DRIVEN TO DISTRACTION

UK, 1990, 105 minutes, Colour.
John Thaw, Kevin Whately, Julia Lane, Patrick Malahide.
Directed by Sandy Johnson.

Driven to Distraction is an Inspector Morse story, an interesting mystery and a possibility of appreciating British detection, mistakes and success. John Thaw is excellent as the morose Morse, Kevin Whately as Inspector Lewis. The screen play, as with Deceit by Flight, was written by Anthony Minghella (writer/director of Truly, Madly, Deeply).

This is a smaller scale Inspector Morse mystery, Oxford settings, ordinary citizens being murdered, the focus on a car saleyard and a driving school. In this film, Inspector Morse makes a dire mistake, victimising someone who did not commit the crimes. It highlights audiences suspicions of characters - without sufficient evidence. Once again, the mystery is interesting, characters well drawn - entertaining television.

1. The popularity of Inspector Morse mysteries? The quality of the crime story and mystery, police work and detection?

2. Designed for the television audience, the Oxford environment, the characters, crime and investigation? Musical score, including classics?

3. The title, the focus - the victims and the murderer?

4. The Oxford setting, Morse anal Lewis in the car, the first victim ahead of them? Her going home, letting the murderer into the house? The death? Angela and her concern? The links with similar murders and assaults?! The possibility of tying the killings together? The character of the murdered woman, the other victims?

5. The suspects, Tim Abbott and his relationship with the dead woman, her pregnancy? His being upset? Angela as neighbour? Boynton and his selling the cars to the victims? His suspicious behaviour, his threats to Angela about exposing her and the marijuana? His behaviour at the saleyard? His assistant? The scenes at the driving school, Derek Whittaker and his collapse when the police were present? His taking Morse for driving instruction? Lewis and his involvement?

6. Inspector Morse and his work, style? Investigations? Demands on Lewis? The briefings? The woman detective and her skill in women's crimes? Their following women - and making mistakes? The techniques of linking the victims? The discovery of Boynton, their visits to his showroom, the discussions about Jaguars? Boynton feeling humiliated? The interviews with Tim Abbott and his violent attack on Boynton, setting fire to the saleyard? Boynton and his injuries, going to hospital? The interviews with Angela and with Tim?

7. The focus on Boynton as criminal, Morse's conviction, going through his files, the woman detective helping? Levels and the assistant going home? The computer, the earlier victim? The audience glimpsing her, her Asian background, the woman detective: interviewing her? Morse and his decision to have driving lessons?

8. Derek Whittaker, his explanations of buying cars? Audience attention on Boynton? The realisation that he was the common denominator, his wife in the institution, his attack on the women? His being the murderer?

9. Morse and his mistake over Boynton, Boynton's release, the hostility - and audiences having to look at his behaviour and retrospect innocence? Morse making the peace offering with the Jaguar wheel?

10. The resolution of the mystery, the quality of the investigation, superior officers and their intervention, Morse and his skills, intuition, mistakes? Lewis and his support? Entertaining crime and mystery story?

 

EXTREMITIES

US, 1986, 89 minutes, Colour.
Farrah Fawcett, James Russo, Diane Scarwid, Alfre Woodard.
Directed by Robert M. Young.

Extremities is a play about rape, was successful on the American stage and around the world. Audiences participated in discussions with the cast at the end of performances. Groups concerned about victims for rape used the film as a means of raising levels of consciousness in the community.

Playwright William Mastrosimone has adapted his play for the screen. Farrah Fawcett was one of the actresses performing her role on stage and brings conviction and some power to her performance. James Russo is very good as the rapist. Diane Scarwid appears the heroine’s nervous friend, Alfre Woodard as her poised and business like friend. The film focuses on the victim of the rape attempt, the violence and violation, the power of men over women, the inadequacy,- of law and police protection, the humiliation, the anger and rage, the reversing of roles and the determination of the victim to overcome the aggressor. The film also shows friends, their not being victims and having difficulty in coming to terms with sympathy for the victim and concern for the injured aggressor.

