information, getting more about Gilligan? Interviewing John, his prostitute girlfriend and her indication of information? The visit to Gilligan's stud, his verbal and physical abuse, bashing her? The photos of her injuries, the discussion about suing? Her decision to go ahead despite the danger, going to court, the postponement and Gilligan's smug satisfaction? The growing danger, Gilligan's phone call and threats about kidnapping her son? Her discovering the truth about John Traynor, the girl indicating that he himself had ordered her shooting? John trying to mediate for Gilligan? The photo of John behind Gilligan? The articles, the anger of Gilligan and his gang, the decision that she should die, her being shot?

6. The aftermath of the shooting, the people on the highway rushing, the nurses from the hospital, the truck drivers? The information of how Irish people, especially Dubliners, were affected by her death and remember when they heard about it? The visualising of parliament, the changing of the law, the signing of law confiscating assets of suspected drug dealers? Her funeral, the Catholic background, the procession, the crucifix - and the indication of a parallel between Veronica Guerin, her work and her death, and the Crucifixion?

7. John Traynor, his position in the criminal world of Dublin, his contacts with Veronica, his vanity about appearing in the articles? Giving her true information, lies? His working for Gilligan, intervening for him? The issue of Cahill, his being known as the General, his seemingly being untouchable, the massacre of his gang? Putting suspicions on Monk? Gilligan's growing threats, threatening to shoot Traynor if information came out? Traynor and his relationship with the girl, her overhearing the truth, her indicating the truth to Veronica? Phone calls, the visits, the discussions at the seaside - with the journalist and his photo lens? Traynor and his escape and the difficulties of extraditing him back to Ireland?

8. Gilligan's hitmen, their bravado, their drugs, the behaviour at the funeral, mockery, their being arrested, the search of the criminal - a the irony that he was to be the shooter? Being on the payroll, their thinking they were above the law, the final decisions about who was to kill Veronica, the preparations, the bike, tailing the car, the phone calls indicating where she was, the actual murder?

9. The contrast with Monk, his role in the criminal world, robbery and not drugs, his direct dealing with Veronica, saying she'd be dead if he had shot her?

10. The police, Christopher and his support, giving her information, files, identifying people, research? The police and their inability to really confront the drug situation? The lack of political will?

11. Gilligan, behind the scenes, the explanation of his criminal career, getting out of prison, the link with Traynor, the control of drugs (and the visualising of his own use), wealthy, the stud, his wife? His brutality in running his gang, the stud? The staff at the stud and their fears? Veronica's visit, his bashing and abusing her? His using Traynor, the phone call and the threats, the threat of kidnap? In court, and the postponement of the case against him?

12. The Guerin family, the mother, the opening with the mass and her asking the priest for prayer? The effect of the violence and their fears, having to move the son to stay with his grandmother, scenes at home, the mother's support, the importance of Veronica's husband, his being the family carer? The impact of the news of her death on each member of the family hearing the news, especially her mother, her husband and son?

13. The courage of Veronica Guerin, some seeing her as a saint, others as naïve? Her coping with her fears, her poise and balance, the violence and her sense of vocation, her being shot, bashed, in hospital, yet continuing her crusade? The scene of her kicking the ball and her frustration yet her continuing?

14. The theme of one person having the courage of their convictions and being able to effect change - but at the cost of their life?

VERTIGO

US, 1958, 128 minutes, Colour.
James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore, Henry Jones.
Directed by Alfred Hitchcock.

Vertigo is considered by critics as Hitchcock's best film. It regularly appears in the list of top ten films of many critics.

Made in the late 50s, it was to star Vera Miles and James Stewart. Vera Miles became pregnant and the role went to Kim Novak. Many consider it her greatest performance - although many consider her just a screen presence rather than actress and people react to her. It was a very good role for James Stewart, a complex psychological character, honourable yet with a dark side, infatuated with the woman that he was pursuing, the woman that he thought was dead and whom he rediscovers and transforms. Barbara Bel Geddes is very good in support as his buddy figure.

Hitchcock made a number of great film in the 1950s, probably his best decade. It began with Strangers on a Train and included such films as Dial M for Murder, Rear Window, To Catch a Thief, The Wrong Man, The Trouble With Harry and North by Northwest. The decade was to culminate in Psycho.

