DILLINGER

US, 1991, 90 minutes, Colour.
Mark Harmon, Sherilynn Fenn, Bruce Abbott, Tom Bower, Patricia Arquette, Will Patton, Xander Berkley, Lawrence Tierney, Vince Edwards.
Directed by Rupert Wainwright.

Dillinger is yet another version of the brief career of the public enemy No.l of 1933/34. A feature was already made. in 1945, not very long after Dillinger's being gunned down outside the Biograph theatre in Chicago after a screening of Manhattan Melodrama. This version starred Laurence Tierney (who has a cameo role in. the present film as a sheriff gunned to death by Dillinger).

A much more violent interpretation of Dillinger was made in the 70s by John Millius (Wind and the Lion, Conan The Barbarian). Warren Oates was the gangster. This version was made for T.V., so its presentation of violence and sex is restrained for the widest possible audience. Mark Harmon, television star and light comedian, is Dillinger. (Although Harmon has appeared in a number of dramas, including a version of Sweet Bird of Youth with Elizabeth Taylor.) Will Paton (reminding audiences of his sinister role in No Way Out) is the G Man Melvin Purvis. T.V.'s Ben Casey, Vince Edwards, appears briefly as J.Edgar Hoover. The film traces the career of Dillinger as a gangster from his release from Jail in 1933 through a series of robberies, his teaming up with gangster of the time including Baby Face Nelson, the pursuit of Purvis who became obsessed by him as did J. Edgar Hoover for publicity for the FBI.

1. Interesting presentation of a gangster of the depression era? The previous movies? Audience familiarity with the gangsters of the period? The background of the depression? Moral judgements on them and their behaviour?

2. The recreation of the period, Indiana, Illinois, Florida, Texas? The cities, the farms, the towns, the banks? Special and stunt work? Musical Score?

3. the title and its focus on Dillinger himself? Mark Harmon's screen presence and interpretation? The information given about his being jailed for attempted robbery at 21, the nine years in jail? The friendships made and the loyalties? His return home, his sullen father, his father giving him the meal but turning him out? His search for jobs? The robberies? Getting the money to get guns to release his friends from prison? His vanity, showing off? The early robberies? His attraction towards women, meeting Billie, the love between them, the affair? Her participating in the robberies? The reaction of the Indiana police? The newspaper reports? His getting
his friends out of jail? the violence? His being caught, interviewed? His being released from jail by his friends? The further arrests, his escape with the home made toy gun? His meeting up with Billie? Going to Florida? The reputation? Tine return, his picnic with his family, the photos, his father's pride in him? The further robberies? The pursuit by the G-men., at the resort, the attack and his being wounded, escaping? the Doctors and their help? Billie's arrest? The murder of the friend by the G-men? His taking up with the young waitress? The meeting with Anna Gaze? the final set up, his reaction to watching Clark Gable in Manhattan Melodrama? His being gunned down? His philosophy of life, explaining to Billie and to the waitress about living life to the full anal not worrying about the future? A product o of the depression? American violence? His celebrity status and Americans knowing all about him, a media hero? His being used by J.Edgar Hoover?

4. The world of the gangsters, their age and experience, their access to guns? The weaponry and the violence of their shoot-ups, the bank robberies and their style? The money? The morality, lack of conscience? Holidays in Florida? Picnics with families? Arrests? Deals with the FBI?

5. The women in Dillinger's life, meeting Billie, his offer, her going with him? In love? Sharing in the robberies? The gangsters girlfriends and the chance encounters? Billie's arrest? Picking up with the young waitress, her knowing who he was? Anna Gaze as the lady in red?

6. The public response to Dillinger, the people in the banks, the Sheriffs? The local police - Matthew Leach and The Indiana police and their squads? Loosing Dillinger?

7. The FBI, Hoover anal his megalomania, his ambitions, wanting publicity? Trying to impress the politicians? His angers and hold over Purvis? Purvis and his associates, relentless work, detection, following leads? The attack on the resort and the violence? Dillinger escaping? The press conference anal his calling the interviewers questions low shots? His burning ambition? Anna Gaze and the set-up? the gunning down of Dillinger? the postscript about Purvis's later suicide?

