TROUBLED WATERS

Norway, 2008, 113 minutes, Colour.
Directed by Erik Poppe.

A moving film.

Troubled Waters takes its title from Paul Simon's song which is played twice during a crucial scene and its repetition. The troubled waters are evident. However, the full title of the song is Bridge over Troubled Waters and exploring that theme opens up the drama and the spiritual dimensions of the drama.

Here is a film which is commercially interesting but which incorporates into its plot aspects of Lutheran spirituality and practise without embarrassment. Norway, even though like other European countries it is marked by an increasing secularism, has a Lutheran tradition which is part of its heritage and, as the film indicates, can contribute to religion, morality and to its culture.

The film is in two parts. We see an abduction of a child as the film opens. There are painful consequences. One of the young men responsible (though he won't admit it) is released from jail and finds a job as an organist at a local church. The first part of the film is the young man's story, of his being rehabilitated, becoming friendly with the local priest. She has a young son (presented as a mirror image of the abducted boy). The second part of the film takes up the abduction once again and we follow the life of the family, especially the mother, whose son was taken. Each story has two sides and the second part fills in detail of what we have seen in the young man's story. The climax brings the man and the mother together to face what took place.

The mother is distraught and the effects of the tragedy are very deep in her. She needs to hear what actually happened to her son before she is able to consider any kind of forgiveness.

The screenplay draws attention to themes of forgiveness but also of atonement. Confessing, and the inability to confess, are significant. Communion is seen as a step in healing brokenness. And, despite what the young man has done, the manager of the church business has to tell the mother that, in terms of second chances, where else can this be done best but in the church.

The film has been made with elegant craft, has several sequences of organ music, but tells a story of everyday headlines and the lives behind the headlines, with both insight and a challenge to the possibilities for compassion.

1.The impact of the film, dramatic, religious?

2.The title, Paul Simon’s music, the music played twice during the film? The implications of the troubled waters in the plot? The search for bridges?

3.The city of Oslo, parks and the river, homes, churches, prison? The sense of realism?

4.The range of music, Paul Simon, the classics, the organ music? The underlying score for the film?

5.The structure of the film and its dramatic effect? The portrayal of the crime, part one with Jan, part two with Agnes? The complementarity of the two parts? Two sides of the same story? The story continuing towards a climax, bringing the two characters together, some kind of resolution?

6.The abduction of the baby, the age of the perpetrators, snatching the pram, running away, the visuals of the baby, the baby running and falling, the accident, Jan taking the baby into the river, letting it go? The replaying of these scenes? The information off-screen about the trial, the two blaming each other, not having responsibility, Jan not even wanting to apologise? Letting himself off?

7.The prison sequences, the religious ceremony, the Lutheran priest, the prayer and the lighting of candles? The minister writing a letter recommending Jan for a job? The job offer, the apartment? In the kitchen, embracing his friend, the friend suddenly turning on him, the vicious attack, injuring his hand, his head in the water? Leaving prison?

8.Jan’s diffidence, going for the interview, the church official saying the job was filled? His staying, looking at the organ, playing it? The priest and her arrival, the other members of the staff? Offering Jan the job? His skills, capacity for playing, transforming himself? The range of pieces he played, the classics, Bridge Over Troubled Water for the schoolchildren? Themes for the wedding? The job forms, his not filling them in properly, the revelation of his identity? His interaction with the staff at the church? The various jobs?

9.Anna, as the priest, her work? Her life story, the pregnancy at university, the family urging an abortion, her keeping Jens? Her ministry, the bishop allowing her to become a priest? In the church, the ceremonies, weddings? The help with the addict and injecting him, Jan helping? The visit of the children, the explanation of the church, questions about baptism and its meaning? Anna and Jens, Jens and his initial hostility to Jan, friendship, the bond, at school, Jan picking him up, playing? The supermarket? His being abducted?

10.Jan with Anna, the situation in the supermarket and the intimation of the strange woman? Falling in love, the discussions, the future, his not telling Anna about the crime? Yet Anna talking about it in the third person?

11.The grounding of the screenplay in Lutheran spirituality, the goodness of God, the consequences of evil actions, the nature of faith, communion as a reconciliation, the need for confessing, the importance of atonement? Conversion experience?

12.The transition to the second part of the film, showing the crime again, the perspective of the mother? Her memories, the effect? The adoption of the two little girls? Life at home? Her relationship with her husband?

13.The scenes of the family life, the decision to move, John’s announcement, the reactions, the older girl, the mother soothing them? The reasons, the father knowing that Jan had been released from prison and not telling his wife? The dinner sequences? The barbeque? Friends and family and the farewell, going to Denmark?

14.Agnes and her work at the school, taking the children for the visit to the church, hearing the music, seeing Jan, the disturbing effect? Swimming, weeping outside the church? Her return, scattering Jan’s pages? The encounter with the official, his talking about second chances, her pushing him down, her apology? Talking and not talking to John? His not telling her about Jan’s visit? Her fears, thinking that Jan would reoffend? The little girl going for ice cream and her dragging her back into the house?