Hitchcock's themes are very much to the fore, especially the interactions between men and women, men idolising women, especially blonde women, and yet, somehow or other, losing their souls. The screenplay was written by playwrights Alex Coppel and Samuel Taylor from the novel, Among the Dead by Pierre Boileau and Thomas Narcejac, authors of such works as Les Diaboliques.

1. The status of the film as a Hitchcock classic? Its place in his canon? The culmination of his work of the '50s along with North By North West and Psycho? Its influence on other film-makers? The several imitations and tributes?

2. A San Francisco story and its use of the city, its present, its history, atmosphere? The contribution of Bernard Herrmann's atmospheric score? The technical devices: the credits sequence and the focus on the eye and entering into the psyche of a character? The vertigo effects for Scotty's experience? The bravura of the nightmare sequence with its symbols, colours, gathering together of Scotty's experiences and fears? The pace, editing? The attractive colour photography? The technical atmosphere contributing to the success and pleasure of Vertigo?

3. The effectiveness of the structure of the film: the focus on Scotty and his experience of vertigo - as a physical and psychological condition? The crisis in his life? His change of occupation? His freedom and his being caught up in a new experience? The tracking of Madeline? His falling in love? His investigation and the build-up to the climax? His horror? The break in the film with the death of the heroine? The change of pace, transition? The encounter with Judy and the possibilities of repetition of the first part of the film? Hitchcock's device of letting the audience know the truth but not letting Scotty know the truth? The build-up of suspense as audiences wondered what he would do? The gradual build-up of Judy into Madeline and the repetition of the climax of the first half? The story of a crime? A murder mystery? A psychological story? The story of love ~ a man in love with a dead woman?

4. The impact of the stars: James Stewart in his four Hitchcock films? Audience identifying with him? A very American upright star? The surprise of his obsession, sexual obsession, violence? Audiences entering into his experiences and identifying with him? Kim Novak as the sex symbol - the cool Madeline, her passive sensuality, her blonde attraction towards the hero? The transition to Judy with the red hair and the vulgar style? The transforming of Judy into Madeline? The contrast with Barbara Bel Geddes and the practical Midge?

5. The significance of the title? Psychological fear? Physical repercussions? The desire to fall yet the dread of it? Scotty's discovery of his vertigo in a desperate situation? His impotence? The death of the policeman? The humorous byplay of his standing on the stool to overcome his fear - and his sudden looking out the window and its recurring? Scotty not learning from the first experience but going into the second with Madeline? The irony of the murderer counting on his fear? The second chance to save someone's life and heal himself - but his failure and his collapse? The credits sequence and the visualising of the vertigo theme? The nightmare? Face, eyes, mouth etc.? The reality and unreality of the nightmare sequence and Scotty's experience?

6. The credibility of the plot? The basic narrative, causality - and so many loose ends? Does this matter within the context of the film? The themes? Scotty's nit saving the policeman and yet himself being saved? His retirement? Judy's sustained acting? Scotty's compliance? The repetition of his failure to save a life - and his not checking on Madeline dead? His second meeting with Madeline as Judy? The transformation? Such details as the necklace that Judy wears? Audiences suspending disbelief and being carried with the plot, character and themes?

7. The character of Scotty: as a policeman, investigator, the pursuit and his vertigo, his anxiety about the death of the policeman, recurring dreams, sense of responsibility? The taken for granted friendship with midge? Easy discussions with her? The background of the engagement and his breaking it off? His friendship with her but inability to commit himself to her in marriage? Midge mothering him e.g. helping him on the steps, during his breakdown. her reference to herself as 'mother'? Their casual discussions about her work., the introduction of the sexuality theme and the relationship of sexuality to Scotty? midge and her suspicion of Madeline. following her, the painting and her making such a mistake and her anger with herself? Cutting herself off from Scotty? The relationship during the visit and the playing of Mozart music and their previous discussion about music? Scotty in his depression and Midge, his mother figure, disappearing as she walked down the corridor?

8. Scotty and his disability, wanting to work? The appointment with Elster. their discussions, Elster's skill in manipulating Scotty's response to his problem? His decision to take the job? His being exploited?