8. Anna Gaze, the brothel, illegal immigrant, the deal with the FBI? The lady in red?

9. The value of this kind of gangster film:.- in portraying the past, depression circum-
stances and the rise of violence? The criminal mentality? The possible danger of glorifying criminals?

OLD BOY

Korea, 2004, 120 minutes, Colour.
Directed by Chanwook Park.

When the Koreans want to make a bloodthirsty film, they don't feel the need to hold back. After Sympathy for Mr Vengeance, Park Chan-wook has contrived a mysterious and convoluted thriller that emphasizes vengeance without sympathy. It poses a frightening 'what if…?' scenario. What if you were imprisoned for fifteen years without knowing who did it or why? How would you cope - apart from watching television and perfecting martial arts skills? And what if you were freed and found yourself doing the detective work in your own story?

In one sense, this is what the film is about. But, it is more complex than this and raises issues of freedom, manipulation and control. Along the way, there is a strong performance by Choi Min-sik as the wronged man, some expert action and stunt sequences and some grim violence. It is both intriguing and repelling.

1.The work of the director, the focus on revenge and vengeance? The significance of vengeance in the 21st century world, people being hurt, people feeling the need for justice, people feeling the need for redemption? The problem of the world, violence, cruelty – and avenging these?

2.The Korean setting, the cityscapes, the long time in the confined space of the prison room? 2003, the changing city, the restaurants, apartments, wealthy buildings? The musical score – orchestrated, romantic in the western style even while brutal scenes were portrayed?

3.The title, the old boys of Evergreen School, the reference to the character of Oh Dae- Su?

4.The opening, the vengeance sequence – like a movie? The transition to real life, Dae- Su and his drinking, his violence in the street, with the prisoners, in the prison cell? His friend bailing him out? His suddenly going berserk, his being arrested in the street without reason? His disappearance?

5.Time passing, Dae- Su in the prison, seeing him looking through the hole and getting his meal, no information, his angry outbursts, throwing the tray, pounding the wall? His suicide attempts? His decision to become strong, punching the wall and strengthening his fists, martial arts? The mystery of why he was there, his asking himself, trying to work out what had happened? The television, seeing the years pass, the main events of the 90s up to the destruction of the World Trade Center Towers? His information that he had killed his wife? His not remembering it? Being like the Count of Monte Cristo – and his digging as the years passed, counting the years, the tattoos and marks in his body? The overall effect of the fifteen years and his narration?

6.The sudden release, the hypnotism, finding himself in the field, on the top of the building, the man wanting to commit suicide, his telling his story, not allowing the man to tell his, going down to the ground, the man falling to his death? The comment about “laugh and the world laughs with you, weep and you weep alone”?

7.His quest, the wallet, the money, the mobile phone? His going to the restaurant, the young girl and her being on television, eating the octopus, the phone call, his trance? The girl taking him home? His beginning his quest, his attraction towards her, her telling him to wait until she sang a song? His going to meet his friend, the computer whiz? The other friends, their not being responsible for his imprisonment? The discovery of the clue of Evergreen, tracking through the internet, finding the school? The memories? His going to see the man who ran the security company – and his vengeance and removing his teeth, his hand? The replacement of the teeth and their gold shining?

8.Tracking down the man who imprisoned him? Their confrontation, his wanting to kill him? The man telling him he would never find out the truth if he killed him, his heart condition? The continued pursuit, the examination of the school books, his memories coming back?

9.The flashback, the man who imprisoned him and the death of his sister? Their sexual relationship, her killing herself? His having told his friends – the beginning of the rumour? The comment that he had talked too much and that was the reason for his imprisonment (as heard of the cassette)?

10.The passionate encounter with the girl, her being held by the security guard, his anger, his fighting the men, the martial arts – and the semi-comic beating of the whole group, including those in the lift?

11.The final confrontation, the truth? The information about his being hypnotised, the gas putting him to sleep in the prison, his being manipulated, to respond to sounds and songs? All his actions being controlled? The girl and her being controlled and hypnotised?

12.The photo album, the final vengeance on Dae- Su, his relationship with his daughter, seeing her grow throughout the years, under the guardianship of his tormentor? His melodramatic and dramatic reaction, pleading that she never find out the truth, the phone call, her being held with the album in the box? His pleading, licking the shoes, cutting out his tongue? The man and his vengeance, his own death, his shooting his assistant?