15.The sequence between Jan and John, the confrontation, the audience thinking Agnes was outside – and the revelation that she had not seen or heard Jan?

16.Agnes stalking Jan, the scene in the supermarket, with Jens, warning Anna? The fears of a repeat crime?

17.The build-up to the scene at the school, Jens forgetting his present for his mother, Jan going back in? Agnes taking the boy, taking him home, John’s reaction? Agnes taking Jens to the river? Jan, getting the bike, going to the home? In the car?

18.Jens, in the back seat of the car, listening to the adults? Going into the water, Jan going in to save him, caught in the branches? Anna diving in and saving them?

19.Jan, finally admitting the truth to Agnes, the description of what he had done, taking responsibility? The effect on Agnes to have heard the truth?

20.Jan, the final discussion with Anna, her dismay at his not telling the truth, his appeal to her statements about the goodness of God, Providence, good coming from evil actions? Her going down the stairs? Did they have a future or not?

21.The final scene of the mother and father and the children, happiness together?

22.Themes of confessing, atonement, conscience, responsibility? Communion for the broken and helping them towards conversion? The church as a place for a second chance?

ALEXANDER

US, 1977, 96 minutes, Colour.
Leigh Mc Closkey, Eve Plumb, Juliet Mills, Earl Holliman, Jean Hagen, Lonny Chapman.
Directed by John Erman.

Alexander and Dawn are two complementary telemovies. Dawn, Portrait of a Teenage Runaway, was a successful telemovie portraying a young girl with difficulties at home going to Los Angeles and becoming a victim of oppressive circumstances, unemployment. She becomes a prostitute, is under the oppressive rule of a pimp and experiences brutality. She also encounters a kindly homosexual young man, Alexander, and they fall in love. Alexander in his love tries to defend her and is beaten up.

Alexander, The Other Side of Dawn, follows from this particular incident but gives us the background to Alexander's life. He also has a difficult home background and comes to Los Angeles. He becomes involved in male prostitution for rich women as well as for homosexual activities including a relationship with a football star. The background of the police, the courts, therapy are to the fore in both films. They are made for the home television audience and are successful in giving an authentic background, as well as dealing with squalid situations in a way that is acceptable for home viewing as well as providing insight into real social problems.

Eve Plumb is very good as Dawn as is Leigh Mc Closky as Alexander. They appear in both films. There are strong supporting casts in each of the films including Lynn Carlin as Dawn's mother and Bo Hopkins as the pimp. Earl Holiman is a social worker in Alexander. Juliet Mills appears as a rich woman in the latter film. The direction of Dawn is by Randall Kleiser, director of such telemovies as The Boy in the Plastic Bubble and of the film Grease. The second film was directed by John Erman.

1. The impact of this human drama, portrait of a troubled human being ugly aspects of society? How truthful and authentic? The film as a warning?

2. The quality of the film as a telemovie? style, content especially for home-viewing? Creating an atmosphere of realism without over-sordidness for the wide television audience?

3. The presentation of Los Angeles, colour photography? Los Angeles as a symbol of the United states? Bright, ugly, surface? The world of the night? Musical score, songs? Editing, pacing?

4. How well could the audience identify with the film, the characters situations? The response of parents? The response of the adolescent audience? The presentation of home situations arid difficulties, family pressures? The adolescent seeking something away from home? The inadequacies of coping with such situations; Temptations, risks? the possibility of help? Low self-image, hope?

5. How well did the film stand as interesting entertainment on its own? As a continuation of the film 'Dawn’? How well did it take up the threads of 'Dawn' even though there were different writers and directors?

6. The impact of Alexander as a person? seeing him being beaten, remembering him for his kindness and friendship towards Dawn, his love for her? The hospital situation and this as a base for his memories? How well did the film show the situation at home, his capacity for hard work, his art? The severity of his father, his mother's love but helplessness? his being made to leave home? leaving with discontentment, with hopes for the future?

7. Alexander and his work as a prostitute? His arrest? The encounter with Bay and his going to the meeting, his hostility towards such communication? How well did the film present him and his work, the sessions and their therapeutic help? His leaving this way of help and going back with his friend and the ambiguous way of living?

8. The continued memory of his love for Dawn? The audience seeing her at home, her loneliness, seeing her at school and the antagonisms there, the loneliness of her birthday, the phone calls? The sequence of her being found out and her reaction? The repercussions for her in her home town? Her leaving?

9. Alexander and his lies? As regards his family, his mother and the phone calls? His lies to Dawn? Visualizing his destitution, hunger, sleeping in the playground yard, his presence in the art gallery?

10. The significance of the encounter with. Chuck? The gallery, the approach? The character of Chuck in himself, his sporting reputation, his fans, his macho image? The encounter, the eating? The drive, the swim, photography? The proposition and the offer to set up house? Alexander's reasons for accepting it? The present of the easel? The relationship between the two, friendship, love, sexuality? The night out at the Gay Club? Chuck and the advice about his reputation? The money situation? Chuck and his taking on another young man? Alexander reaction, jealousy? The drug situation and Chuck using Alexander? The party, the police following him, the arrest and its repercussions? Chuck's honourable attitude in defending Alexander? The comment on homosexual relationships, permanence and transience? Society and re­action?

