VALENTINE

US, 2001, 95 minutes, Colour.
Denise Richards, David Boreanaz, Marlee Shelton, Katherine Heigel.
Directed by Jamie Blanks.

Valentine is one of the many teenage slasher killer film from the '90s and the beginning of the 2000s. It is directed by Australian Jamie Blanks, who impressed Hollywood with some of his short films and was invited there to film Urban Legend. This is his second feature film.

The film, as always, has a group in school who are being threatened by a slasher. It is a man who has been ridiculed when young and it taking revenge on the girls who mocked him. There are the usual red herrings, scary sequences, the various conventions that people expect from this type of thriller.

The star is Denise Richards, who emerged at the end of the '90s as a star, culminating with her being a Bond girl in Tomorrow is Forever. The male lead is David Boreanaz, who was the star of the popular television series, Angel.

Audiences know what to expect from this kind of film and, with its limitations as well as its style, it delivers what is expected.

1. The tradition of the slasher film from the '70s and '80s? The school group? The boy with a spirit of revenge for being put down? The girls who ridiculed him? The serial killer? Its remake for the beginning of the 21st century?

2. The city settings, the school, homes and mansions, art galleries? The atmospheric musical score? Editing for shocks?

3. The title and the celebration of St Valentine's Day? The theme of love, gifts and cards, sexuality? Deaths?

4. The prologue with Jeremy and his appearance, the girls in turn rejecting him for the dance, Dorothy and acceptance, the kiss, the boys tormenting him? Jeremy subsequently being sent to the reform school? His disappearing? Reappearing?

5. Shelley and the dinner with Jason, Jason as a suspect? Talking about himself in the third person, her rejection of him? Her exams, going to the mortuary, her scares, the appearance of the murderer, her death among the
corpses? After the Valentine's card?

6. The other girls and their going to her funeral? The introduction to each of them and their particular personalities: Paige and her being very forward, Kate and her attractiveness and popularity, Dorothy and her being fat, rich and resentful, Lily and her exuberance?

7. Seeing the girls in action: Paige and Katie with the 30 second dating (and Brian and his later encounter with Paige and his macho sexuality and her humiliation of him)? Katie and her relationship with Adam, knowing his background, working with him, his alcoholism, her forgiving him, being together,
finally discovering him drinking again, suspicious that he was the killer? The reconciliation? Her friendship with Paige and Paige going to her apartment, sharing things together? Paige and her flirtation with the policeman, his reaction? Lily and her relationship with the artist, the art exhibition, his coming on to Kate, meeting her later, Lily and her being trapped in the gallery and her death? Dorothy and her father and stepmother, her accepting Campbell into her house, his wanting to con her, her not seeing this?

8. The policeman and the investigation, his coming on to Paige, his contact with the women, the investigation the irony of his mobile phone and his death?

9. The suspicious men: Adam and his drinking, Campbell and his being a conman (and Ruth denouncing him and the irony of Ruth coming back, taking his watch, her death)? The discussions about Jeremy being released? Jason and his being released?

10. The women themselves as suspects?

11. The build up to the final party, Paige's death? Ruth's death? Kate and her fears, the appearance of the masked killer, falling down the stairs, Adam shooting her? The revelation of Dorothy? The seeming solution and then the
nosebleed from Adam revealing the truth?

12. The popularity of this kind of slasher thriller? Its being better than average with its development of characters and performance? Not the same routines and stereotypes for this kind of thriller?

VOLCANO, FIRE ON THE MOUNTAIN

US, 1997, 90 minutes, Colour.
Brian Kerwin, Dan Cortese, Cynthia Gibb.
Directed by Graeme Campbell.

Volcano, Fire on the Mountain is an exploitation of all the disaster films of the previous 20 years, most especially 1996's Dante's Peak. It has the usual range of characters from a mayor who wants to keep the resort open, to the good sheriff who does everything for the town (and whose wife gives birth), the ruthless businessman estranged from wife and son, the expert who is not listened to, the expert who refuses to listen to the evidence, dismissing it as hunches. The special effects are quite effective for the small screen.

1. Audiences being entertained by disaster films? The tradition of the '70s to the '90s with the format of Jaws and Dante's Peak...?

2. The mountain locations, the town, the ski slopes, the volcano, the special effects for the avalanche and the lava? Musical score?

3. Audience identification with the characters, the dangers, the themes? The range of people? Their responses?

4. Peter and Kelly, their love but clashes? Peter and his expertise, going on hunches, Dr Osborn not believing? On the mountain? The clashes with Kelly, their going together, his fall when skiing, his seeming to be dead, alive? Kelly, pulling the gun on him, seeing him trespassing? Their clashes, her idea for diverting the avalanche? Their success?

5. The sheriff, stalwart, his wife and the roadblock, her pregnancy, Jason finding her, rescue, the birth of the child?

6. Dr Osborn, scientist who altered evidence and proof? Her staff? Her admitting the truth?

7. Corbin as the ruthless businessman, his estranged wife, his harsh comments about his son? His selfishness, pushing the deal even though there was danger, the businessman dying in the crash? His taking the vehicle and his death? Maureen and the injury, her being rescued, Jason and his helping Beth?

8. The mayor, refusing to face the evidence? His handling of the situation?

9. The people at the resort, hearing the news over the radio, trapped? The avalanche striking the town? Survival? (The moralising of the opening with the two skiers disobeying the regulations and skiing to their deaths?)

10. The excitement of the danger? The moral and human issues in confronting such perils?

VERY BAD THINGS

US, 1998, 100 minutes, Colour.
Christian Slater, Cameron Diaz, Jon Favreau, Leland Orser, Daniel Stern, Jeremy Piven, Jeanne Triplehorn.
Directed by Peter Berg.

The title is an understatement. The misdeeds portrayed are very ugly things as well. Yet, as with many American films and, especially, telemovies, the first part is the invitation to identify with (even wallow in) bad things while the second part is the attempt at moralising.

One of the difficulties with this kind of treatment is that those who identify with the bad things are impervious to the moralising or that those who are disgusted by the bad things will not stay watching for the moralising and so both groups misjudge the film.