13.Dae- Su, the hypnotist, her splitting him into two personalities, the monster advancing in years and dying? Leaving him as he was? The possibility of seeing his daughter, relating to her as a father?

14.The brutality in the film, the visual violence, the fighting, the blood? In a Korean tradition? An Asian context? East and west and their dealing with issues of vengeance and violence?

ON DEADLY GROUND

US, 1994, 100 minutes, Colour.
Steven Seagal, Michael Caine, Joan Chen, John C. Mc Ginley, R. Lee Ermey, Billy Bob Thornton, Richard Hamilton.
Directed by Steven Seagal.

In the late 1980s, martial arts performer (rather than actor) Steven Seagal made an impression with a number of films starting with Above the Law. His bone-crunching, somewhat vigilante style, was seen in such films as Marked for Death. In 1994 he directed his first film, On Deadly Ground. While it has the martial arts themes, it also shows Seagal's concern for the environment as well as for his criticism of the big international corporations. This concern is to the fore in his film Fire Down Below (1997). He also identifies very strongly in this film with Native American Indians and their rights. This may reflect his long time in Japan. The time in Japan also influenced his attitude towards a more meditative approach to the martial arts.

Michael Caine is a sneering villain along with thugs John C. Mc Ginley and R. Lee Ermey. Chinese actress Joan Chen portrays a Native American Indian woman.

The film has the usual Seagal ingredients - and he uses them to full effect for popular entertainment as well as for speeches about the environment and corporations.

1. The title, Alaska, oil? The environmental message of the film? The stance against the exploits of big corporations?

2. The Alaskan settings, the oilfields, the wilderness? Contrast with the city, corporation buildings? The atmosphere for this kind of thriller?

3. A Steven Seagal action thriller? The action sequences, the dangers, the battles, martial arts?

4. The oil company, Jennings, his relationship with Taft, the oilwell fire? Taft and his abilities to extinguish the fires? Taft and his work for the company? The criticisms, feeling that he was at the service of the corporations? Jennings and his hold over Taft?

5. Taft, his friendship with Hughie, Hughie's complaints, selling out to the company? Taft and his experience in Alaska, the bar, the Native American, the rednecks? The confrontations? His concern for the Alaskan population? His investigating the fire, the causes, the equipment that had been defective? The new equipment, failing to make the deadline? The danger of pollution, disaster?

6. Jennings, his television advertisement, the oil company's concern for the environment? His double-talk? His having his own thugs? MacGruder?, taking Hughie, torturing him, killing him?

7. The computer file, the malpractice information? Mac Gruder and his search? Taft finding Hughie's body, the detonation, remote control? Taft and his being rescued by the Alaskans, his being taken to their homes, Silook and Masu and their helping him to recovery, the old man and his explaining the wonders of the power of nature?

8. The press conference, Jennings and the Alaskans, Masu and the demonstration, the throwing of the oil, her place in the tribe, the daughter of the chief? Jennings and his reaction, asking Taft to help repair the fault?

9. Mac Gruder and his activity, the search for Taft, the shooting of Silook? Taft and Masu searching for the computer disk, going to Hughie's house, the confrontation with the thugs?

10. Taft and his decision to destroy the new rig, the horseback ride, Masu going with him, the weapons dump? The assassins, Stone and his search for Taft?

11. The transition of the film from talk and negotiation, press conference and double-talk to action? The chase, Taft blowing up the helicopter, Taft and Masu together, the fight, the rig? The deaths, Mac Gruder dying? The confrontation with Jennings? Jennings and his determination to make the rig work? The confrontation and Jennings' fall from the helicopter?

12. Taft and Masu, the rig exploding, their escape? The transition to the state capital, Taft's speech about corporations, pollution, the environment, profits? The film ending with a didactic tone?

OF HUMAN HEARTS

US, 1938, 100 minutes, Black and white.
Walter Huston, James Stewart, Beulah Bondi, Gene Reynolds, Charles Coburn, Guy Kibbee, John Carradne, Gene Lockhart, Ann Rutherford.
Directed by Clarence Brown.