The film has a brief running time but is often intense in its portrayal of the attempted rape, the assault and the protracted sexual violence. The film was directed by Robert Young, director of a range of films from Allambrista to Saving Grace.

1. The impact of the film, its theme of rape, its dramatisation of sexual assault, the impact for women identifying with Marjorie?; men identifying with Joe and with Marjorie and the sexual violent situation?

2. The origins of the film as a play: The film transferring action, dialogue, characterisation to the screen? The opening up of the play with outside sequences? Squash court, office, supermarket? The digging of the grave? The contribution of the musical score to atmosphere?

3. The title, in the experience of Marjorie, of Joe, the reversal of roles and power?

4. The prologue introducing Marjorie, her work, relationships, the squash game, her going to the shop in the Mall?

5. The credits and superior of Joe, the bike, the mask? The camera stalking potential victims in the shopping mall, night, the girl eating the ice-cream, cars coming in? His getting into Marjorie's car and drawing the knife on her, audience reaction to this visual assault, empathy with Marjorie?

6. The interaction between Marjorie and Joe, the knife in the car, his words, force, quiet? Assault? Her driving to the house? Joe as rapist, violent man, masked? The language of power, the language of sexuality, the language of violence? His actions? Violating Marjorie and her home? Marjorie as victim - power, sexuality, violence and violation?

7. The theme of rape anal attempted rape, the physical violence, psychological violence, moral violence? The threat? Victims? The film offering insight via drama?

8. Marjorie and her escape, going to the police, the report, the female police officer, the report - and the inadequacy of words such as compliance? The inadequacy of justice, the courts - and even police protection?

9. Terri and her style and personality, sharing the house, her glamour, taking the car? Pat and her control, orderliness? Friendship with Marjorie, support?

10. The glimpse of Joe at home, the family, his looking through Marjorie's purse while his daughter was outside? The credibility of his motivation?

11. His return., the driven man, intrusion into the house, physical brutality, hurting Marjorie? Making her cower? The sexual advances? Making her change her clothes (with the close up of Joe and Marjorie blurred in the background changing, the audience having to contemplate Joe and his motivation)? Making Marjorie stand on the bed, talking about her beauty, the sexual and physical encounters, wanting food, wanting a beer?

12. Marjorie, her response, fear, cowering? Changing her clothes, the sexual advances? His forcing to talk about love for him?. Her attempt to escape into the bathroom, his coming to the window, forcing her out?

13. The sexual violence, on the floor, the reversing of roles, her spraying his eyes, hitting him, tying him up with the cord, dragging ham and imprisoning him? Her anger and digging the grave? Her disregard of the law?

14. Terri's return, bewilderment, her fear? Not wanting to go to jail for Marjorie?
Going to get the drugs? The impact of the story of her own experience of rape and its effect on Marjorie and Pat?

15. Pat. businesslike, control, concern about the situation, about Joe and his injuries? Wanting to help, getting the medicine, her reaction to the grave?

16. Pat and Terri and their friendship, their believing Marjorie or not, not fully sympathetic, taking sides - and the impact of Joe telling the truth and their support for Marjorie?

17. Joe and his reaction, hurt, cowering, thumb in his mouth, murmuring God bless you to Pat’s help? His shrewdness in trying to play Terri and Pat off against Marjorie? The elaborate lying about having met Marjorie, spending the night, the reason for his coming to the house? Marjorie forcing him to tell the truth - the discovery of the knife, her holding it to him? The finale with him bound - and destined for prison?

18. Marjorie, the effect of the experience, fears and strength, angers and rage? Her response to her friends, the grave, not wanting to call the police? Her reaction to Joe's lies, getting the knife? Forcing him to tell the truth? Her final calm, allowing the police to come, the close-up at the end and Farrah Fawcett's face indicating the range of experiences that had happened to her?

19. The effect of the audience – a psychodrama of rape, making emotional and intellectual demands, moral demands?

GREEKS BEARING GIFTS

UK, 1991, 105 minutes, Colour.
John Thaw, Kevin Whately, James Hazeldine, Eileen Way, Martin Jarvis, Richard Pearson, Jonny Lee Miller.
Directed by Adrian Shergold.