11. Ray and his continued interest in Alexander? Ray and the homo­sexual background? The judge and the condemnation of Alexander, her letting him go and the reasons for it? His reappearing before her? The lawyers and their comments? His own appeal and its significance? the judge's prudence and judgment in dealing with him?

12. His decision to go, the coincidence of Dawn's arrival? the crisis and the possibility of their missing one another? The happy ending and the build-up of hopes? An appropriate ending for this kind of film?

13. How well drawn was the character of Alexander? A victim of circumstances? The weakness of his character? Moral situations?

14. A film of insight, awareness? Authentic? A picture of the contemporary world? Hope amid squalor?

DECEIVED BY FLIGHT

UK, 1989, 105 minutes, Colour.
John Thaw, Kevin Whately, Norman Rodway, Daniel Massey, Bryan Pringle, Nicky Henson.
Directed by Anthony Simmons.

Deceived by Flight is a very entertaining Inspector. Morse mystery. It maintains the standard of the series. The screenplay was written by Anthony Minghella (writer/ director of Truly, Madly, Deeply). The setting is Oxford, there are murders, cricket matches and drug smuggling. The atmosphere is particularly civilised, even where the crimes are concerned.

John Thaw is the incarnation of Inspector Morse. Kevin Whalley as Lewis gives the required support - even to playing cricket. However, there is a strong supporting cast including Daniel Massey as the victim and Norman Rodway and Nicky Henson as villains. Quality murder mysteries and detection.

1. The popularity of Inspector Morse? The mysteries and crime? Police work and detection?

2. The quality of the telemovie, Oxford and its environment? Location work? Authentic atmosphere? Musical Score, including classics?

3. The title, and its focus?

4. The setting: Anthony Donn and his arrival, Oxford, the college, the cricket matches? His wife and her radio program, people calling in on controversial topics? His moroseness? His contacting Morse, their meal together in the park? His not being willing to tell the truth about his life? His hint with the Zen quotation? The suddenness of his death? Reactions? The news for Kate - coming out of her radio program? Her grief? Her working with Morse - and the phone calls and the attraction? Sufficient information for audiences to understand the crime, the possible suspects?

5. Kate, her relationship with her husband? The revelation of her affair with Cranston? Her family, contacts with Morse? the outings? The Clash with Philippa at the cricket match? Cranston; suspicions, his boisterous and rude manner? The cricket team? His play, getting Louis out? Bombastic? Roland and his support of the cricket match, his friendship with Donn, memories of Morse? In his wheel chair? His affable nature, concern, the promotion of the cricket match? the tour and its going ahead? Jamie and his coming in from Hong Kong, contacts? The cricket match? Peter Forster and the suspicions, Philippa, Peter Forster and his cover, going into Dorm's room? His murder? Philippa and the interrogation with Morse? Barker and his serving the former students, the Oxford tradition? Members of the cricket team?

6. Morse and his character, morose, his past, dedication to his work? Interactions with Louis, clashes? Louis and his single minded devotedness to duty? His family? His time off - painting, coming back to work? Playing in the cricket team? Undercover work? Contacts with Morse - in the toilet? The quality of the investigation and suspicions?

7. Suspects, interrogations? the truth about Peter Forster and the undercover work of customs? Philippa and the truth? Morse at the cricket match? The murder in the clubroom?

8. Morse and his following the clues, working out the truth? Kate and her relationship with Cranston? The studio, the studio staff? Her answering machine? The discovery of the truth about her action, the murder? The arrest of Kate and Cranston?

9. The focus on the drug investigation, Roland and his wheelchair, Jamie and his contacts? Morse allowing the team to go on their tour? The raid on the boat? the truth? Roland and his self assertion about the drug smuggling?

10. A satisfactory resolution, Morse's personal involvement, judging and misjudging characters? Louis and his assistance?

BADMAN’S TERRITORY

US, 1946, 97 minutes, Black and white.
Randolph Scott, George ‘Gabby’ Hayes, Ann Richards, Ray Collins, Lawrence Tierney, Steve Brodie.
Directed by Tim Whelan.

Badman's Territory is familiar western material, a star vehicle of the mid 40s for the solid (if stolid) Randolph Scott. He is supported by George ‘Gabby’ Hayes, character actor in the Walter Brennan vein. The leading lady is Australian Ann Richards. The setting is Oklahoma territory, the Panhandle, forgotten by the Congress legislatures and a haven for western outlaws. The film involves the James and Dalton gangs and highlights the need for law and order in the west and the possibilities of the Panhandle becoming part of Oklahoma State.

1. Entertaining western? Law and Order? romance?

2. Black and white photography, the Oklahoma territory settings? Action?. Musical score?

3. Title, the voiceover explanation? The expansion of the west, Texas and Oklahoma, Badman's Territory? The town of Quinto as the haven for law breakers? The drive for respectability?