Of Human Hearts is a piece of 19th century Americana: pioneers, religious minister and his family, the Civil War, human families, gratitude and ingratitude. The film is based on a story by Honore Morrow called Benefits Forgot - which is alluded to in the final sequences of the film.

The film has a fine re-creation of Ohio in the 1850s as well as excellent footage of clashes in the Civil War. Walter Huston is at his best as the stern and proud minister in the pioneer areas of the Ohio River and mountains. Beulah Bondi is also sympathetic as his wife. Gene Reynolds is the young Jason who grows up to be James Stewart. It was one of Stewart's early roles, a mixture of sympathy as well as audience reaction to his self-preoccupation. In the supporting cast are Guy Kibbee as the greedy salesman in the town, Charles Coburn as the alcoholic judge, Ann Rutherford as the neighbour.

The film was directed by Clarence Brown, director of many effective films of the '30s and '40s including many with Greta Garbo as well as The Yearling, National Velvet and Intruder in the Dust. John Carradine has a guest role - made up very strongly to resemble Abraham Lincoln. The film is strong in American atmosphere, American sentiment and values. A film of feeling from the '30s.

1. Entertaining American drama? American patriotism, pioneer spirit, dreams? The universal themes?

2. Black and white photography, Ohio and Baltimore in the 1850s, the Civil War sequences? The editing and pace? Musical score and traditional themes?

3. The title, the focus on the family and their relationships? The title of the original story - as quoted by Abraham Lincoln, for Jason to reflect on and understand what had happened in his life?

4. The background of the 1850s, the opening up of the frontiers, the rivers and the steamboats, the small towns, the stores, the farmers, the minister of religion and his dependence on the community for livelihood? Preaching and ministry in the mountains? The contrast with the cities, the medical schools? The Civil War and its effect?

5. Ethan Hawkins as a strong man, travelling with his family, the dependence on the congregation, his pride and not begging? His shrewdness and knowing horses? His love for his wife, sternness with his son, wanting good manners and truth, banning the magazines, hitting his son? The alienation between the two? His kindness to the people and their support of him? The years passing, the strained relationship with his son, taking him to the mountains, to Sister Clark? the confrontation because of the second-hand clothes, the frog in the food? His stern approach to being kind to people? The physical fight with his son? Jason's resentment, his departure? Ethan and his illness, letters to his son, his dying - and Jason's arriving and their clasping hands? Portrait of a stern religious man?

6. Mary, love for her husband and devotion to him? Care for her son? The humiliation of dependence on the townspeople? The meeting in the church, the second-hand clothes, the food, the deal with the salary? Her concern for Jason, protecting him from his father? The magazines, selling her cutlery for the Harper's magazine and Jason's rejection of the magazines for the medical book? Her devotion? The death of her husband, Jason's return? Her poverty, selling all her possessions, Jason's infrequent letters, her love and support for him? Selling the ring and the doctor giving it back? Selling Pilgrim? Thinking her son was dead, the letter to Lincoln? His return, asking for forgiveness, her happiness?

7. Jason, the young boy, ambitions, educated? The restrictions of his father, friendship with Anne? The magazines, the clash with the Ames boy? Giving him the magazines? Being hit by his father? The resentments? Going to visit Dr Shingle, asking him direct questions about his alcoholism, the book, the buying of Pilgrim, the wound and his sewing up the wound? Growing up, with Anne in the church? On the mission with his father, the food, the humiliation of the clothing, the physical fight, going to Baltimore to study? His approach to Dr Frumm, with Quid? Work, study? Continually asking his mother for money, not writing to her? The war, his excellent work, saving amputations? His uniform and pride? The money from his mother? Called by Lincoln, Lincoln praising him, the lecture from Lincoln about ingratitude and benefits forgot? Lincoln's command that he write? His conscience, realisation of his neglect of his mother (despite his being at his father's death)? The reconciliation with his mother?

8. Dr Shingle, the alcoholic, his background and skills, place in the town, threats to Ames and bleeding him, helping Jason with the book, with introductions? His getting the financial support for Wilkins? The reconciliation at the end?

9. Dr Crumm, Baltimore, amputations, Quid and his work with Jason? In the Civil War? Medical education at the time?

10. George Ames, greedy, the store, the people reacting at meetings against him, his being hard on his son? Being bled? Begrudging the minister his money? The double-deal with the poor horse?