9. Scotty and the sequence at Ernie's when he first sees Madeline? The audience sharing this experience with him? His looking at her at the hotel, in the car? The long sequences of his driving and tracking her through the streets of San Francisco? A symbolic wandering? A kind of infatuation vertigo as he went round and round the streets? His following her to the flower shop and the emphasis on the particular bouquet? The cemetery and her standing at the grave? Going to the apartment and the discussion with the landlady and her disappearance? The gallery and her sitting watching the painting and the explanation by the attendant? His growing infatuation, involvement to the exclusion of everything else? The comparison with Midge and his inability to relate with her, stay with her? Falling love with a person that he had never spoken to? Audience response to Madeline - her manner. appearance. style, dress, walk? The ethereal quality? The audience meant to fall in love with Kim Novak1Madeline? The irony that Madeline was a contrived character and that Judy was acting her? The irony that she was possessed by Carlotta, her dead ancestress? Scotty believing this - and his therefore falling in love with a woman possessed by a dead woman? (And his repeating this in transforming Judy into Madeline, wanting Madeline to take over Judy?)

10. The falling into the bay, Scotty's rescuing Madeline, bringing her to his home, drying his clothes, the implications about nudity and sensuality and modesty? The first time that Madeline spoke and the effect on Scotty and the audience? The phone call and Scotty's responsibility to Elster and Madeline's leaving? His bewilderment? Her return - and leading Scotty on? The visit to the forest and the discussions about the sequoias and their age and timelessness? The visit to the sea and the symbolism of the kiss with the waves pounding? Cliche elements - but relevant to Scotty's experience?

11. Madeline as a character, the audience believing that she was being taken over, her blackouts? Scotty as a detective, reconstructing what she was doing, her car rides, anxiety? His then trying to save her? The decision to go to the church? The drive along the coast with the emphasis on the trees (and its ominous later repetition)? The discussion at the church, the stable, Madeline wanting him to believe she loved him? The run into the church, the vertigo, her death? Scotty's despair as he looked down? The audience - how shattered with Scotty at Madeline's death?

12. Scotty's collapse, his wandering, the Coroner's Inquest and the brutality of the implications about Scotty? His nightmare? His withdrawing and going into the hospital? Audience empathy with this? The plausibility of what had gone on, Scotty's inability to jolt himself out of his depression? The passing of the year? Wandering San Francisco and imagining that he was seeing Madeline in the old places? His obsession and the realisation that he was in love with a dead woman?

13. The chance seeing of Judy? Her appearance and manner and walk being so different? His insight and being attracted towards her? His obsession coming to the surface? His love for a dead woman and wanting Judy to be the dead woman despite what he was saying? His following her, her brassy response? Scotty's proposal to Judy and her revulsion?

14. The irony of the audience becoming party to the truth? The knowledge of Judy's being hired by Elster, leading Scotty on? The truth of what happened in the church tower? The experience of alienation with Madeline's death, the experience of puzzle with Judy's truth? The suspense in wanting to know what Scotty would do. whether he would discover the truth? The build-up to the interchange - and the audience expecting it? Because they knew the truth, wanting Scotty to change Judy? The detail of their outings together and shared experience, her falling in love with Scotty again? The change in clothes, shoes, the long sequence about the suit. the changing of her hair and Scotty impatiently waiting - at her final arrival with the different hair style. the green neon light and the unearthly impression? Her finally becoming Madeline? Madeline taking over Judy as Carlotta had taken over Madeline? Judy moulded by Elster to become Madeline? Now Scotty moulding Judy to become Madeline? Elster was evil - Scotty? Good and evil - and the same results? Ironically the same results - even to death?

15. The agony for Judy, her writing the letter to Scotty but not giving it to him (the device for audience information)? Judy's gradual change. her reluctance but finally succumbing to Scotty - becoming Madeline?

16. The psychology of Scotty's obsession, sickness in being in love with a dead woman and trying to transform a living woman?

17. The sequence with the brooch? The irony of Scotty's discovering the truth and the flashback to Carlotta's portrait? His acting, driving and the repetition of the first drive. the arrival at the church. his hounding Judy with telling her the truth, his desperation. her desperation? Going up the stairs? The declaration of love? The ironic chase and Scotty overcoming his vertigo? His being free, healed, perhaps ready to forgive Judy - and the irony of her death?

18. The suddenness of her death - poetic justice? The irony of the brief sequence with the nun? Scotty - healed of his vertigo? What of his obsession?