4. Mark Rowley and his brother John? Law and order in Texas? The James gang and robberies? The pursuit? The wounding of John? Mark going for his brother? The arrival in Quinto? Not being a sheriff? The attraction towards Henrietta? The Colonel? The James gang? George and his eccentricities? Confrontations? Henrietta and her campaign, the paper? The helping of John? His recovery? The romantic attraction to Henrietta, the proposal? The information about his being wanted? The race, Val Starr, Henrietta's jealousy? The Indians and their rites and the money? The plans for Oklahoma territory? Clash with Henrietta? The moving in of the administrator? Fights, confrontations, shootings? His friend’s death? The happy ending?

5. Quinto, the people with a past, including the doctor? Disorder, gamblers, shooters? Henrietta and her paper, being boarded up? The colonel and his role? The horse race, the deals with the Indians, the robberies? The vote for congress, the regulator coming in?

6. Henrietta, heroine, prim? The paper, her efforts? Her friendship with Meg and Meg's advice and criticism? Meeting mark, clashes with him, suspicions, the telegram? The ball, her announcement, the votes? Confrontation with Mark? The resolution?

7. The James gang, the Dalton gang? Robberies, taking refuge in Quinto? Shootouts? The pursuit of the law? The scheme for robbing the bets on the race? George and his
death?

8. The Colonel, his control over the town? The confrontations in the bar? The race? Hampton and his arrival, violence, deaths?

9. The background of the west, law and order, the changing west? Civilisation?

10. The Indians, being tricked with the money, Mark and his support of them?

11. The popular ingredients of the western, 40s style?

WILLING TO KILL: THE TEXAS CHEERLEADER STORY

US, 1992, 100 minutes, Colour.
Lesley Ann Warren, Tess Harper, Dennis Christopher, Olivia Burnette.
Directed by David Greene.

Willing to Kill: The Texas Cheerleader Story is the dramatisation of actual events in Texas, a mother, living her life through her daughter, wants desperately for her daughter to become a cheerleader and decides to arrange a hit contract on her neighbour of whom she is jealous. She contacted her brother-in-law who contacted the police, taped her soliciting him and her subsequent arrest and court proceedings. Lesley Ann Warren is very good as the obsessed mother. Tess Harper is her neighbour. Headlines indicating such stories seem hard to believe. However, when characters are presented, interactions and motivations dramatised, audiences can gain some understanding of the lives and tensions behind the headlines.

1. Interesting drama? Real life? The American dream and success? Obsessions? Parents living through their children? Violence?

2. The Texas settings, the town, homes, schools, courts? Authentic atmosphere? Texas as larger than life and the setting for this kind of story and behaviour?

3. The title, the focus on Wanda Holloway?

4. The prologue in court, Wanda returning home? The credits and the cheerleaders? The flashback technique? The credibility of Wanda's story? The aftermath of the case, the evidence, her being found guilty? Bail, appeal? Her being released? The final captions with the two women still living close to each other, the two girls at school?

5. The credibility of the plot - mother love, obsessions, competitiveness, jealousies? Violence and angers? The mentality that could think of actually killing enemies? American justice?

6. Leslie Ann Warren as Wanda Holloway: the separation, love for her children, the friendship with Shanna? Meeting Verna, the friendship, driving the children to school? The years passing? The children playing together? Verna and her competitiveness, trophies? Wanda and her wanting good things for Shanna, the possibility of being a cheerleader? School, auditions? Wanda and her jealousy of Verna and Amber? The ice-skating sequence? Verna's mother? The possibility of auditions, Verna going to the school board, Wanda going and arguing that Amber not be eligible? The rules for campaigning - her buying the rulers, handing out voting plaques? The confrontation by the school authorities? Her anger? The practising, encouraging her daughter? The
decision to kill Verna and Amber? Her going to see Terry, the discussions? the money, her earrings? The phone calls, the final decision - her laughter, vindictiveness? The irony of her being taped? The arrest? Shanna's response? Verna and her fears? Shane and his assertion to his mother, being neglected? His support of her? Tony and his visit and wanting custody of the children? Her behaviour in court, attitudes, hardness? Her denials? The television treatment - and her watching it with Shanna? The tension in her relationship with her daughter? Shanna telling her that she wanted her won dreams? Prison, the appeal? Her being released? Going to the cheerleader performance? Her friend and his support, testifying against her in the court? The aftermath and her still being free, the tension with Verna? The importance of the encounter with the counsellor, her looking at what she had done, her saying she was sorry, going beyond morality? Symbolising American mother love?

7. Shanna, ordinary young girl, growing up with Amber? Sharing, school, cheerleader practice, hard work? Her mother's support of her? Her response to her mother's behaviour? Disillusionment? Her recovery, performing, success? The continuing tension with Amber? The contrast with Amber, her successful mother, being groomed, trained, her mother videoing performances, giving her advice? Friendship with Shanna? The final hostility - and their profiles together?