Greeks Bearing Gifts is an entertaining Inspector Morse murder mystery. It has an exotic setting, not only Oxford and its Greek Restaurants, but the background of classic investigations and the reconstruction of ancient Greek Triremes - as well as hustling businessmen wanting to bring one to England for a theme park.

1. The popularity of the long-running series? Television movies? With style? The popularity of Morse and his personality, enigmatic and mannered style? The personality of Lewis? Their relationship? The solving of the crimes? Intricacy of the plot? The psychological dimensions, the mystery and clues? Police work and solving the mysteries with their own abilities? The work of Colin Dexter?

2.The Oxford settings, the city and landscapes, the cityscapes, the buildings? Comments about Oxford and Oxford society? The ironies about Oxford and the dons? The university city? Ordinary people? Their interconnections? So much beauty – and so much crime?

3.The quality of the mysteries, character-driven? Sufficient information, sufficient clues? The exploration of character and clues?

4.John Thaw as Morse, his personality, the changes over the years, yet remaining the same? The mystery of his name? His crusty manner, the bachelor (but romantic at times)? His own authority – exercised over Lewis – and his reaction to authorities? Promotion or not? The changing of his attitudes towards Lewis, bossing him, patronising him about education and culture? The issue of music? Drinking ale? His car? Quietly at home, at work? With Lewis, understanding the situations and characters, the deductions? His being a good listener – but critical?

5.The contrast with Lewis, the family man, the ordinary policeman, education and lack of education, his being put down by Morse – but enjoying his comeuppance now and again? Music and his ignorance? The first reactions, Lewis being patient? His admiration for Morse, having to do so much leg work, to formulate hypotheses? Working under pressure? Collaborator and partner of Morse?

6.The police authorities in Oxford? The medical examiners – and Morse and his attitude towards the female authorities? Sexist and patronising? Changing?

7.The quality of the film as a crime thriller, a thriller with intelligence and demands on the audience?

8.The introduction to the crime, the credits, the background in Oxford, beyond?

9.The range of personalities, motives? Truth and concealment? Jealousies? Deceits and angers? The academic and religious backgrounds?

10.The restaurant, Morse’s going there? The chef and the murder, suspicions, argument with the owner?

11.The disappearance of the baby? The close-knit Greek community and their fending off enquiries? The personalities, especially the women?

12.The intricacies and the unravelling of the mystery? Motives?

CARNIVAL

UK, 1946, 93 minutes, Black and white.
Sally Gray, Michael Wilding, Stanley Holloway, Catherine Lacey, Bernard Miles, Jean Kent.
Directed by Stanley Haynes.

Carnival is based on a novel by British author Compton Mc Kenzie. It has a turn of the century setting, focusing on the contrast between rich and poor in England, a young woman of strong personality who becomes a dancer, wants a good time, encounters an artist. She has to suffer from her alcoholic father and her jealous mother. She also has a crippled sister.

The film has touches of melodrama - though is much lighter in tone than the kinds of melodramas made at this time by the Gainsborough Studios with such stars as Margaret Lockwood, James Mason, Phyllis Calvert and Stewart Granger. However, the film is in something of this vein. Sally Gray is the strong minded heroine. Michael Wilding is the dilettante artist. Stanley Holloway and Catherine Lacey are the parents of the heroine.

1. Entertaining British drama, 40s style? The look at the past, the interpretation of the past? Relevance to the 40s? Later decades?

2. Black and white photography, period settings? The musical score?

3. The title and its focus?

4. The prologue with Jenny's birth? The three aunts and their wealth, memories of their father, aristocratic attitudes? their disdain of Charlie? Their going to Florence, wanting to adopt a child? Florence and Charlie rejecting their offer? The focus on Jenny Pearl and the giving of her name?

5. Charlie and Florence in middle age? Charlie as friendly, with his friends, drinking? His love for Florence and trying to please her? His exasperation and going out? Love for his daughter? His talking loudly during her performance and his pride? Their wariness about her life? The encounter with Maurice? His having to let his daughter grow up? Florence and her concern about herself, her faded looks, her lost opportunities? Her jealousy and tantrums, her control of Jenny?