19. Was the film a Hitchcock masterpiece - in terms of his interest in crime, suspense, sexuality, love and obsession, power, fear, death?

VERONIKA VOSS

West Germany, 1982, 105 minutes, Black and white.
Rosel Zech, Hilmar Thate, Annemarie Duringer.
Directed by Rainer Werner Fassbinder.

Veronika Voss is an award-winning film from that most prolific of German directors Rainer Werner Fassbinder. During the '70s, Fassbinder made a number of very successful films as well as a number of film which are very subjective and specialised. He is interested in German society, German history and sees relationships within these contexts. He has also been influenced by his love for Hollywood films, especially genre material and he has allowed these to influence him or has absorbed their styles into his idiosyncratic work. A number of his films about relationships are so intense that they are difficult to sit through - while well worth the analysis afterwards. Veronika Voss is quite an accessible film, contains his themes but is satisfying entertainment for a wide audience.

It is filmed strikingly in black and white and has excellent central performances. There is a moodiness about the film which communicates itself to the audience and helps to understand the infatuation of the sports writer with a faded star of screen in the 1940s. With its 1950s setting, the film is distanced from the present although throwing a great deal of light on German society and attitudes. The drug background and the medical manipulation are very well done and frightening.

1. The prolific work of Fassbinder? The continued quality of his work? Awards? His talent for writing, directing? Entertaining? Insight into character, into Germany?

2. Fassbinder's style? German realism? use of symbols and themes? His being influenced by the traditions of German cinema and photography? The credits sequences - the reference to U.F.A. and German film-making in the '30s and '40s? His being influenced by American cinema and melodrama? American songs and styles? The song of memories and its use in this film? The sequences of film production, talk about film and its nature? The world of movie stars - its reality and unreality? A satisfying film about the film world?

3. The quality of the black and white photography, its contemporary style yet suggesting a mood of the '50s, influenced by the past German cinema? A world of light and shadow, black and white - and the discussions about the reality and illusions of cinema? Sombre tones? The flashbacks and their sparkling style at first, becoming more sombre? The score: the continued American songs e.g. Sixteen Tons? Veronika's song of memories - with echoes of the Dietrich style, the ironic lyrics, an end them?

4. The world of the celebrities: artificial, professional? Their needs, need for recognition? Security, support, response from the public, the reaction to failure and collapse? Celebrities being used and exploited? Famous celebrities as losers, needing to be rescued? Unable to be rescued? Victims? Audience sympathy for the private lives of stars, lack of sympathy? The film's critique of their lives?

5. The opening with Veronika watching herself on film, the ironic screenplay and its being repeated in her real life? Her self-consciousness, reaction, the flashback and her nostalgic memories of the filming, her fame, the support of her husband and her kissing him? There being practically no explanation of why she was divorced? Her husband's remarks about her being able to destroy people? Her style, manner of speaking? The interview with Praetorius, his secretary putting her off, Praetorius excusing himself but giving her a role - and the glimpse of the girl in his office? The actual filming and her failing to act, to produce tears? Her collapse? Her acting for Dr. Katz to put the police off? The impact of her final song? The film persuading us that Veronika had talent as an actress? Ability or not? Style? An actress of German history, of the war years, suggestions of collaboration, her winning over the critics to forget her past? Did she have a sense of guilt about the past or not?

6. The chance meeting with Robert: his personality, character, courtesy, helping her, fascinated? His discussing her with his girlfriend after the phone call? The tea and his giving her the money for the brooch? Her leaving him? The fascination and his research? Her reappearance. inviting him to spend the night? The growing infatuation? How credibly was this presented? The repercussions of the night and the infatuation?

7. Robert's relationship with his girlfriend - initially. the phone call and the difficulty in answering the phone? His going to the appointment, the discussions about recognition? His deciding to help her? His presence at the filming and the failure? The corridor sequence with his presence and that of the husband? His being interested in her home, the courtesy of the old couple in referring him to Dr. Katz? Dr. Katz's assistant's reaction and allowing him in? His growing involvement with Veronika and discovering more about Dr. Katz? His trying to expose her especially after the death of the old couple? His asking his girlfriend to act a role? The phone call and her death? His grief? His trying to produce the prescription in the purse and Veronika's act disdaining him? His decision to go to her party? His response to her song and performance? The discussion in her memory about Holy Thursday, Good Friday and death? His final reading of the paper with the headline and his going to the stadium? His disillusionment and disappointment?