8. Verna, friendly neighbour, supportive of Wanda? Manipulative and competitive? Her belief in competitor? The trophies? Her mother, success, training her daughter? the family tradition? Her husband and his support? Her pushing Amber, Wanda's reactions? Her puzzlement? The news about the plan against her life? Her fears, her angers, upset? The family together and their concern? Television news, interviews? In court? Testimony about friendship. Her bewilderment, phone calls to her mother? Her angers with her children? Her wanting to be forgiving - and Wanda and Verna both being Christian and
church going people? Looking at the interviews with the counsellor, her own interview and wanting to be forgiven? The success of her daughter? The final captions and the continuing tension?

9. Terry, his criminal background, listening to Wanda, going to Tony to ask his advice, leading Wanda on, phone calls? The final interview anal his taping her? The cross -examination in court and his feeling his was crucified? Tory, his advice for Terry to go to the police? His wanting custody of the children and the confrontation with Wanda?

10. Wanda's friend, his love for her, support, joking about a hit man - and Wanda taking it literally? His testimony in the court? Going to the football match with her at the end?

11. The school principal, the staff, the meetings? The regulations, campaigns for voting? The school assistants, secretaries?

12. The police, working with Terry, listening to the tapes? The arrest?

13. The judge, the court, cross examinations? Wanda and her lying in the court? Defending herself? The guilty verdict?

14. The truth of the story - American success, going beyond moral grounds, parents living through their children?

CLOSE MY EYES

UK, 1991, 108 minutes, Colour.
Clive Owen, Saskia Reeves, Alan Rickman, Karl Johnson, Lesley Sharp.
Directed by Stephen Poliakoff.

Close my Eyes was written and directed by playwright Stephen Poliakoff. His television films include Hidden City, Caught on a Train, She's been Away. Poliakoff has a strong sense of British social background.

Close My Eyes is set between 1985 and 1990, the film echoing changes in social conditions, unemployment, the emergence of AIDS and other social issues. However, the focus of the film is on the taboo of incest. The film gives a human face to the love between brother and sister - the brother, played by Clive Owen, infatuated and obsessed with his sister (from whom he had been distant growing up) played by Saskia Reeves (December Bride, Antonia and Jane, The Bridge). The husband is played effectively by Alan Rickman. The film dramatises incest - and audiences, looking at the story and characters, are left to formulate their own opinions about the tradition of the taboo, moral attitudes, social and psychological attitudes - and their consequences. The film was released in the early 90s, a time for a number of prominent films on sexual obsessions - Louis Malle's Damage, Polanski's Bitter Moon, the Spanish Lovers as well as Hollywood's Basic Instinct and Body of Evidence.

1. Impact of the drama, love affair, incest?

2. The 1985 to 1990 time span, London and England? The social background, developments, jobs, the emergence of AIDS? The summer of 1990? The musical score?

3. The title, its application - and Sinclair and his covering over the affair?

4. The prologue: 1959 -1990, the glimpses of Richard and Natalie, their backgrounds, attitudes, attitudes towards each other? Richard and his successful work, the separation from Natalie in the past, their clashes? The meetings with Natalie, being late? The growing intensity, the kisses, the break between them? Natalie and her work, dissatisfactions, health? Richard and his lateness, disappearances? Ringing Richard, the discussions on the phone about sexuality? His wanting her to go to his wallet, the farewell at the station? Richard and his change of job? His relationship to Natalie, the past, the response to the kiss, sexual attraction?

5. The films dramatisation of incest, acknowledging the taboo, traditional values, moral perspectives, social acceptance or not, psychological implications? The lovers’ control over their feelings, making decisions, the love, the obsession, not wanting to hurt others - but hurtful consequences?

6. Natalie and her life, background, her parents and their death, clashes with Richard in the past, his absences? Her jobs, meeting people, interviews about new jobs? The Clash with Richard , the kiss, trying to keep her distance? Her marriage to Sinclair and the bond between the two? her living in comfortable surroundings? Meeting Richard, talking, denying the feelings, the impulsive kissing, the verbal account compared with what was actually happening? Her seductive manner? Kiss, sex? The aftermath? Decisions about meetings, the discussions at the picnic, her avoiding Richard? Setting him tasks? His phone call while she watched television with Sinclair? At Sinclair's parents apartment, the old fashioned style, the romanticism, the cleaner coming in and the deception? Her game with going to Sinclair's office, watching him eating in the restaurant - and wanting to be seen? the hotel and the affair, the lies to Sinclair? Sinclair and his suspicions? Richard and his growing intensity? The meeting at the hotel and the clash in the phone box? Richard's suicide attempt and her looking after him? Leaving London, the party, her decorum, the clash with Richard, chase, the fight on the road, the truck coming towards them? The truth about them not leaving England? The resolution of the affair - the cooling of the affair, her being with Sinclair? Her motives, psychological behaviour, the effect of the affair, her denial, her future?