6. Jenny, glamorous, the dancer, the pride of her parents? The young sister looking up to her? Her good time, with men? Coming home late? Her mother's tantrums? Her having to live with them? Her encounters with Maurice, critical of the art? Meeting him again, in love, together? His proposal that they live together? Her turning him down? The boarder, his bewilderment by her way of life? His attraction, going to the theatre? The relationship between the two? Her relationship with Maurice? The beach - and ultimate tragedy?

7. Jenny's sister, crippled, at home, looking up to Jenny? Their talks together? Their tolerance of their mother and trying to bear with her?

8. The boarder, coming to the house, his shyness, his narrow outlook? His going to the theatre, his reaction? Attracted to Jenny? Proposal? Her reaction, his jealousy, the gun and the tragedy?

9. Maurice and the art world? His sketcher friend? The exhibitor, the art critic and his pomposity? Jenny and her criticisms? Maurice and his going to the theatre, infatuation, outings? Their love? His proposal that they live together? Jerry turning him down? His continued love for her, tragedy?

10. Turn of the century melodrama - the stuff of popular and classic novels? Transferred to the screen?

LOVE HURTS

US, 1991, 106 minutes, Colour.
Jeff Daniels, Judith Ivey, Cynthia Sikes, Amy Wright, Cloris Leachman, John Mahoney.
Directed by Bud Yorkin.

Love Hurts is a story of American families and their break down, the effect on middle-aged men and women - and the questioning of break up and reconciliation. The film is directed by veteran Bud Yorkin. It was written by Ron Nyswaner, writer of Smithereens and writer and director of The Prince of Pennsylvania.

The film is familiar material - quite well done, relying on the strength of its cast. Jeff Daniels specialises in this kind of role (Checking Out, Something Wild). Judith Ivey is effective as the woman who comes into his life. Cloris Leachman and John Mahony play his parents. Interesting, if familiar, material.

1. A portrait of American family life, the break up of family life, values? How perceptive on families?

2. The New York and Pennsylvania settings, the roads, New York City and the taxis, homes, sporting fields? Authentic atmosphere? The range of songs?

3. The title and its application, especially to Paul - but to the other characters?

4. The portrait of Paul: in New York City, exasperation, hard work? His divorce, restlessness, alone, travelling? The purpose in his life? His relationship to his family, going to Karen’s' wedding? The wedding as the catalyst for his examination of himself? The near accident with Susan and her son? Going home, his relationship to his father, his father's drinking? His mother and her love and control? Nancy and her antagonism? His relationship with his children? The aggravation in coming home, wanting to leave? The chance meeting with Susan and her son? Flirting, discovering the truth about her going to the wedding? His return to his home? The episode with Sarah stealing? His father and his taking the car, drinking, Paul pursuing him? The drinking, the evening with Doug and talk about family and marriage? The police bringing them home? His decision to leave again, returning yet again? Nancy's further attack on him and his womanising?

5. The themes of going home, leaving home? Paul's need for search, his failures, the need for help? the possibilities of reconciliation?

6. Going with Susan to the motel, his relationship with her, his saying that he was too respectful of her for the encounter to be fulfilled? Sarah's leaving home, his feigning the heart attack? The reaction, the reconciliation? Going back to New York - the credibility of this experience? A basis for his future?

7. The portrait of Susan, her broken marriage, her son, the car and the encounter with Paul, her going to the wedding? Going to the baseball and enjoying it? Her relationship with Karen? Going to the house, participating in the wedding? The aftermath, her decision to go to the motel, Paul's departure?

8. Paul's parents, their parenting, the past? Boomer and his drinking, taking the car? Paul's mother as proper? The night with Doug and the talking? The wedding and the ceremony?

9. Nancy, her bitterness, Sarah and David? Their attitude towards him? Their life, her anger? Tension? Paul and the verbal clashes? Sarah and her rebellion and the stealing? Wanting to leave? Her reaction to her father's heart condition? Nancy and Paul and their discussions about sexual relationships? The bond between them, the bitterness and the breaking, the reconciliation?