8. Robert's girlfriend and her relating to him, discussing Veronika, making comparisons? Her patience in putting up with the situation? Her becoming involved even to the visit to Dr. Katz and getting the prescription? The sense of achievement, the phone call, her death? Her being a parallel victim to Dr. Katz - an ironically a victim of Robert's intervention?

9. Dr. Katz and her assistant? The antiseptic but wealthy apartment? Psychology and neurology? Her charm and poise? The gradual realisation of her control and set-up? The ironic presence of the black man and his work, preparing the drugs, the continued American songs? The lesbian overtones of the house? Veronika and her presence, her continued returns, dependence on Dr. Katz? Dr. Katz's style, control, exercise of power? The details of the interaction? Lesbian overtones? Veronika's collapse and her being taken back for drug treatment? The financial situation? Dr. Katz's system - as illustrated by the old couple? Her assistant, the black man, doctor, friend? Their decision about Veronika - the ironic farewell party on Holy Thursday night? Locking her in her room with the pills? Covering their tracks all with adroit sympathy? The cruelty of their victimising Veronika and the others? The film's critique of them?

10. The sketch of the old couple, their initial courtesy, reference to Dr. Katz, the shop. their deaths?

11. The dramatic atmosphere with the girlfriend's death, Robert's desperation with the police, Veronika's cool disdain? The party with her song? The long finale of her being alone, Easter Sunday morning, the Papal Blessing on the radio, her memories of Robert's talk of Holy Thursday and Good Friday and death? Her being finally controlled by Dr Katz and her death?

12. The film as interesting entertainment? Character study? Study of relationships, control, power, love, infatuation? its significance in its German setting?

THE VERDICT

US, 1982, 123 minutes, Colour.
Paul Newman, James Mason, Charlotte Rampling, Jack Warden, Milo O' Shea, Lindsay Crouse, Julie Bovasso.
Directed by Sidney Lumet.

The Verdict is a courtroom drama, very well directed by veteran Sidney Lumet. In fact, Sidney Lumet's first feature film was the classic court drama, Twelve Angry Men.

The film has a Boston setting, and is scripted by playwright David Mamet. Mamet had been writing screenplays in the late 70s, early 80s, including The Postman Always Rings Twice. In the mid-80s he moved towards direction with such films as House of Games and Things Change. Other films that Mamet has directed include Homicide, The Spanish Prisoner, State and Main, Heist. Lumet was well known for a great range of dramas, especially police thrillers like Serpico, Prince of the City and Q and A.

The film boasts an Oscar-nominated performance by Paul Newman as an alcoholic lawyer who prosecutes the Catholic Church for malpractice in one of its Boston hospitals. He gives a very strong performance. He is also matched by James Mason as the defending counsel. Also in the cast is a rare appearance by Charlotte Rampling at this stage of her career, which began with light films like Georgy Girl and The Long Duel and continued into the 70s with The Night Porter, from then on making serious films and making a great number of films in the early 2000s including Under the Sand and Swimming Pool.

1. An entertaining and absorbing film? Serious, humorous? Hopeful? Social issues?

2. A successful Paul Newman vehicle? Critical acclaim and awards? The contribution of the star cast - especially James Mason. Jack Warden, Charlotte Rampling, Lindsay Krause etc.? The films of Sidney Lumet?

3. An acclaimed drama? Cast? Sidney Lumet? His work on Twelve Angry Men, Murder on the Orient Express, Courts, Morality and Justice? His many filmed plays? His treatment of this screenplay as a dramatic court play? The overall quality of the film - Oscar nominations?

4. Audience interest in the court case: the actual issue. themes of justice, morality, right and wrong? Audiences taking sides - through justice, emotional response? The law, the language of law? The use of wits? Pressure? Legal espionage? Performances in court? The reputations of the lawyers? Their lack of scruple, lack of personal commitment? The role of the jury and the ability to listen to evidence, weigh the situation for morality and justice? The suspense of waiting for the verdict? The focus of the title on the verdict? The summation of the film?