This is certainly the case with actor Peter Berg's first screenplay and direction job. He is reflecting the world of the middle class American suburbs, surface respectability and achievement, but underneath...? He is also commenting on American men (with reference to the men's movements and the attempts for men to get in touch with their inner selves). But, what he finds beneath the surface is a great deal of rage, resentment at the achievement ethos and its expectations of success. And, given the opportunity, at one of those male American rituals, the bachelor party, uncontrolled emotions break out, animal behaviour. And, as here, when it is violent and destructive, self-interest and survival and rationalisation of what has happened are what is relied on.

But this is black comedy, sometimes satiric farce (and often on the high decibel tone of extraverted Americans in panic). The behaviour of a group of men after such a party in Las Vegas (which includes a sequence very hard to take, the murder of a security guard, a prolonged sequence which is heard rather than seen) is reprehensible. But, especially with the demonic character played by Christian Slater, the screenplay is full of Post-modern rationalisation, the rejection of absolutes and the confusion of values ('it was a bad thing but the smart play').

The theme is complicated by having Cameron Diaz's character as controlling on the domestic front as the men are on the business front. And the ending is one of disillusionment rather than retribution.

1. The impact of this film? Drama, melodrama? The audience intended? The dramatisation of values and lack of values? An ultimate moralising story?

2. Direction by Peter Berg? His skill in writing, skill in directing, acting background? His point of view on the morality and behaviour of the characters?

3. The title, the references by the various characters to the very bad things they have done? The irony of this description?

4. Suburban California, the preparations for the wedding, the offices, the suburbs and the houses and the streets? The contrast with Las Vegas? The gambling, the room? The contrast again with the desert?

5. The musical score, the range of songs, the religious implications of some of the songs - especially in the final credits?

6. The amoral world in which the protagonists lived? The post-modern decline in values, the nature of absolutes? Everything relative? The focus on the individual and individualism, American success? The values of American achievement? Self-centredness? Masculine repression and rage and it bursting out? The expectations on these men for their lives and behaviour and achievement? The eruption of animal behaviour?

7. The contrast between surface respectability and inner depths? Of each individual, of the group, their combining to form one aggressive character? Control and lack of control?

8. The structure of the film: the wedding, the nervousness, going back three days? First impressions - and the ironies of the actual wedding and the aftermath?

9. Cameron Diaz as Laura: at the bank, her tone, the sending of the cheques, the cheque for the tent, her condemnation of Kyle and his friends, her dismissing of them? The glimpses when she described them? The issue of the padded chairs? Her panic and her wanting affirmation that Kyle loved her? The phone calls, the decision to see him off? Her continued phone calls - and her preoccupation about the chairs? His finally ringing her and her anxiety that he was one hour late, looking at her watch? The comparison with Lois? Lois and the video seeing the men off? The kids? The place of women in this film and their relationships with the central men?

10. Laura, her decisiveness, yet her insecurity about Kyle loving her? Her treatment of the groomsmen, their collars and suits? The chairs? The engagement party and her father-in-law's speech, her keeping an eye on everyone else? Her anger at the men and Kyle leaving the party? Her reactions to them, a contrast of surface sweetness and repressed anger? Her hearing the truth, her reaction, again self-centred? Not wanting to postpone the wedding? The 27 years of waiting, no derailment? Her anger at the wedding, her bashing Boyd? Going through the ceremony? The irony of Adam's will and Kyle and herself having to look after the kids - and the disappearance of the money? Her sending Kyle back, wanting him to kill Moore and the dog? The final sequence? Her hard work, obsessiveness, compulsion? Her going out into the street and her frustration? The final frame and the high crane shot?

11. American men, the tradition of the bachelor party and its expectations? Kyle and his relationship to his friends, the discussions with Michael at the office, the farewell, Las Vegas, the gambling collage, the drinking, the drugs? The lap dancer and his resistance? His love for Laura? Boyd and the arrangement of the dancer? The party getting wilder, the breaking of the table? Boyd and his discussions, especially with Adam about the Jews, racist attitudes? Allegedly being fair-minded? (And Adam's reaction as regards Kyle ringing Laura about the chairs in the car and Boyd's criticism of him?) The girl, the strip, Michael and his reaction, going into the bathroom, his wanting affirmation about his sexuality, her death?

12. The reactions of each of the group? Adam and his religious and conscience reaction? Kyle and his wanting to call the police? Moore and the taking of the drugs? Michael and his panic? Boyd and his taking over? His control, offering the options, the police or the desert? His manipulating the vote? His rationalising the situation? His personal callousness? His long speeches and the rhetoric about lack of morality, self-preservation? How could audiences identify with this point of view - emotionally, rationally?

13. The security guard, his arrival, friendliness, accepting the bribe? Seeing the girl on the floor, his reaction, the brutality of Boyd's killing him, the protracted death, the men leaning against the door and the audience hearing his dying?

14. The decision about what to do, going to the supermarket and buying the cleaning equipment? The bizarre cutting up of the bodies and putting them in cases - the cleaning of the bathroom, the collage of the cleaning, their going through the foyer of the hotel with the cases? The reaction in the desert, the burying of the bodies, Adam and the Jewish tradition and wanting the pieces to be together, Boyd agreeing to this? As they buried the bodies, the arguments about who had friends and who were losers? The importance of Kyle's prayer - how genuine, the contrast with Boyd's rhetoric? The possibility of something good coming from such evil? The tensions of the drive back - the hysteria and the panic? The reference to panic junkies?

15. Boyd and his aggressiveness, arranging for the girl to come, his friendship, his control, his bigotry? His reaction to his customers at the estate agent meeting? Being cool, decisive, controlling? The reaction to the angers of each of the men? His psychological treatment of each of them? The clean-up, the burial, the return? His finally breaking out and his anger? Getting ready for the wedding, Laura and his suit? The phone calls, the party and Adam's tension, the fight? Michael and his driving into Adam? Boyd seeing Adam talk to Lois, his fear about the revelation of the truth? His going to Lois, the brutality of his fighting with her, his lying about Adam and the prostitutes? Lois's death, setting up Michael and persuading him to go in, killing him? The build-up to the wedding, his collapse, wanting the insurance money, going berserk, smashing things? Laura and her reaction, her brutality mirroring his? The wedding and the rings - Moore going to get the rings from him, his death? His being diabolical? An image of the Devil, temptation and control, evil?