10. Karen and Doug, characters, the wedding, nerves, Doug and the drinking, the discussions? The ceremony and their future?

11. The portrait of Doug's family, the preparation and participation in the wedding?

1.American themes of family and marriage?

MISTER FROST

France/UK, 1990, 104 minutes.
Jeff Goldblum, Alan Bates, Kathy Baker, Daniel Gelin, Jean- Pierre Cassel.
Directed by Philippe Setbon.

Mister Frost is a British French co-production. It is fable, a story of a satanic figure, in fact, the devil incarnate. He takes the form of serial killer, Jeff Goldblum. (Goldblum had an opportunity the next year to portray a Christ figure in The Favour, The Watch and the Very Big Fish, as a melancholic artist who is taken up as the model for photographs for a life of Jesus.)

Alan Bates is the police inspector whose life is changed by his encounter with Mr. Frost. Kathy Baker is the very rationalistic, scientific psychologist who confronts Mister Frost, thinking she can help - but in fact, is destroyed by him. The film has a strong supporting cast including French veterans Daniel Gelin as a sculptor friend of Alan Bates and Jean Pierre Cassell as the police inspector. The film is a wry comedy with serious undertones of the evil of the serial killer, the calm and conscienceless Mister Frost, the psychological games and encounters, the destructive powers of the satin figure in the world today.

1. Interesting thriller, psychological thriller? Story of the demonic?

2. British French co-production, the English settings, the vague European settings? The world of the institution? The musical score?

3. The title and the choice of Mister Frost for a devil symbol?

4. The opening, the thieves, Mister Frost's car, discovering the corpse? Mister Frost and his calm, his kitchen? His interview with Inspector Detweiller? The polite talk, the kitchen, the banter? The discovery of the bodies? The effect on Inspector Detweiller, talking with Mister Frost, the matter of fact presentation of the truth? The arrest, the digging up of more bodies? Mister Frost and in prison? In the court? The Inspector's reactions? Audiences identifying with Mister Frost or with the Inspector?

5. The transition to the institution? The inspector with Mister Frost? The arrival, Frost not speaking for years? Dr. Reinhardt and his ethos of the institution? The staff? Sarah and the challenge? The people in the institution, patience and staff, style?

6. Mister Frost and his being quiet, the years of non-speaking? The sudden talking to Sarah? Discussions about cooking etc.,? The bond between them? Exerting h is own fascination and power? The physic with Christopher leading to the murders? The inspector and his fear of Mister Frost, dreams and hallucinations? His testing Sarah, their discussions, wanting her to shoot him? Reinhardt taking over and Frost's displeasure, Reinhardt and his wanting to jump from the roof? Sarah's plea? The confrontation with Frost and Reinhardt? Sarah and his control, his death, his taking possession of her? Satan transferred into the world? Their discussions about religion, science, rationalism and scepticism? Breaking through scientific norms?

7. Detweiller and his investigations, his British style, conversations with Frost, his disgust, the arrest and the bodies, the court? The story of his wife and her death? The dreams and appearances later? His retiring? His friendship with Simon? The quest for Frost? The encounters with Sarah, seeking her out, the contact, the relationship, falling in love? Learning about Frost? Explaining his experiences? Christopher and the murders? The gun? The climax and his grief at Sarah's destruction?

8. Sarah, the competent psychologist, devoted to her work? With Reinhardt, with the staff? With Mister Frost, his talking to her, her response, keeping in contact, the visits, the fascination, learning from him? Her brother and his inability to walk? His later walking? Meeting Detweiller, talking with him, the fascination, falling in love? Reinhardt and his threatening to jump? Her reactions to Frost, the critic of her scepticism and rationalism? Her fears, her decision, her shooting of Frost, becoming possessed? The blend of the scientific and the mystic?

9. The police inspector, his attitudes towards Frost, searching, the murders committed by Christopher and his intervention?