11. The townspeople, the welcoming of the minister, hard times, the money deal of the salary, their gifts? Second-hand clothes, etc? Their change of heart after the family's devotion? Life in the town, the characters, the old man with the organ, the old men playing draughts? Sister Clark and her isolation in the mountains, the welcome visit, her hospitality?

12. A humane portrait of ordinary Americans in the pioneer areas of 19th century America?

OFF BEAT

US, 1986, 92 minutes, Colour.
Judge Reinhold, Meg Tilly, Harvey Keitel, Joe Mantegna, Amy Wright, John Turturro, Fred Gwynne.
Directed by Michael Dinner.

Off Beat is a slight but amusing police comedy. It has touches of the Police Academy series - but is more serious. It is also a touch more romantic. It is a star vehicle for Judge Reinhold (Beverly Hills Cop, Vice Versa) and Meg Tilley (Agnes of God). There is a strong supporting cast including Joe Mantegna and choreographer-dancer Jacques D'Amboise. There are a lot of guest appearances including Austin Pendleton. The film was directed by Michael Dinner (Heaven Help Us).

1. Enjoyable comedy, police comedy, spoof?

2. New York settings, police precincts, public library, Lincoln Centre? The streets and the banks? Action sequences? Musical score?

3. The title, the play on words, on the police, on music? On Joe and his offbeat behaviour?

4. The opening bust and Joe ruining it? The farce and the police? Identities and cover? Abe and Joe and the mix-up? Mistakes and handling them?

5. Joe as awkward, friends with Abe, on the bike, work in the library, the break with Mary-Ellen? Doing the favour for Abe? The audition, the clash with the other police? Attraction towards Rachel, staying for the 61 pirouettes? Clash with Pete? In the police car, the chase? His arresting of the car thief? The purse snatcher? Abe and his arguing with him, in the shower, in the clothes shop - and camp misinterpretation? His enjoying the dance? In love with Rachel, out with her, the meal with her family? The brother recognising him? Taking Rachel home and finding Mary-Ellen? Their fight? The robbery, his being held at gunpoint, Rachel's reaction? The double identity? His reaction, dancing and kicking? The hero of the hour? Television interviews? The commissioner and his reaction? The happy ending?

6. Abe and his job, friendship with Joe, the ruining of the stakeout? The camp sequences? His demotions, riding the horse to the rescue?

7. Rachel, as a policewoman, dancing, her relationship with Pete, their arguments? The car chase and her talking with Pete? Falling in love with Joe, the family? Mary-Ellen? in the apartment? The fight? The rescue? The reconciliation?

8. Pete, argumentative, the auditions, the clash with the choreographer, in the chase?

9. The choreographer, his show, exercise, strength, handling the police?

10. Rachel's parents, the family, talk, backing their daughter?

11. The robbery, Mickey and his awkwardness, Leon and his being distracted? Holding the people hostage, playing the music? Joe's reaction, overcoming them?

12. A picture of the police, precincts, police codes? The musical, the police and their dancing? Serious and spoof?

OCTOBER SKY

US, 1998, 102 minutes, Colour.
Jake Gyllenhaal, Chris Cooper, Laura Dern.
Directed by Joe Johnston.

October Sky is a piece of Americana, intended to inspire middle America. It does for science and space exploration and engineering what films like Stand and Deliver did for calculus and mathematics.

The setting is October 1957 with the launch of the Sputnik. However, the setting is also West Virginia and the end of the life of the coalmines - with their industrial troubles, strikes, accidents, union clashes. The contrast is made between the old ways and world view with mining (under ground) and the new ways with space (and the limitless expansion).

Chris Cooper is strong as the mine manager who cannot support his son in his enterprise and wants his son to go down the mine. Jake Gyllenhaal is the young student. Laura Dern has a cameo role as a teacher who inspires her students (and who has a terminal illness). Joe Johnston is better known for special effects work on the Star Wars movies and fantasises like Honey, I Shrunk the Kids, The Rocketeer, Jumanji and Jurassic Park III. A film of positive values and inspiration.


1. A piece of Americana, the US in the '50s? The contrast between the coalmining towns and the opening up of space exploration? The study of science, maths - and the future?