16. Moore, his work, isolation, eccentricities? Laura's disliking him? Going to the party, his wildness, especially with the cocaine? Going quieter after the deaths, sometimes voicing conscience? The discussions with Kyle? At the wedding and his participating? Wanting good to come out of such evil?

17. Michael, his work at the office, his despising of Adam? His discussions about sex, self-image? The party, his taking the drugs, sexual aggressiveness yet insecurity, the death of the girl? His reaction, a mixture of fear and remorse? His cowardliness? His reaction to the cutting of the bodies, the cleaning, the burial? His attacking Adam and the brothers' rivalry? His continued panic and outbursts? The wedding, preparation, his confessing? Lois and her interrogation of him? His going berserk, the fight with Adam, the discussions about the van, driving into Adam and killing him, his emotional reaction? Boyd setting him up as if he had killed Lois?

18. Adam, the family man, going to the party, more conscientious, his being forced to agree with Boyd? His fear of being caught, the reaction at the grave, wanting the bodies put together, his Jewish theological reasons? His becoming more and more frantic? The migraines, the return, his taking the family out and his paranoia at the service station, suspecting customers and the police of suspecting him? The accidents and knocking things over, his being asked to leave? His anger at the children and at Lois? Gradually getting more desperate, at the party, going out, the fight, his being killed? His dying and telling Lois the truth? Leaving the letter? The ugliness of his being besmirched by his friends after his death?

19. Kyle as the central character, meant to be decent, his reactions, his going along with the cover-up, the prayer? His generally being calm, reacting with the others? With Laura, his initiating the lie to Lois - and dismayed when he went so far? The insurance issues and his having to take care of Adam's children? The wedding, being asked by Laura to kill Moore and the dog? Going into the desert, swinging the shovel - and the irony of his not killing them?

20. The credibility of the accident? The injuries? The aftermath - Kyle without legs, Moore wheelchair-bound? The kids?

21. The portrait of Adam's kids, their reactions, dislike of Laura, at home with her - their future?

22. The wedding sequence, the seriousness, the farcical aspects, Boyd downstairs? The aftermath and Laura's outbursts and wanting privacy from the bridesmaids?

23. The ending - consequences of irresponsibility? Guilt? The amoral world and yet this kind of retribution? The contrast between the statements of post-modern criticism of absolutes and yet inner conscience and human nature reacting? A critique of the American ethos?

THE VANISHING

US, 1993, 110 minutes, Colour.
Jeff Bridges, Kiefer Sutherland, Nancy Travis, Sandra Bullock.
Directed by George Sluizer.

The Vanishing is an American remake, adapted by actor-writer Todd Graff (Used People), of George Sluizer's original Dutch film. The Dutch version was produced in 1988, small budget, modest in scope and very intense in its impact.

The American version is somewhat opened out, has very attractive settings in Washington State, is a star vehicle for its leads. However, the film was considerably criticised on its release and probably underestimated because of the continued comparison with the original.

Jeff Bridges gives a very idiosyncratic performance (and accent) as the insane killer. Kiefer Sutherland and Sandra Bullock are the couple, with Nancy Travis giving a strong performance as Rita, the woman who helps Sutherland on his search for his vanished girlfriend.

The film is particularly grim in its focus on the cruel and obsessive killer, on the obsessive man searching for his vanished girlfriend, on the cruelty of the death of the girlfriend and the man having to undergo the same experience, especially being buried alive. The film is an interesting exercise in looking at two versions of the same story directed by the same director.

1. Impact of the film as a thriller? The comparisons with the Dutch original?

2. The opening out of the film, the American style, characters, tension, motivations?

3. The horror aspects of the film? The victims, the criminally insane, obsessions? Being buried alive?

4. The Washington State locations and scenery? The atmospheric score, unobtrusive, but effective?

5. The title and expectations? With reference to Diane, with reference to Jeff and his disappearing from Rita, Rita and the alleged taking of Barney's daughter?

6. The structure of the film: introduction to Barney and his madness, introduction to Jeff and Diane? The audience sharing in the mystery of Diane's disappearance, the years passing, Jeff's search, the gradual revelation in Barney's story?

7. Jeff Bridges as Barney: his appearance, hair, weight, accent, manner? Manic? Yet his surviving in ordinary life, teaching, with his family, with his daughter and his love for her? The plan and his rehearsals with the chloroform? His attempts to lure women and his ineptness, his taking notes?

8. Jeff and Diane, on holidays, Diane wanting to go home, Mount St Helens, running out of petrol in the tunnel, the sense of menace? Their making up, Diane asking the pledge of Jeff? Their love, her going to the shop, the suddenness and mysteriousness of her disappearance? Jeff and his waiting, growing anxiety, desperation and search?

9. Jeff and his going to the police, their inability to help? The growing obsession to know what happened? Talking to Rita, his friendship with her, her moving in? The time passing, the writing of the book? His concern, going for guard service? Going into the mountains, the search? Rita opening up the computer and finding his obsession with Diane, her confronting him, taking him to retrace his steps, Jeff remembering and imagining? The possibility of letting Diane go? Reconciliation with Rita?

10. Barney and his sending the message, watching Rita and Jeff? His presence in the house, confrontation with Jeff, allowing Jeff to kick and bash him? Yet taunting him, leading him on, telling him that he would never know unless he trusted him? The travel in the car, telling the story - the child, allowing himself to fall from the roof, rescuing the child who was drowning, motivation, drivenness, wanting to be a hero in his daughter's eyes? His mad philosophy of goodness and evil? The birthday celebration and the photo? Wanting Jeff to experience the same thing and its effect?