7. Richard, personality, work, his skills, casual sex? His getting the new job, the interview and his directness? Working with Colin and Jessica? Development, buildings, changing and building new cities? His interview with the proprietors - and the later return and confrontation? With Colin, the news about his having AIDS, his reluctance to visit him, going to the hospital, the gift of the books? The confrontation after taking him out to the new development, his eating the sandwich - while the others were apprehensive about AIDS? His relationship with Natalie, her change in 1990, her kissing him, her denial, the effect, seductive - his being seduced? The plea for meetings, the picnic, the deceit? The sexual encounter and its effect on him - the maid coming into the apartment? Watching Sinclair eat in the restaurant and Natalie wanting to be caught? The hotel meeting? The months passing, Natalie giving him tasks, getting a girlfriend? Going out with Paula, memories of the past? Her interpretation of his behaviour? The phone call to Natalie? His inviting Jessica out and her interpretation of his behaviour? His moods, love, the boat ride with Sinclair and his wanting to avoid him, talking about the affair? the hotel and his anger, the suicide attempt, his illness? The final party, taking Jessica? The chase, the physical fight, their both walking back to the party? His future - and not denying that he would still be in love with Natalie?

8. Sinclair, personality, work, admiring Richard, meeting him? A great talker? Natalie and his relationship with her, her feeling small, his controlling and making decisions? Suspicions ?The washing machine, the phone call to the hotel? Asking Natalie and her avoiding the truth? Taking Richard on the boat and talking about the affair? The new job, moving to America - and its failure? The party, his bewilderment and bemusement? His trying to resolve the relationship - but not wanting to know the detail, closing his eyes? The three walking together in the autumn evening?

9. The company, Jessica, relationship with Colin, supporting him, critical of Richard, his asking her out, her telling him the truth about his attitudes? Colin, his work, AIDS, in hospital, his parents not visiting him, his angers? The outing, the confrontation with the company, the question of the sandwich and the phobias?

10. Paula, sexual relationship with Richard, meeting him again, out together, her insight into his attitudes and behaviour?

11. The social background, job losses, disillusionments, city developments and their failures? 12. The background of AIDS, acceptance of AIDS, fears?

13. The theme of incest, the dramatist putting a human face on the taboo, insight. into obsession, love - and the consequences?

SORRY WRONG NUMBER

US, 1989, 90 minutes, Colour.
Loni Anderson, Hal Holbrook, Patrick Macnee.
Directed by Tony Wharmby.

Sorry Wrong Number is a late 80s telemovie re-make of the original film of 1949 starring Barbara Stanwyck and Burt Lancaster, directed by Anatole Litvak.

This screenplay has updated the story to the 80s and is directed by British director, Tony Wharmby. It is designed as a star vehicle for Lonnie Anderson as the bedridden wife who overhears a phone call talking about the planning of a murder. The film keeps generally to Lucille Fletcher’s original radio play and its adaptation for the screen.

Lonnie Anderson is Madeline, the rich wife, who overhears the phone call. A hypochondriac, she is bed ridden and spends of New Years eve telephoning the police to try to warn the victim. However, of course, the victim is herself. The film focuses on her father, a wealthy magnate, played by Hal Holbrook. Her husband, who married her for her money, is, this time, involved in drug deals. Drug dealers put the pressure on him, demanding money, threatening to kill his wife. Patrick Macnee also appears as a doctor, involved in the drug dealing who realises the truth.

While the film focuses on Lonnie Anderson in her palatial apartment, on the phone, desperately ringing, the film also goes back into the past, establishing her marriage as well as showing what was happening in the background and the police trying to make decisions. The film ends, uncharacteristically for popular telemovies, with a grim ending as the husband, still on the phone, hears the murderer coming and his killing of the wife.

Lucille Fletcher’s original radio play was always a successful tour de force for the leading actress and a piece suspense for the audience. With its 80s setting and affluence, this is a glossy presentation of Sorry Wrong Number.


1. Thriller? Famous radio play? Expanded for television?

2. Loni Anderson in the classic Barbara Stanwyck role? Strong performance?

3. The film based on a play, the contrivance of situations, the focus on the phone calls, the flashbacks, the flashbacks within flashbacks?

4. The downbeat effect of the film, the sombre ending?

5. Madeleine: spoilt, bedridden, relying on the phone, domineering on the phone, her overhearing the plan, the phone call and discovering her friend Sally, her memories of meeting Charlie, taking him away from Sally, her callous attitudes? Her relationship with her father, his dominance? Charlie and his job, marrying her? Disregard of Sally? The plot about the money, the phone call and explanation of the plot? Her phone call to the doctor, his care, the story of Charlie’s visit? his phone call, his warning? Her being paralysed, knowing the truth? Her death? A wilful character?

6. Her father, his power and wealth, spoiling his daughter, dominating her, dominating Charlie?

7. Charlie, young, his friendship with Sally, marrying Madeleine, the job, his anger and frustration, entering into the plan with Evans, stealing the money? Criminals and their demand? His knowledge of his wife, the visit to the doctor? Sally and her visit? His phone call, the warning - and his failure to get Madeleine to move?

8. The doctor, his concern, his treatment of Madeleine?

9. Sally, the past, her love for Charlie, the marriage, the visit to Henry, following her husband, the discovery of the plot, the phone calls to Madeleine - the contrived character, her accent, the credibility of her actions?