2. The film based on a true story - the end photographs and film clips with the real people and their achievement?

3. West Virginia, the period, cars, homes? Costumes and the look of the times? The musical score?

4. The title, 1957, the first Sputnik? The inspiration of the sky and looking upwards towards the future?

5. West Virginia, the town of Coalwood, the high school, homes, the mines, the closures, the unions, the bosses? The death of the mine in the '60s?

6. The father and his work in the mine, the tradition, interactions with the workers, the attack on him, the explosion and his injuries, hospital? The strike, his attitude, attitude towards the unionists? His expectations of his son?

7. Education in Coalwood - for what? The sons going to the mines? Miss Riley and her enthusiasm, information about the Science Fair, her encouragement of the students, giving Homer the book of maths? The principal and his pragmatic approach? Sports scholarships as a way of getting out of the town? Homer's older brother and aiming for the sports scholarship?

8. The picture of families in the town, Homer's family, his brother, his quiet mother, the domination of the father? Quentin and his poverty? The role of mothers in the town - and the stances that they sometimes took?

9. The Sputnik, the students watching it, Miss Riley and her class? Homer and his dreams?

10. Homer, daydreaming, asking Quentin to help him and going against the pressures from his peers? The friendship with Quentin? Forming the group to work on the rocket? The reaction of the sports jocks, the interest of the girls and their admiration? Working on the rockets, studying the books, learning the ingredients and the chemical formulas, building the rockets, the experiments? The reaction of Homer's father? The need for iron, the railway tracks? The European migrant and his war experience and working on the rocket shells for them? The black worker and his memories of the war, helping? People interested, coming to watch the experiments, a community experience?

11. The competition, working for the achievement, the range of experiments and their continued improvement? The arrest for causing a fire, handcuffed, Miss Riley's protests, Homer's father getting them out? The accident in the mine, the father being injured, hospital? Homer and his decision to go down the mine? Discussions with Quentin? His decision against the mine, taking out the maths book, learning his maths, going to school, encountering the principal, his working out the formulas for finding the rocket - and its being in place, not causing the fire?

12. Learning, enrolling in the school, the support of the principal? Building the final rockets, only one able to go to Indianapolis? The fair, science in 1958? Everything stolen, including his photo of Werner von Braun? The fair, talking with Werner von Braun and not knowing? The past with von Braun's letters? Winning the competition? An achievement for the town?

13. The final confrontation with his father, going to leave home, his mother confronting the father? The final rocket, the town there as a community, his father coming and his son dedicating it to him and the setting off of the rocket?

14. The aftermath, the '60s to the '90s and the achievement of all the people? The future of American space exploration? The pathos of the death of Miss Riley? A film intended as being inspirational?

AN OCCASIONAL HELL

US, 1993, 93 minutes, Colour.
Tom Berenger, Valeria Golina, Kari Wher, Robert Davi, Stephen Lang.
Directed by Salome Breziner.

An Occasional Hell is a detection story set in South Carolina. In the opening credits there are drawings of the American Civil War and guns - a clue to the later unravelling of the mystery.

Tom Berenger plays a former policeman who has turned writer and literary professor. He also suffers from gun wounds and their consequences. He is approached by the widow of a murdered professor, who is chief suspect in the murder and seeming abduction of his girlfriend, for Berenger to solve the case.

There are quite a number of complications, especially with the professor's love for rifles and the Civil War, a group of thieves at a museum, backwoods people and their violence. Of course, the policeman falls in love with the widow.

However, it is a cut above the average murder mystery with this kind of plot. The cast is quite strong and the unravelling of the plot quite interesting.

1. The Deep South, the Civil War, museums, guns, collectors, violence and murder?

2. The Carolina settings, homes, mansions, the town, the countryside, the universities? Musical score?

3. The title and its reference to Ernest De Walt? His experience as a policeman, being shot, investigations, dangers?

4. The credits sequence and the Civil War? The prologue and the sexual encounter between the professor and the waitress? The murder, the headlines, the suspicions on his widow?

5. De Walt as professor, with his students, criticised by Elizabeth for the term exercise on her husband's killing? His discussions with Elizabeth, reluctance to take the case? Her children? His investigations, the university, Larry Abbott and the police? Leading to the museum robbery? To the hillbillies? His growing attachment to Elizabeth, his self-consciousness about his illness and wounds? His constant need for injections? The pursuit of the young men, in the prison, Larry bringing him out?