11. Rita and her anger, her message on the answering machine, the narrow escape from attack by Barney, his being in the house watching? Her talking to the lady who saw the fight and the car? Her shrewdness, getting the numberplate information, going to the house, the encounter with the daughter, adapting to the story of going off with Barney, getting information about the hut? Tracking him down, the clash with Barney and his recognising her, the fight? Working out what had happened to Jeff, the shovel and the mud on the shoes, the grave? Taunting Barney about taking his daughter, getting him to drink the coffee? Her digging up the grave and Barney attacking her?

12. Jeff coming to his senses and finding himself trapped in the grave, desperation, the cigarette lighter (the gift from Diane)? His being rescued, his attacking Barney and killing him?

13. The resolution, not writing the book, the light touch with the remarks about coffee? The light ending for people to leave the film rather than the obsession and the horror?

14. The exploration of a psychopathic imagination? The obsessiveness of the ordinary person who experiences trauma? The horror touches?

VOICES WITHIN:THE LIVES OF TRUDDI CHASE

US, 1990, 200 minutes (abridged version, 117 minutes), Colour.
Shelley Long, Tom Conti, John Rubinstein.
Directed by Lamont Johnson.

Voices Within is a film about multiple personality. In the '50s, Joanne Woodward starred in The Three Faces of Eve and Eleanor Parker in Lizzie. In the '70s Sally Field was Sybil. In the 1980s, Shelley Long is the woman who has over twenty personalities within her, calling them "we" and "the Troops". In fact, this is a true story and Truddi, on whom the story is based, is given technical adviser credit - along with the Troops.

Shelley Long seems rather more ordinary and normal at the beginning of the film but gets more complex as her life becomes more involved and she seeks therapy. John Rubinstein is particularly good as her bewildered husband. Tom Conti is the psychologist. The film was directed by Lamont Johnson, director of many interesting films and telemovies from the '70s to the '90s including The Execution of Private Slovik, Lipstick, One on One ...

1. Audience interest in the theme of multiple personality, the tradition of movies about this phenomenon? Impact on the audience, understanding, communication?

2. Psychological background of the story, the true story - in contemporary American society? Audiences identifying with Truddi and her experience? The affluent background, the flashbacks to the poor home and Truddi's upbringing? Musical score?

3. The strength of the cast and Shelley Long's interpretation of Truddi?

4. The film based on a true story, the reference to the Troops, their support of Truddi, sharing her life, the "we" of the group of personalities and their influence on her life, their manifestations? And advisers to the movie?

5. The framework: Truddi and her going on the trip, her attitude towards murder, getting the scissors, the flashbacks, the experience of her life, the resentment towards her stepfather, finding him - an old man and her leaving him?

6. Truddi as a little girl, her mother with the washing, nagging, talking negatively about sex? The stepfather, his work, menace, brutality, sexual abuse, the snakes and the well? The effect of such abuse on a little girl of this age? Her ability to cope, not coping, forming the group of personalities who were mechanisms for coping? Seeing this all again in her memory? The significance of the well? The effect of the abuse on her life? Confronting her stepfather and his being a helpless old man, wanting her to come back and her walking away?

7. Truddi and Shelley Long's style, presence, coping, manner? Her art, the job interview, getting the job, the attraction towards Norman, relationship with him, sexuality, fear? Shared experiences, the proposal and the marriage?

8. Her marriage, the moods, sexuality, the announcing of her pregnancy and her bitterness, Norman and his understanding and changing her? His not realising that it was multiple personalities responding to him? The experience of the birth? Page and the question about her name? The photo collage of the baby growing up and the parents' responses? Truddi's angers, ignoring her daughter, the incidents at school, her growing fear that she would hurt her daughter?

9. Truddi with Norman, the mood changes, her wanting to study, her job and real estate, the growing breakdowns? Her warnings, her leaving Norman, the desperate phone calls to the police?

10. Truddi on the phone, her torment, her personalities, talking with Albert Johnson, his listening, her hanging up, trying to trace the call? Her calling him again - and the reference to the doctor? The talk with the doctor, her agreement to go into therapy, her agreement that everything should be videoed to help others? The gradual manifestations of the variety of personalities, their names eg Twelve? Simple, childlike, vivacious, seductive? Her not knowing who was in charge? The effect of the therapy, her bewilderment, the passing of time? Norman and his response, his illness and his death? Page and Norman being with her, growing to understand her? Page's response to her mother?

11. The significance of the trip, wanting to confront and kill her stepfather, the scissors, describing him as an ugly old man and returning to her life?

12. The character sketch of Norman, his work, attraction towards Truddi, hiring her, his busyness? The relationship, the marriage? His love for her, patience and understanding, his busy work life and her intrusions? His love for his daughter, her birth, the name? The collage of her growing up? His growing desperation, ability and inability to handle the crises? His own physical weakness? The separation, the reconciliations, the pathos of his death? Page, love for her father, her bewilderment with her mother's treatment, love, gifts, being ignored, her school work, growing up? Her gradual understanding of her mother?

13. The doctor, discussions with Truddi, his voice-over heard during her journey? His therapy, techniques, the videoing, listening, suggesting, asking questions? His personal support of her?

14. The themes of child abuse, victims, their effect, abilities and inability to cope, growing needs, therapy? The prevalence of this kind of experience in contemporary society?

THE VAN

UK, 1996, 105 minutes, Colour.
Colm Meaney, Donal O' Kelly.
Directed by Stephen Frears.

If you saw The Commitments and The Snapper, then you will know what to expect (and what to hear from the swearing Dubliners) in this third of Roddy Doyle's Barrytown trilogy. This time we focus on the parent generation and, more particularly, the theme of job retrenchment and unemployment. Australian audiences will resonate with this Irish experience and the effect it has, especially on the layed-off men - and the exhilaration of setting up a fish and chip van (and the first customers from pubs celebrating Irish success in the 1990 World Cup).