5. The film as character study: Frank Galvin and his profile, silhouette with the games in the bar, the details of his visiting the funeral parlours, the contact with the bereaved, the pay-offs and the tip-offs, the angry reaction of the mourners? His being warned away? The humiliation for the professional lawyer? His office and its mess? Drinking, friends, jokes and stories? The allusions to the Irish background - as explanation of his character, failures? His visit to the chapel and the Catholic indications? Mike's explanation of his story to Laura - and the later irony for the audience of her knowing it? The background of his career, promise, marriage, separation and divorce, bribing jurors, jail, settlements out of court, his almost being disbarred? His work for Mike in the firm? His going downhill - but Mike's loyalty? The present case and the 18-months lapse? His lack of enthusiasm? The possibility of the out-of-court settlement with the big fee? His seeming hopelessness yet wanting to go on? The possibility of self-redemption and self-respect? His apartment? Isolation, lack of relationships, needs? The physical presence of Paul Newman, his age, powerful screen person? Convincing and persuasive in this role?

6. Jack Warden and his style as Mike? The language, the anger with Frank, his retirement? Giving up on Frank? Frank persuading him to leave the card game, the talk. decision to assist, the help in the research, a growing zest and enthusiasm? His friendship with Laura? The gaining of the witnesses, Dr. Thompson? The various bits of research as well as the interrogation of witnesses? His know-how, it not being adequate in the early sessions of the trial? The friendship with Laura, discovery of the truth, the visit to New York and his telling Frank? Sharing the suspense of the trial. the summing-up speech, the verdict? The quality of the character study?

7. The basic situation: the mother of three, the entry into the hospital, her meal, the entry card, the doctor's negligence, the changing of the card. the operation, her choking, heart stopping, brain damage? The possibility of such accidents and negligence? Her survival, the ugliness and drabness of the ward? Galvin's visit, his taking the photos and the reaction? The other patients in the ward? The reasons for Frank's decision to fight in the courts? The rights of the victim? Her life gone, his plea for her in the court? Questions of justice, morality, compensation?

8. The sketch of the victim's sister and brother-in-law? The long time for the court case, the hopes of leaving town, the settlement? The brother-in-law's attack on Frank for not taking the money? The presence in court and the final support of the sister? Convincing characters?

9. The Catholic hospital, the Bishop and the insurance men, the priest assistants, the atmosphere of the chancery. the meetings, the decision about the compensation and settlement out of court? The discussions about morality by the Bishop? His sympathy and sense of morality? The offer of the money to Frank? The interview with the Bishop and the showing of the photos? His speech about justice? The Bishop's reaction to the final outcome?

10. James Mason's skilful portrayal of Concannon? Manner, style, the successful lawyer? Personably, personal? Actor? Suave and principles subordinated to cases? His entourage, treating them as a group, as a class? Their youth, humour, admiration? The quality of their research? Smooth manner - presence at the offering of the out-of-court settlement? Discussions with the judge? His disdain of Galvin? The revelation of his contact with Laura - and his explanation of his income, supporting his way of life as well as his helping poor clients? The rehearsing of the doctor - telling him to use the phrase 'throw up' etc.? The strong dramatic presentation and preparation?

11. Laura: the bar, searching for the apartment, the disdain of Frank, telling him about the happy day, his meeting her again, going home, sexual attachment, spending the night? Her growing to like him? Her help and persuading him not to give up? The strong intimate scenes between them? The possibility of love? The irony of her visit to Concannon? The double irony of Mike discovering the truth? Her wanting the opportunity to tell Frank? Her going to New York? The punch in the restaurant? The fact that she did not tell Concannon about his chief witness? The glimpse of her at the court? Her phone call and his not answering?

12. The establishing of the witnesses: the outspoken doctor and his declaration, Frank coming to meet him and his being on holidays? The nurse and her not giving testimony for the doctor, her hostility to Galvin, his getting her in the chapel? The detective work and the late night in trying to track down the key witness? The stories told on the phone - and the later comments and criticisms that Frank and the lawyers were as bad as the doctors in trying to achieve their own ends? The shuttle plane to New York, the talk in the playground, the suspense for the audience whether the witness would come? The talk with Mike in New York? The bringing of the nurse into the court, the interrogation, her telling the truth - her emotional response, her wanting to be a nurse, her going to New York? Her photocopying the document? Audience response to the judge's not admitting it as evidence?