10. Christopher and his being in the asylum, his reaction to his father, the escape, confronting and killing him, going to the church and the death of the priest, the death of the Rabbi? His pursuit, his being killed by the truck?

11. Oliver, Sarah's brother, crippled, the experience of strength, walking?

12. Simon and his sculptor work, friendship with Detweiller, his attitude towards Sarah, his observing what was going on?

13. Life in the institution, the staff and their interactions, the psychological staff, the domestic staff?

1.The plausibility of this kind of fable - and the incarnation of Satan and his unleashing of evil in the world.

THE PROMISED LAND

UK, 1991, 105 minutes, Colour.
John Thaw, Kevin Whately, Rhonda Findleton, John Jarrat, Noah Taylor, Max Phipps.
Directed by John Madden.

The Promised Land is an interesting and entertaining Inspector Morse mystery. Beginning in England, it soon transfers to Australia, outback N.S.W. The film offers attractive landscapes of Australia, a picture of the small town (attractive and ugly) as well as culmination near the Harbour Bridge and on the steps of the Sydney Opera House. The film has a complex mystery, Morse remorseful because of a wrong imprisonment, a change of violence that he tries to break - and complications as regards witnesses, gangs and their power, the replacement of witness programmes. The familiar Morse material but with the exotic touches of the Australian locations.

1. Popularity of the Inspector Morse series? Quality of the mysteries? Morse and Lewis and their investigations? Characters? Themes?

2. The Oxford settings? The
Australian outback, the country town, the glimpses of Sydney? The Australian atmosphere? Musical score?

3. The title, the witness location programme? The choices of Australia for relocating - and the memories of the convict transport system, the English using Australia, the resentment of the Australian police?

4. The opening with the funeral, Morse and his superior watching? The puzzle about criminal presence at the funeral? The re-opening of the case? The death of Peter Matthews (and the drawing on the AIDS experience making it topical)? The grief at the funeral? Morse and the investigation, the need to go to Australia to check on the testimony? His decision to take Lewis?

5. Morse and Lewis in Australia, Lewis and his easy adaptation, clothes, country and western music, a beer, friendship? Morse and his being morose? Driving, trying to listen to the opera? The distances? The flies? His questions, conscience?

6. The Australian town, people in the pub, watching the races? Their finding Mike Harding's service store? His disappearance? Their attempted pursuit? Visiting the home, the daughters, Anne? The reaction of the locals? The complications of the plot - the kidnapping of the daughter? The Australian police coming in, the locals, Macallister and his angry resentments? The admission of the truth?

7. Morse finding David Harding, talking with him, understanding his father? The
disappearance of the father, the phone call, going to his special hideout? Finding him dead? His suicide?

8. The mystery of the kidnapper, the taking of the daughter, the phone calls, the attempt to track him down? Morse and his interventions? Macallister clashing? Lewis and his friendship with the local police, having a drink together, talking? Lewis realising that Anne was having an affair with the policeman? the repercussions?

9. Anne, the background, story, the gang in England, false testimony, re-locating to Australia, her family? The injury? Her mother, her mother's death? The kidnap of the daughter and her grief? The phone calls, admitting the truth to Morse? Running out to save her daughter - and causing the death of her lover? Her having to face the truth, her decision to go back to England? The sketch of the daughters, their life in Australia, the terrorism of the kidnap?

10. David Handing, his work, relationship with his family? Support of Morse? His ability to face the truth?

11. The Australian police, the locals, the policeman and his affair with Anne, talking with Lewis, the siege, his trying to save Anne and being shot? Macallister and questions of jurisdiction? Resentment? Final friendship with Morse?

12. Morse's conscience, sending the wrong man to prison, blaming himself, Lewis trying to help him to see the truth? His decision to go alone and confront Paul Matthews? Matthews motivation, the family anger about his brother's death in prison? The confrontation, the seige? Anne disrupting it, Morse spattered with blood? The death of Matthews?

13. The aftermath in Sydney, Lewis having the holiday with his wife? Morse going to the opera - but sobered by the experience? Themes of police, detection, justice and justice not being done? Violence and the chain of revenge? Resentment?