It is also a strong story of friendship, not of its underlying nobility, although that is implied. But, it is rather the at-times crazy ups and downs, the mood-swings between friends, the influence of spouses, of the drink and of the clash of temperaments. Stephen Frears, who also directed The Snapper, is in control of the material and has made a fine film of working-class Dublin. It flows with humour, pathos and sadness, a satisfying pace and an ending that keeps you thinking as you leave the theatre. Booker-prize winner, Roddy Doyle, has adapted his novel and the cast led by Colm Meaney, who has appeared in each film, give body to the nuances of their characters. You feel that you know these people and have been there.

1. The work of Roddy Doyle, his novels, their awards? The film versions? The Barrytown Trilogy? Audience expectations?

2. The perspective on Ireland and Dublin in the '90s?

3. The atmosphere of Barrytown: the town itself, the homes, the streets, the people? The pubs, drinking, enjoying themselves, watching the football? The vans and the street stands? The open roads and the countryside, the beach? Authentic atmosphere?

4. The musical score? Atmosphere? The contribution of Eric Clapton?

5. How well did the film stand on its own? Presupposing the earlier films?

6. The title and its focus?

7. The introduction about unemployment? Bimbo and his grief, the pub, weeping? Having time on his hands? Being consoled by Larry? Larry as unemployed? The bonds between Bimbo and Larry? Their wives? Home life? Comparisons? The introduction of serious themes underlying the comic portrait of the people?

8. Larry and his pushy style? His love for Mary Ellen, the sequences at home, the kitchen, the bedroom, the bond of love between them? His attitude towards Kevin - and his taunting him, wanting him to work, study and succeed? Kevin and his humour at home and Larry's reactions? His daughter and the snapper, looking after the baby? His being unemployed, idle? Taunts at home by Kevin about the state paying for the meals? Going to the pub, drinking, getting drunk? The group of friends? His wanting to cheer up Bimbo? Playing golf with him and the humour of Bimbo's not being able to play? Watching the soccer and the atmosphere of the World Cup? Larry's world?

9. The contrast with Bimbo, his story and the long years of work, being retrenched? Weeping, the support of his wife, home with the kids? His going out drinking with his friends? Playing golf?

10. Weslie and co., drinking pals, the background of their lives and work, homes? Gerald Mc Carthy and the humorous scene about his identity? The drinking - and the reaction to the police, cheeky, friends? '

11. Weslie finding the van, his reaction? Larry and Bimbo? Dirty, abandoned, the tyres? Pushing it back home, everyone from the neighbourhood joining in, the children following? Cleaning up the van, removing the grease, the kids cleaning out the inside? The decision for Bimbo to use the van? Offering Larry a partnership? The responses of Mary Ellen and Maggie? The plans for building up the business?

12. The preparation of the van, of the food, learning how to cook, what to buy? The plans for the fans watching the soccer in the pub? The bingo ladies? Selling the chips, the crowds, trying to cope? Larry's daughter and her helping out - and the episode with the baby and the nappy? Larry not consulting Bimbo and his not understanding Bimbo's asking for consultation?

13. Getting the permit, getting Kevin to help, his not wanting to cook anything with meat? The various problems with the crowds and the timing? The thugs and pushing over the van? Going to the rock concerts - Megadeath?

14. The clashes between Bimbo and Larry, Bimbo and his being more level-headed, Larry and his passionate nature? The strength of their friendship? Their going to the pub dressed up, the 27 pounds for the wine? Chatting up the girls, Bimbo and his success, Larry and his reaction? Going to the toilet, Bimbo deciding to go home? Larry and his anger? His going home and his reaction to Mary Ellen? Her wanting to tell him about her studies and exam, and her good pass? Kevin's good pass? Larry's reaction to being awarded a wage and his reaction to Maggie? (And Maggie thinking that Larry didn't like her?)

15. Going to the union, the discussion about union issues, his taking his tea break? Bimbo's reaction, Kevin's?

16. The health inspector and his examination of the van, his demands and their failing the inspection?

17. The final fight, Bimbo and his being upset, driving the van into the sea? The irony of the tide going out and its being left stranded? Would they start the van again and go into business together? What had each of them learnt by their experience with the van?

18. A glimpse of Dubliners? Irish spirit - especially with the World Cup and the enthusiastic fans (and the silence when they were losing)? Barrytown and its moods? People, language, earthy humour? Social issues, especially unemployment? An optimistic film about human nature?

VAMPIRE IN BROOKLYN

US, 1995, 102 minutes, Colour.
Eddie Murphy, Angela Bassett.
Directed by Wes Craven.

Wes Craven, the originator of the Nightmare on Elm Street series and director of many horror stories, and comedian, Eddie Murphy, seem a most unlikely duo. But here they are with Eddie Murphy doing some serious acting as Maximilian, a vampire trying to find his soul-mate in Brooklyn (and doing some funny routines and alternate characters as well) and with Wes Craven providing some serious horror sequences amid the comedy. Strangely enough, it does come together well enough by the end though you wonder along the way. It is an unexpected career choice for Eddie Murphy.

1. Eddie Murphy's presence and style and his comedy? Wes Craven and his long tradition of horror films and nightmares? Audience expectations? A satisfying blend?

2. The Brooklyn settings, vampires and the night settings, the contrast with the days? The stylising of Brooklyn locations, the ship coming into the warehouse and the smashing? The streets, the apartments, restaurants, police precincts?

3. The special effects for vampire atmosphere and vampire behaviour?

4. The character of Max, Eddie Murphy's voice-over, the history of the vampires - the touches of irony, race jokes? The search of the vampire in the US?

5. The impact of the opening and the ship's arrival, breaking through everything, Silas and Julius and their watching TV? The introduction of Black Harlem-style jive? The brutality of the deaths, the police investigation, Silas and his search, Julius and his being taken over by Max and becoming his ghoul?