10. Fred, his concern about Henry, the police and their plan, the raid?

11. The criminals, their plans, the pressure on Charlie? Charlie and his pressure, the end of the plot?

12. The bleak and black mood of the film despite the 80s gloss?

A SHOCK TO THE SYSTEM

US, 1990, 91 minutes, Colour.
Michael Caine, Elizabeth Mc Govern, Peter Reigert, Swoozie Kurtz, Barbara Baxley, Jenny Wright, John Mc Martin, Will Patton, Christopher Durang.
Directed by Jan Eggleson.

A Shock to the System is adaptation from a novel by Simon Brett. With its American setting, it highlights American personal psychosis and corporate ruthlessness - a black comedy. Michael Caine is the hero, destined not to be promoted, when his life changes as he accidently kills a beggar in the subway. When it is interpreted as suicide, there is no holding him as he arranges murder after murder, getting his way to the top and not being punished. The irony of the screenplay is very heavy- although, Caine is made to look as something of a magician as he goes through spells and mock magician gestures to get his way.

The cast is very strong, led by Caine, with Elizabeth Mc Govern as his girlfriend, Peter Reigert as his rival, Swoozie Kurtz as his mercenary wife, one of his early victims, Will Patton as the pursuing policeman. Playwright Christopher During appears as a convention speaker. The film is directed by Jan Egleston, director of many telemovies for American playhouse.

1. An effective satire? On the world of business and ambition? Ruthless Wall Street? Ambition and violence - cleverness and cover-up?

2. New York City, the offices, the subways, the homes? A plausible setting for the implausible behaviour?

3. The title - the shock to the victims, to Graham Marshall to the corporate world?

4. The strength of the cast, the adaptation of a satirical novel, transference to the U.S.A.?

5. Michael Caine as Graham? His personality, in the office, being passed over? His ambitions - and threats to his rivals? the interactions with Brewster, with Bob Benham? The advertising world and failure? His rushing home, the encounter with the beggar at the subway, his killing the beggar? His panic, behaviour, the after-effects? The magician - and the incantations and spells which control him?

6. Graham and his values - unhinged, or calculating? His return to his wife, her ambitions, expectations, nagging? The interactions? His fixing of the socket - and her death?

7. Henry Park, the computer wizard, into Graham's office? His reactions? Plotting? His attention to Stella, compensation? The love for Stella, using her? George Brewster, the sense of failure, the farewell? Driving him, the card? Stella and her involvement, drugging her, his later setting up the accident, the further murders? Loosing his cigarette lighter - and its becoming a key and a clue?

8. Graham's dealing with the police, the visits, the interrogations? Handling the situation of the lighter after the initial shock? His using Stella, her realisation of what had happened? The threat on the subway station? Hen giving him back the lighter? The arrival of the police? The irony of the promotion, his new office? And his continuing his murder with the blowing up of the Cessna? The death of his boss?

9. The contrast between Bob Benham and Graham Marshall? Young, yuppie, his reactions, work? Advertising campaigns? Henry park and his computer skills? The yacht - and Graham destroying them in the yacht?

10. George, a sense of failure and futility, his retirement? Graham driving him, used by Graham, the credit card? His suicide?

11. Stella, her role in the office, work, pleasant? Her consent to the affair? Her relationship with Graham, the night together, her being drugged, used for an alibi? The cigarette lighter - her conscience, Graham persuading her to give it back? Their being transferred to Los Angeles?

12. Inspector Laker, his personality, the police and their investigations, questions? The cigarette lighter? Their arrival - and Stella's safety?

1.Realistic/stylised? Satiric/real? The world of advertising - and the detailed portrayal of the office, the jobs, the style, the personalities? Graham and his code, his sense of disappointment, the accidental killing, the complete change of values? The importance of Michael Caine in the central role, the dramatic device of the voice over, his comments, tone, evaluation - and its effect on the audience?

THE ARSENAL STADIUM MYSTERY

UK, 1940, 84 minutes, Black and white.
Leslie Banks, Greta Gynt, Esmond Knight.
Directed by Thorold Dickenson.

The Arsenal Stadium Mystery is very much a film of the 30s, yet, the performance by Lesley Banks as Inspector Slade is still very entertaining. The film focuses on the English love of Soccer, commentaries, clips from games. However, there is a very 30s crime and investigation. Lesley Banks offers a most eccentric performance as Inspector Slade, all mannerisms, witty English delivery. His assistant acts as a dumb stooge for his performance and it works particularly well.

The usual suspects are there, particularly members of a Soccer team. With the murders and the investigations we had a glimpse of life in London of the 30s. We also get some feeling for the popularity of soccer at the time with the games, locker rooms, referees, fans.

1. Interesting and entertaining murder mystery, 30s style?

2. Black and white photography, the insertion of Soccer footage ? The atmosphere of London? Apartments, the clubs? The musical score?

3. The title and its focus - and a touch of realism?

4. The focus on the central characters - Gwen and her relationship with her fiancee, with Jack Doyle, the break with Jack? Her going to the game with her friend Inga? The teams, spirit, the charity match, the build-up? The characters?