6. The device of having the waitress appear, in his dreams, erotic, leading him in the detection, taunting him, friends with him? The final challenge by her that he was a detective? His realising where she was buried? Solving the case? On the swing and her deciding it was time to go?

7. Elizabeth, her relationship with her husband, his two-timing her? Her love for her children? Suspected, interrogated? Her concern and her going to De Walt? Making love with him? His leaving, her despairing? Her vindication?

8. Larry and his work in the city, detection, friendship with De Walt? His wife and her pregnancy? Impatient with De Walt, finally agreeing with him and solving the case?

9. Conventional material, murder, affair, robberies? The intricacies of the plot and the resolution?

ONE KILL

US, 2000, 95 minutes, Colour.
Anne Heche, Eric Stoltz, Sam Shepherd.
Directed by Chris Menaul.

One Kill is situated in the American Marine Corps. It highlights the role of a woman officer, fifteen years of service, who is skilled in leadership and is to be promoted. However, she clashes with a visiting ex-Vietnam veteran who supervises training and gives lectures. He also approaches her and she begins an affair with him.

The film, however, shows the killing at the beginning of the film and supplies the details of the story in flashback, gradually building up the encounter between the two officers, the affair, the clashes, his mental instability, the shooting. Anne Heche is effective as the marine, Sam Shepherd is the Vietnam veteran, Eric Stoltz is the defending counsel.

The film is very strong in its portrait of an institution doing all in its power for cover-up, humiliating the target of their suspicions, destroying documents, putting moral pressure on people not to give testimony. While there is nothing particularly new in the screenplay, especially with the court case and the acquittal, the film is served well by its performances as well as the theme of cover-up.

1. The film as a crime thriller, courtroom drama, investigation? Familiar material? Differences?

2. The film set on the marine base, the details of the base, officers, car pool, homes? The courtroom? Manoeuvres? Musical score?

3. The title and its reference to the killing of Major Gray?

4. The opening, the audience seeing the shooting? The structure of the film and the investigation into Mary Jane, the flashbacks and the gradual build-up of the details of the relationship leading to the shooting? The dramatic effect of the audience not knowing the full story but its gradually being revealed?

5. Mary Jane O'Malley, fifteen years in the service, her efficiency, the support of her men, especially in the manoeuvre? Her relationship with Doran and his reliance on her? Gray coming to the base, his disdain of her as a woman, his taunting her about being in action? The manoeuvre and her success? His approach to her, the suggestion of an affair? Her decision and the beginning of the affair? The question of marine law, moral issues? His not telling her that he was married? The course of the affair, the arrival of his wife to prepare the retirement party, Mary Jane's reaction on the firing field? His anger, shooting? The investigation and its not continuing, her not pressing charges? The breaking of the affair, his taking the children to the museum, giving them the gift of the bullets? Her angry reaction? Her relationship with her former husband, his support, his mother looking after the children? The build-up to the evening, her phone call to tell him not to come near the children? His breaking into the apartment, the attack, with disguise on, her shooting him, twice, in the back, the knife?

6. Major Gray, his experience in Vietnam, friendship with Doran? His work on the base, coming up to retirement? His attacks on Mary Jane, suggestion of the affair, its importance to him, his age, feeling tenderness? Her wariness, the breaking off, his aggression, the attack? His death?

7. Mary Jane, the consequences of the arrest, her keeping silent, her reputation, her children? In the prison? Legal discussions? The court hearing, her keeping silent, the testimony? Her own version of what happened? The cross-examination, the consequences, the truth emerging, her vindication? Her reputation as regards the affair, her family, her children, her husband?

8. The legal defence, sympathy towards Mary Jane, exasperation, serving her innocence, the vindication?

9. The officials in the army, their antagonism towards Mary Jane, as an officer, as a woman? The hoped-for decisions? Manipulation? Their being defeated?

10. A portrait of an institution, cover-ups, internal antagonisms, pressures on reputation?

OVERKILL: THE AILEEN WUORNOS STORY

US, 1992, 95 minutes, Colour.
Jean Smart, Park Overall.
Directed by Peter Levin.