6. Eddie Murphy as Max, appearance, hairstyle, accent? His mission in America? On the ship, the encounter with Julius and saving him from the Mob? The brutality (comic) of the initial deaths of the Mob men? His visit to the bar, his searching for information, the encounters? The eccentric Max in Brooklyn streets? The glimpse of Rita, his pursuit of Rita, the encounters with the police? His being able to move into other bodies? His becoming the preacher - and the humour of the tour de force of his preaching and explaining that evil is good, the response to the inverse morality, his exposing of the behaviour of those in the audience? His being transformed into Guido and his adopting the Italian style, the confrontation of the Mob? His arrest? The charming of Rita, the offer of the meals, taking her to Julius's transformed room? The paintings, the crucifix death of Nikki? Attempts at seduction of Rita? Fighting for his life? Love for Rita, the clashes with her, Justice and his coming to the rescue? The confrontation, his seeming defeat of Justice, Rita killing him? His mantle going to Julius (as well as the limousine)?

7. The comedy style of Eddie Murphy, the repartee, the swearing, the race jokes? Eddie Murphy transforming into a serious actor as the film went on, the serious vampire traditions and conventions?

8. The initial comedy and the transferring of the film to the vampire tradition, night life, the quest, the violence, the love and the final confrontation? How well did the film blend the two strands?

9. Rita and her background, part vampire? Her mother and her death and its effect on her? Not knowing her father? The nightmares and the coffin? The police investigation at the ship, discovering the coffin? The tension of her working with Justice? On the job, the investigations? The clashes with Justice? Her paintings and her dreams? The professor and his information about the Caribbean? Investigation of the murders? The friendship with Nikki? Max and the jealousy, her suspicions of Justice? The meal, her being bitten, the beginning of the transformation process, facing from the mirror? Her coffin? Justice and his rescue? The fight, her wanting to save her life, destroying Max? A happy future?

10. Justice, the genial policeman, at work, the investigation, the head of the department, the clashes with Rita, the friendship with Nikki, the jealousy, the mystery, the final fight, the happy ending?

11. Julius, his owing money to the Mob, being saved by Max, agreeing to become his ghoul? Being the chauffeur, literally falling bodily apart? His role as a servant? The discussions with Silas? Julius and Eva and her rejecting him because of his sexual inadequacy, her giving information about him to Justice? The transformed room, the final fight, his survival? Silas as his chauffeur and his being transformed to the new vampire in Brooklyn?

12. The presentation of the police, the head of the department, investigations - conventional police investigation movie?

13. The picture of the Mob, the confrontation with Julius, Max saving him and killing them, the bosses at the restaurant, Guido and his patter? The joke about Italians in Brooklyn?

14. Jokes, race, wry observations about race relationships?

15. The plotline familiar from the vampire films, the characters and behaviour, the crises? How well does this film go into the tradition of vampire films (almost despite the black American comedy)?

VALMONT

UK/France, 1989, 137 minutes, Colour.
Annette Bening, Colin Firth, Meg Tilly, Fairuza Balk, Sian Philips, Jeffrey Jones, Henry Thomas, Fabia Drake.
Directed by Milos Forman.

Valmont was the second version of Les Liaisons Dangereuse by Choderlos de Laclos in the late '80s. 1988 brought Stephen Frear's version of Christopher Hampton's theatre adaptation starring Glenn Close and John Malkovich. This version was written by Jean Claude Carriere (sometime writer for Luis Bunuel and it is directed by Milos Forman in lavish style (One Flew Over the Cuckoo's Nest, Hair, Ragtime, Amadeus).

While both films use the original novel and its characters closely, there is a vast difference between them. Dangerous Liaisons is a strong intellectual version of the story, enclosing the characters in a sealed world of power, manipulation and sexuality in a France on the verge of French Revolution. Forman's version is much more lavish, a pageant full of widescreen beauty. While there are the power games, the film is one of feeling for the characters and their plights - with little to suggest that the French Revolution is about to happen.

Forman's film is beautiful to look at (in the way that Amadeus was). He has an eclectic cast: very British Colin Firth (Another Country, 1919, Apartment Zero, Pride and Prejudice) as Valmont. Annette Bening is excellently lively as Madame de Merteuil. Meg Tilley is particularly American as Madame de Tourvel (despite putting on a Scandinavian accent for the Girl on a Swing). Fairuza Balk is the innocent Cecilia and Sian Phillips is her mother. There is a very good supporting cast led by Jeffrey Jones (the emperor in Forman's Amadeus). Young Henry Thomas (from ET, Misunderstood, Cloak and Dagger, Dreaming) is the tutor Dancenay.

Both films can be seen with great profit. (There was a modernised French version in 1959 by Roger Vadim, starring Gerard Philippe and Jeanne Moreau.)

The period music was directed by Sir Neville Marriner.

1. Two versions of Dangerous Liaisons in the late '80s? 20th century interest in pre-revolutionary manners and morals? The comparison of the two films?

2. The work of Milos Forman, Panavision photography, sumptuous presentation, pageantry, costumes and decor, choirs and opera, musical score?

3. The title and the focus on Valmont, on the games and relationships? The screenplay as `a free adaptation' of the original? An interpretation of the original?

4. The historical setting of the film? Any sense of the impending revolution? The picture of society, elegance, wealth, corruption? Power and will, sexual games? Love?

5. Audience judgment on the characters, their behaviour, motivation? The end?

6. Madame de Merteuil: her age, saucy liveliness, a vibrant woman? Widow? Her relationship with her cousin, chaperoning Cecilia, the playful relationship, the amoral touches, the opera and the introduction to Valmont? The puzzle about Cecilia's fiance? Her sensuous affair with Gercourt? Her discovering the truth about his marriage? The discovery, the effect on her emotions, her malicious plan? Her relationship with Valmont, wanting him to seduce Cecilia? His bet about Madame de Tourvel? Her being with Cecilia and her mother? Going to the country, with the aunt, with Madame de Tourvel? The taunts? Her observing matters in the country? The return to Paris, the news about Dancenay's letters? Her manipulation of Cecilia, writing the letters, encouraging the affair? Arranging the rendezvous? Her quick thinking when it was discovered and getting Cecilia to the opera to placate her mother? Connivance of her maid? Her listening to the story of Cecilia's seduction, encouraging and explaining? The loss of her bet with Valmont, her haughty refusal to repay, the speculations if he had lost? His tipping her out of the bath? Her anger? Growing hostility? Dancenay and the letter, the sword at her throat? Seduction of Dancenay? Trapping Cecilia and Dancenay? Her reaction to Valmont's death? Lost in the crowd, sad at the wedding?