CHAINS OF GOLD

US, 1991, 95 minutes, Colour.
John Travolta, Bernie Casey, Marilu Henner, Joseph Lawrence, Benjamin Bratt, Hector Elizondo, Conchata Ferrell, Tammy Lauren.
Directed by Rod Holcomb.

Chains of Gold is a drug thriller, set in Miami. It shows the drug empires with their Latin-American? leaders, the young street kids who are recruited to process and pack phials of crack for distribution in the city and suburbs.

John Travolta plays a welfare worker, a former alcoholic who has been responsible for the death of his son in an accident, who now wants to be involved in welfare work for others. Marilu Henner is a lawyer caught up with the drug dealers. The supporting cast includes Bernie Casey and Hector Elizondo as Miami police, preparing for a big drug bust. The material is familiar, as are the characters. However, John. Travalto tries to give it some intensity. The desperate nature of the American cities and drug problems are brought to the fore.

1. Interesting and entertaining thriller? Police action? Individual citizens? Drug problems? Street Kids?

2. The Miami locations, the streets, the drug centres and warehouses? The contrast with the homes of the wealthy? Police precincts? Clubs? Musical score?

3. The title, its references- drug world, drug lords and their wealth?

4. John Travolta as Scott Barnes: his screen presence, his background story, broken marriage, alcoholism, the death of his son? His involvement in welfare work? His rebellious nature, the attacks on the welfare administrators, his finally being sacked? Wanting to work on the streets? The audience seeing the desperation of the Miami slums through his eyes? His friendship with the Burkes, Mrs Burke and money, watching television? The daughter and the money coming in? Tommy and his money? His concern about Tommy, trying to help him, playing basketball with him? Tommy's disappearance and his wanting to find him? Like his own son? The chance meeting with Jackie, the evening with her, seeing her with the drug dealers? The clash, enlisting her help? His contacts with the police, Lieutenant Ortega warning him off? His decision to infiltrate, going to the club, with James, the introduction to Carlos? His being taken on tour? Expectations for his job? Seeing Tommy, his anger? Going to the police and being discovered by Carlos? Captured, the pursuit? the confrontation and beating, the alligator pit? His falling but saving himself? The confrontation with the gangs? Releasing Tommy? The irony of the fight with
Carlos and his death? James being undercover police? The final confrontation with the police? Going with Tommy? Exorcising his demons? His future?

5. The Burke family as typical: the slovenly mother, the household, watching television? No supervision over her children? The daughter and her friendship with Scott? Tommy, on the street? The drugs and the wealth? Playing basket ball with Scott? His being taken, in the factory, strict regime? Packing the crack? His confrontation and bashing? Tyring to escape, caught, in the cage? Trying to help Scott? His future? Typical of the street kids?

6. Carlos and his empire, crack, the street kids and organising them under the guise of a youth protection programme? Slave labour conditions? Escapes, his violent outbursts? The death of Jackie? With Scott? His anger and the confrontation, tried to kill him? The final fight and his death? His henchmen, their killing Jackie, coming to kill Scott - Scott and his anger, shooting, the bullet vest? The world of drug dealers and their henchmen? The kids?

7. Jackie, past friendship with Scott? The attraction, her wealth? The double dealing - bringing the car, helping Scott, her death?

8. The police, Ortega and his assistant, their planning the drug raid? His son undercover? The assistant policeman, friendship with Scott? Trying to help? The
action and the cracking of the gang?

9. A portrait of the American cities of the eighties and nineties? Social problems? Drug problems? Inadequacy of police and welfare in assisting?

HURRICANE ROSIE

Italy, 1980, 118 minutes, Colour.
Gerard Depardieu, Faith Minton.
Directed by Mario Monicelli.

Hurricane Rosie is a corny comedy of interest because it stars a younger Gerard Depardieu as Raoul the boxer. He is usual Depardieu stereotype, rough diamond in the ring, sympathetic in fact. He encounters by chance a big woman with a child - and she turns out to be the part of a team of women wrestlers. They move in together and have an affair? However, sports managers and fixers are in on the deal - and are manipulating Rosie for bouts and financial success. They fall foul of Raoul. Eventually the two break up - Raoul mixes with other women, Rosie is in collusion with one of the sports fixers. There are some final bouts and reconciliation.