13. The judge - the hard man, his eating, chambers, his amazement at not taking the money - his saying that he would (and Frank's concurrence)! His lack of sympathy? Anger with Galvin and taunts? His behaviour in the court, interfering, cross-examining? His reaction to Galvin's anger? The meeting in chambers? The non-admittance of the photocopied material? His change and his hardness on Concannon? His response to the verdict?

14. Dr. Thompson as witness? Calvin's surprise to see the elderly black man? The intimations of racial themes and prejudice? His help, telling the truth? His being discredited in the court? Galvin's disappointment and letting him go?

15. Galvin's fear about the case, his wanting to give up? The disappearance of witnesses? His visit to the judge who refused a stay? The star witness and the impact that she made? Concannon's not being able to cope after his smooth cross-examination? The doctor's fears? Concannon getting the precedents to disallow the evidence? Galvin's wanting to give up? The significance of his final speech? Themes of justice? His own coming alive throughout the investigation and trial?

16. The dramatic impact of the verdict? The further point about the damages? The effect on each of the people concerned?

17. A film of hope, study of the human spirit? The ending and Frank's achievement? His refusal to answer Laura's phone call?

VENOM

UK, 1982, 88 minutes, Colour.
Klaus Kinski, Oliver Reed, Susan George, Nicol Williamson, Sarah Miles, Sterling Hayden.
Directed by Piers Haggard.

Venom is an entertaining international British thriller. It has the atmosphere of so many British police films and episodes of television series. It also has a background of international terrorism which is combined with animal menace in the form of a black mamba. There is an excellent cast - almost too strong for this kind of film. The direction is by Piers Haggard whose film credits include Wedding Night and The Fiendish Plot of Dr. Fu Manchu. His television credits include Pennies From Heaven.

1. An enjoyable blend of police thriller, international terrorist film, animal menace?

2. British production values: London photography, the street, the apartment, British style and manners, British police methods? Colour photography, special effects, especially for the viewpoint of the mamba? Musical score?

3. The strong international cast lending credibility to the film, quality?

4. The establishing of the household, the mother and her spoiling her son, the grandfather and his reputation, achievement in hunting, knowledge of Africa and animals? Wealth? international business? Philip and his asthma, his pets? The maid and her role in the house, her work as a nanny? The chauffeur and his work? The wealthy family?

5. Dave and Louise and their work in the house, their influence, their plan? Relationship? Sexual liaison and Louise’s hold over Dave? The preparations for the kidnap? Their being thwarted by accident? Philip and his outing, the mistake about the snakes, the plans going wrong, Dave's panic, Louise's death? Jacmel and his control?

6. Philip and his relationship with his mother, with his grandfather? The scenes between the two - discussions, going to bed, prayers etc.? His going out for the snake? The build-up to his return? The death of the policeman and the siege? His being terrorised? Rising to the occasion? The final reunion with his mother?

7. The background of terrorism: Jacmel and his contacts, his arrival, his control? The appointment with Anderson and his breaking it? His entry into the house? Reaction to Louise's death? The clashes with Dave? Growing tension? The treatment of Anderson and Philip? The problem of the snake? The taking in of Dr. Stowe - and the device of sending out her finger? Having her on the balcony? His discussion with the police? His drive for success? The ugliness of his death with the mamba? Dave and his nerves going, drinking, hostility and violence, the death of the policeman? His going into the cellar and his death?

9. Anderson and his place in the household, care of Philip, remedies for asthma? The rendezvous in the hotel? His searching of the house for the mamba? Helping Dr. Stowe? His action in the finale?

10. The sketch of Dr. Stowe, her daughter and relationship with her? Skill with the snakes? Concern about the mistake? Her coming to the siege? Her willingness to be taken? Her being terrorised? Bulloch and his command, style, control of the situation, cups of coffee, issuing orders, discussing with Jacmel? Ideas? The siege? The cars and the money? The maps and the cellars? The shooting of Dave? The mistake about Dr. Stowe? The analysis of the finger? Coping with Ruth? A sketch of the British policeman?

12. The mamba and audience response to snakes, venom? The mamba as a character - the subjective camera for its slithering around the house? Louise's death, Dave's death, the fight with Jacmel? The irony of the next mamba in the vent?

13. The film's attention to detail - especially in the supporting characters: the woman at the pet shop, the taxi driver for Philip, the neighbours, the various policemen, the expert on snakes from the zoo? Their contribution to the realism of the film? The blend of the real and the contrived? Suspense and terror?