7. Valmont and his place in society, the society rake, at the opera, meeting Cecilia? His relationship with Madame? The bet? Cecilia and helping her? The letter-writing, the seduction and its cruelty? The help of his servant? His courting of Madame de Tourvel, approaching her, the scene on the lake, falling into the lake? The meals and the sexual speculation? Her plea for him to go? Cecilia and her letters, Dancenay? The seduction of Madame de Tourvel, pursuing her to town? Her leaving? The effect on him and his seeming disdain? His going back to Madame, claiming his reward, her hostility? Setting up Dancenay to attack Madame with the sword? The duel challenge, his drinking, his final attempt to help Cecilia with buying the clothes and getting her to flee? The duel and his death? Grief at his funeral? The final focus on his tomb and Madame de Tourvel putting the flower there?

8. Cecilia and her mother, place in society, arranged weddings, discipline, the convent education and its being sheltered, Cecilia in the choir, informed about her marriage? Her friendship with Madame, trying to understand the marriage and the identity of her fiance? Dressing up, going to the opera, her naivety in meeting Valmont? 15 years old? The party, the fiance, preparation for the marriage? Dancenay and the playing and the singing? Her letters, locking her cabinet, lying to her mother, being exposed, the letter in the harp? Madame arranging the outing, the change to the seductive dress, yet her simply singing with Dancenay? Going back to the opera? Madame and her maid? The relief of her mother? The relationship with Valmont, writing the letters, allowing herself to be seduced? Talking things over with Madame, Madame's sexual education of her? The party, the fiance and the gift of the jewels? The king to be at her marriage? Her repeating about husbands and lovers? The possibility of going away with Dancenay, her being lost? Telling Valmont's aunt about her pregnancy? Weeping, the sumptuous marriage, the king's presence? Her mother satisfied? Her future?

9. Gercourt, his affair, lies to Madame, meeting at the party, the gift of the jewels, teaching fencing, the fight with Dancenay, the marriage and his discovery of Cecilia's pregnancy?

10. Madame de Tourvel, attractive, proper, age, walking in the grounds, courted by Valmont, his pretence of drowning, her uncomfortableness at the meals, asking him to leave, in love, succumbing to him, going to Paris, her leaving him? The end and the flower on his tomb? The effect of the relationship on her? Her marriage?

11. Dancenay and his age, singing, tutoring with the harp? His letters, the letter in the harp, his being banished? The fencing with Gercourt? The further letters, the help from Madame and Valmont? The tangle? The sword at Madame's throat? Seduced by her? The duel with Valmont and killing him?

12. Valmont's aunt, rich, absentminded yet shrewd, meeting Madame, Cecilia and her mother? Her enjoying the table chatter? Her shrewd observation? Grief at Valmont's death? Delight in Cecilia's pregnancy? The wink in the cathedral?

13. The servants and their helping their master and mistress? Conniving in the behaviour? Pressurised and caught by the rules of behaviour in the household?

14. An elegant and sensuous presentation of Dangerous Liaisons?

THE MAGICIAN

Australia, 2005, 85 minutes, Colour.
Scott Ryan, Ben Walker, Massimiliano Andrigetto.
Directed by Scott Ryan.
 
The Magician is a surprisingly successful Australian film.  Developed by its writer-director and star, Scott Ryan, it began as a short but producers were interested and he developed it into feature length.  The film was shot over about a year but with ten days of shooting on a budget raised by the director himself, allegedly three thousand Australian dollars. 
 
The film was shot in digital video.  It is a mock-documentary about a Melbourne hit-man called Ray Shoestring.  The film focuses on his personality, his background in Melbourne, his hits. 
 
The film focuses on friends, friends who betray – and a journey to Queensland to escape the powers-that-be in Melbourne.  The film is partly a road journey with the friends, people that pick up Ray on the way to Queensland – and then eventually his finding his family and fate catching up with him. 
 
Much of the film is quite amusing in a black comedy kind of way.  Ryan is good as Ray Shoestring and brings the character and the film to life. 

1.A small-budget film? The work of the writer-director-star? His skill in writing, directing? His performance? A scene-stealing performance?

2.The Melbourne settings? The Australian countryside? The contrast between the inner city, the streets, the flats? The suburbs? The open countryside, the roads, the paddocks? The musical score? The songs?

3.The title? The reference to Ray Shoesmith? As a magician, as an assassin? The film-maker as a magician, weaving a spell and playing tricks on the audience?

4.The structure of the film: the focus on Ray, his voice-over? His explaining himself to the audience? The interviews? The intercutting of past and present? The effect of seeing Ray in a variety of situations and confrontations? The build-up the climax? His murderous activity? His talking to the camera – and commenting on the fact that he might be dead if this were being seen? And the information that he had been killed?

5.The role of Max, Ray’s neighbour, his amateur filming, film studies? His following Ray around? The documentary style? Ray talking to Max off-screen? Max and his interventions? Provoking Ray? Especially about Ray’s sexuality, homophobia, the night in the hotel? Max making jokes at Ray’s expense?

6.Ray and his initial killing? His staking out the street and pursuing the man that he was going to kill? The ears of the man, being let go? Max and his objective looking and filming of these scenes?

7.Ray’s story, his background, marriage, separation from his wife? The possibilities for the future? His meetings with Benny, their discussions, urging Benny to get out of Melbourne and go to Sydney? Later meeting him again, taking him for the ride, shooting him in the bush – and explaining how this was a more merciful way of killing him? The abduction of Tony, the reasons for this, taking Tony in the car, the discussions throughout the trip, listening to Tony’s life? The threats, the nights in the motel? His arriving home, the promise of the drugs, finding them? Letting Tony go – and his running away? Edna, the clash, the lies, getting him out of town? Ray and his car, at the garage? A rounded portrait of Ray? How likable? His small talk, the discussions about The Dirty Dozen and Clint Eastwood – and even getting Tony out of the boot to verify or not? His humanity – or not? Magnetic personality even though audiences would despise what he did?