5. The opening with the newsreel footage of soccer games, the introduction to the members of the two teams? The comments about soccer playing and tactics? The interplay between the men? The characters in the teams? The commentator and the coverage of the match?

6. Doyle and the gift at half time, his playing and collapse, his death? The reaction of the players? Wanting to get out? The fiancee and his tension? The scientist and his friend? The players, the reserves, possible jealousies? The officials?

7. Inspector Slade, his rehearsals for his performance, the police and their ballet dancing? Slade and his hats? His relationship with Clinton? Going to investigate, his way of speaking, the gentleman, leading people on? The range of his interviews? Tracking down Gwen, arriving before her Fiancee? The coffee with the Epsom salts? The investigations, the science laboratory, the drug? The treatment room and it being sealed? The break-in? The phone conversations, the interviews? His continual reaction with Clinton? The confrontation with Gwen and Inga? Gwen's death? His setting up the process for the unmaking of the criminal, leaving Clinton to make the arrest? His going back to his rehearsal? The story about the death of the young woman, the discovery of who her father was, the tracking down of the potential killers? An offbeat detective - and his donning Sherlock Holmes cloak and hat at the end? The character of Clinton, playing up to Slade, doing the slog work?. The final arrest?

8. Jack Doyle, callous, obnoxious, his death?

9. The fiancee, wealth, love for Gwen? Jealousy? Suspect? His knowing of Gwen's connections, hearing the truth, hurrying to her flat? Her death, his being under suspicion? In love with Inga? Inga, friendship with Gwen, trying to help her, seeming to blame her? The happy ending?

10. The players, the scientist and his discovery of the drug? His room mate, the reserve - and the irony of the background to his fiancee, jealousy of Doyle? His being the murderer? His stained hands and his reactions during the match? His arrest?

11. The officials and their collaboration? The official and the story of his daughter, her suicide, his blaming the players? The unmasking of the killer?

1.entertaining brief murder mastery - with the bonus of the eccentric detective?

I WAS A SPY

UK, 1933, 85 minutes, Black and white.
Madeleine Carroll, Conrad Veidt, Martita Hunt, Herbert Marshall, Edmund Gwenn, Nigel Bruce, Gerald du Maurier, Anthony Bushell, Brian Aherne.
Directed by Victor Saville.

I was a Spy is a British melodrama of the 30s, looking back to espionage and W.W.I. It is based on a true story and has a quotation from Winston Churchill in praise of the heroine. She is in contrast to the stories of Mata Hari. With its focus on the Germans and the occupation of Belgium, with Conrad Veidt yet again as a German Commandant, the film anticipates the many spy stories of World War 11. Madeline Carroll is the spy, Herbert Marshall is the sympathetic orderly, Conrad Veidt doing his perennial impersonation of a German Commander. Martita Hunt has a small role as the spy, Aunt Lucille. It is interesting in retrospect, especially of W.W.11, to see how the 30s told stories about W.W.I at the time of the rise of the Nazis.

1. Interesting and entertaining British spy story? W.W.I? A story of the 30s, the period of the rise of the Nazis, anticipating W.W.11 and espionage?

2. The black and white photography, studio sets? The musical score? The use of authentic footage and photography in Belgian towns?

3. The directness of the title? The focus on Marthe? Winston Churchill's praise?

4. The W.W.1 setting, the occupation of Belgium, the reactions of the Belgians? The Burgermeister and his collaboration as well as confrontation? The German Commandant in the town? The hospitals? The doctor and his sympathies? The war wounded, both allies and Germans? The aerial bombardments? Information, espionage in the 20th century?

5. Marthe, her work in the hospital, devoted nurse? Her parents and their restaurant? Aunt Lucille and her visit, enlisting her help with delivering messages? Her delivering the messages and becoming involved? Her relationship with Stephan, their work in the hospital, the seeming antagonism and German sympathies? Finding out the truth about him, collaboration, in love? The German Commandant and his control? Her helping with the wounded, with the allies and getting information, tending the Germans? The setting up of the explosives in the tunnel? Her loosing her watch? Her being tricked by her claiming the watch? Her going with the troops, the bombardment during Mass? Her help of the soldiers and her being awarded the Iron Cross? The Commandant discovering the truth, her arrest, internment? The trial, Stephan claiming to be in charge and being executed? Her release after her imprisonment and the end of the war? An ordinary citizen, patriot, spy?

6. Stephan, his work in the hospital, German sympathies? The truth about him? With Marthe, collaboration? The tunnels, the explosives, the plan for the ammunition dump? Getting information? Her arrest, his confessing in the court and his execution?

7. The Commandant, the German staff? German arrogance? Supplies in Belgium, the Burgermeister and his pleas? The attraction towards Marthe, her going to Brussels with him, the theatre, his advances? Her return and his reaction? Giving her the Iron Cross? Discovering the truth - and his regrets in condemning her in the court?

8. The Burgermeister, collaboration, confrontation, the plea in the court for Marthe?

9. Aunt Lucille, appearances and disappearances, communicating information? Recruiting Marthe?

11. The popular ingredients of espionage stories - and the initial focus in the films of the 30s?