The film is introduced by a sports commentator who sets a tone, tries to be rollicking in introducing this story. For fans there are a number of boxing and wrestling bouts. The film is of film buffs interest because it was co-written and directed by Italian Mario Monicelli, a director over a number of decades of a wide range of Italian comedies. Not the most entertaining unless you are a boxing and wrestling fan, but of interest for early Gerard Depardieu work under the direction of Monicelli.

THE TENDER AGE

US, 1985, 103 minutes, Colour.
John Savage, Tracy Pollan, Roxanne Hart, Richard Jenkins, Kevin Bacon.
Directed by Jan Eggleson.

The Tender Age (Little Sister) was written and directed by Jan Egelston ( A Shock to the System) for the American playhouse. It concerns a probation officer, his family relationships with his young daughter, his work and dedication, sees himself as a saviour figure, his infatuation with a teenage rich girl mixed up with drugs and a gang. John Savage plays the probation officer. Tracey Pollen is the teenage girl. Roxanne Hart is Savage's love interest. There is an uncredited performance by Kevin Bacon as a colleague in the office. The film focuses on the personal drama but places it in the context of the 80s American city, family break-up, pressures in families, gangs, drug dealing and violence. The film offers a portrait of a character caught up and overcome by events. It offers insight into the American cities of the eighties.

1. Impact of the film? Drama? Social and family issues? Designed for American playhouse and television audiences?

2. The city locations, the atmosphere of the city, wealthy homes, police stations and courts, the world of the probation officers, the gangs, strip joints, drug world?

3. The titles and their reference?

4. The focus on Tim and his life and work: his wife, grief, his daughter and their relationship? Caring for her? His dedication to his work? His case list, relationship with the young people on probation? His relationship with his colleagues - and the story telling with his yuppie colleague? Seeing himself as a saviour - and the police criticism of him? Going to court, pleading cases? His relationship at the office with Sarah? Watching the jugglers with his daughter, seeing Nicky, her provocative attitude? Kevin and his friends? The relationship with Nicky, an interest in her, in court, promising probation? Her parents and their talk to him? His relationship with the police, friendship, criticism of his methods? The affair with Sarah? Following Nicky, the emotional response? The sexual encounter and its effect on him, on Nicky? Nicky and the rescue of Kevin from the dealers? His job, suspicions of drug dealers, going to the strip joints, interviewing? His misjudging Nicky's father? Sarah's video interview and her explanations about the abuse? His watching it with her father? His scattering his wife's ashes? Crisis period? the effect of his work and relationships on him, on his daughter? Future?

5. Nicky and her background, her relationship with Kevin and the gang, around the streets, the cars, the crashes? The drugs and the strip joints? Flirting with danger? Provocative towards Tim? The nightclubs, the dancing? Knowing her attraction? Taunting him, being tough? The courts and her probation? Discussions with her mother, returning home, the tension with her father? Her sister? Protective of her sister? The sexual encounter with Tim and its effect on her? Giving him the information about Kevin so that he would be rescued? Her return home, defiance of her father? The video interview with Sarah, her breaking down, the abuse, the experience? Her future?

6. The portrait of her parents, wealthy background, lifestyle? The father and his relationship with his daughters? Oppressive? Abuse? Their reactions, Nicky leaving home, the sister at home? The mother and her desperation? At the court? The video and Nicky's frankness, the father watching and its effect on him?

7. The gangs, the streets, Kevin and his friends, the drugs? Strip joints and the sleazier part of the city? Kevin and his drug taking, the final episode in the warehouse, the window, the violence, Tim handling him, getting him to drop the gun, bringing him out?

8.The world of the city, sleaze, drugs? The personalities and their deals? Exploiting young people? The response of the police, integrity, corruption and deals?

9. Sympathetic portrait of the difficulties in the American city of the 80s? The humane aspects? Exploitation?