8.Max, as a character, his interactions with Ray, following him around, asking him his motivations, especially about the shooting of Benny? The discussions about Tony? Staying the night, the provocation about homophobia? Max and his editing the documentary?

9.Ben, drugs, wandering the streets, friendship with Ray, going out of Melbourne, returning, the encounter with Ray, the travelling, his death? Tony, his background, his family, his pleading for his life, persuading Ray, the drugs, escaping?

10.Crass aspects of the screenplay? About sexuality, about excrement, eating…?

11.The overall effect of the film? A first film of a man with talent in performance and in direction?

THE HEADSMAN

Austria, 2005, 108 minutes, Colour.
Nikolaj Coster- Waldau, Peter Mc Donald, Anastasia Griffith, Steven Berkoff, Brian Pettifer, John Schrapnel, Patrick Godfrey.
Directed by Simon Aeby.

The Headsman is a historical epic, meant to be European rather than Hollywood in style. However, the visuals, the musical score, especially, indicate that it really is parallel to historical films coming from the United States.

It compares badly with these. Some of the writing is rather stilted as is the acting. Nikolaj Coster- Waldau is a striking hero, a warrior who becomes the executioner for a village in the Tyrol during the religious clashes of the sixteenth century. Peter Mc Donald, a regular in many Irish films, is his boyhood companion who has become a Dominican prior. John Shrapnel is a sinister archbishop. Steven Berkoff is his rather intense, sometimes hysterical self, as the Spanish Inquisitor from Spain.

The setting is the Austrian Tyrol in the 1520s and 1530s. Luther has already begun his reformation. The film focuses on the Anabaptists in this village. They are presented as a pure sect, martyrs, critical of the abuses of the Roman church. They fall foul of the archbishop, of the Spanish Inquisition. Their deaths – as with many in the film, especially the beheadings – are presented quite brutally, making the film rather gruesome.

There are the popular ingredients of the hero from the wars, his wife and family, the puzzled and tormented friar, the corrupt bishop as well as the sinister rival for the role of executioner.

The film will not contribute much to an ecumenical discussion, rather fanning differences between the traditions of the Catholic church and the traditions of the Reformation.

The director is Simon Aeby who has made his film with a largely British cast and in English.

1. A historical epic? The religious battles of the 16th century? The Catholic church, the Anabaptists, persecutions, the empire ruled by Spain? The film providing historical background for this story?

2. The location photography, the re-creation of Austria and the Tyrol and the villages at the beginning of the 16th century? The costumes, décor? Battle sequences? The persecutions and torture? The musical score and the epic style?

3. The title, the focus on the executioner and his role, public executions, religious motivations, the eagerness of the crowds, the applause? The old headsman and his retiring, the candidate aspiring to the job, Martin and his marrying the headsman’s daughter and his inheriting the job?

4. The Reformation: the presentation of the Catholic church, the Archbishop of Salzburg, corruption, domination, church loyalties? The background of Luther and the beginnings of the Reformation? The hold of the church over the populace? Executions for heresy? The contrast with the Anabaptists, their being presented as heroic, martyrs, personal religion, against the impositions of the church? Their persecution? The role of Spain, the sending of the Inquisition, the cruelty, the resentment of the Austrians against the Spanish?

5. The opening, the choir, the cathedral, Martin and Georg and their place in the choir, the archbishop singling Georg out, allowing Martin to leave the group? The transition to fifteen years later?

6. Georg, his becoming a Dominican, his becoming a prior? His managing of the priory, the attitudes of the friars, the anti-heretical stance of the fanatic Brother Bernhard? The kindly Brother Bertram who had looked after them as children? The religious rituals of the priory? Georg’s place in the town? The challenge from the Anabaptists to remember his place and that he was not God?

7. Martin, his being brought up in the military, his participating in action and wars? The encounter with Anna in the market, following her home, the relationship? The criticism because Anna and her headsman father were untouchable? His wanting to marry Anna, Georg feeling that he could not do this? Georg sending them to the Anabaptist, the ceremony? The birth of their child?

8. The death of the headsman, the rival and his wanting the job, his malicious attitudes, currying favour? Martin and his assuming the job, his skill with the sword, the executions? Time passing?

9. The growing tension with the heretics? The attitude of the archbishop? The desire to root out heretics, the targeting of the Anabaptists? The persecutions, the raids on their village? The leader, his arrest, torture, his allowing Martin to kill him, his being a martyr?

10. The issue of the relic, the processions, Georg and the precious relic, enshrined in the church? The old woman and her touching the relic, her stealing it, giving it to the would-be headsman? Their deceit, the blaming of the Anabaptists? The friar and his being complicit in the plot?

11. The rivalry for the job of headsman, the rival and his planting the relic in Martin’s home, its discovery? Martin being arrested, his wife being taken as a witch? The flight of the child, the support of Martin for Georg?

12. The pressures on Georg, the archbishop, the inquisitor, his sternness, his criticisms of Georg’s stance?

13. The cruelty of the inquisitor, the executions, the taking of the emperor’s legitimate daughter, her torture, removal of her tongue? Being burnt? The burning of the Anabaptists? The execution of Martin’s wife, his disguising himself as a friar, cutting the inquisitor’s throat, his being killed?

14. Georg, his feeling inadequate, bowing to the pressures of the Spaniards, of the archbishop? The issue of Martin being the archbishop’s son, the archbishop’s change of heart? Georg and his life in the priory? The archbishop having chosen him? His taking off his cross and resigning?

15. The cruelty of the crowds, Anna and her being burnt, the turning against the Spanish occupation?

16. A glimpse of religious bigotry in the 16th century? The emerging world of the Reformation? The picture of the brutality of the period? The stance of the writer and the director, critique of the Catholic church at the time, the affirmation of the reformers? The film – and its possible contribution to ecumenical dialogue (or not)?