Overkill: the Aileen Wuornos Story was produced soon after Aileen Wuornos's arrest and condemnation by the Florida courts to execution. At the same time, English documentary maker Nick Broomfield made a documentary study of Aileen Wuornos, her life and background, her crimes. Aileen Wuornos was to be on Death Row for eleven years before her execution in 2002. At the time of her death, Nick Broomfield made a subsequent film about Aileen Wuornos and her time in prison. After her death, Patty Jenkins made the feature film based on her life, Monster, starring Charlize Theron who won an Oscar for her portrayal of the serial killer. Many of the sequences in Overkill resemble those in Monster.

Jean Smart gives a strong performance as Aileen Wuornos, made up to resemble her. Park Overall is her true-life companion - fictionalised in the role played by Christina Ricci in Monster.

The film focuses not only on Aileen Wuornos, with flashbacks about her character, her relationship with her friend and her attacks on her customers, her motivation for killing them, but spends a lot of time showing the various police officers, the detection, the work done to apprehend her.

1. The notoriety of Aileen Wuornos? In the United States, in Florida? In her time? The 80s and her killings? The 90s and her imprisonment, the documentaries made about her, her execution in 2002? The interpretation of her life by Charlize Theron in Monster?

2. The film based on a true story, using the names of the characters? The portrayal of Aileen, her relationships, her crimes, detection?

3. The portrait of Aileen Wuornos: the flashbacks to her background, the brutality of her father, the taking of her child, her early prostitution? Her work as a prostitute on the highways of Florida? The scenes with her customers? Their violence and aggression? Her killing them, her vengeance? The film explaining her motivation?

4. Her relationship with Tyra? The lesbian relationship, Tyra and her dependence, Aileen and her dependence on Tyra? The visit of Tyra's sister, the criticism? Their life together, money, the outings - and Aileen spending the money? Tyra's sister's criticisms and Aileen's response? Tyra and her fears when they were seen in sketches on television, her leaving, her testimony against Aileen?

5. The portrayal of the police, the various experts, seeing them at work, interrogations, discussions, on the scene of the crime? The chief detective and his intensity, relentlessness in tracking Aileen Wuornos down?

6. A case study in crime, serial killing? Police work? A portrait of a woman and an attempt to explain her background, her motivation and what led her to become a notorious serial killer?

THE ODD COUPLE II

US, 1997, 97 minutes, Colour.
Jack Lemmon, Walter Matthau, Christine Baranski, Barnard Hughes, Jonathan Silverman, Jean Smart, Ellen Gere, Jay O. Sanders.
Directed by Howard Deutsch.

An Odd Couple sequel, thirty years after the original movie. Not that Jack Lemmon and Walter Matthau have not been seen together. This is their tenth movie. It is directed by Howard Deutch who made some of the better teen comedies of the 80s (Some Kind of Wonderful, Pretty in Pink) and directed the stars in the recent Grumpier Old Men. Jack Lemmon is good but Walter Matthau is better, with his malleable face, his deadpan one-liners (courtesy of Neil Simon again) and his wonderful impersonation of a kindly slob. This time they are off to a wedding (Oscar's son and Felix's daughter) and Simon gets them involved in a series of minor disasters on the way - with a very funny interlude centred on a vintage car. It is a variation on Simon’s comedy, the odd couple out-of-towners. The ending is positively begging for a sequel. Undemanding and amusing.

1. An entertaining sequel? Coming thirty years after the original? The power of the original, the television series, the version with women as leads, the continued popularity? The differences, the franker aspects of sexuality, the more crass language?

2. A road movie across America to Los Angeles? Adventures on the road, misadventures?

3. The chemistry between Jack Lemmon and Walter Matthau, for over thirty years? The embodiments of Felix and Oscar? Wisdom learnt over the years, lack of wisdom? The clashing, the repetition of the old encounters? The finale with Oscar having to accept Felix again?

4. The age of the men, their mannerisms? Going to the engagement and the wedding? The irony of Oscar's son engaged to Felix's daughter? The planned trip to the wedding, renting the car in Los Angeles? The aggravation? The burning of the map, their getting lost, the empty car rolling into the canyon, bursting into fire?

5. The lift with the Mexican truck driver, the roadblock? The encounters with authorities, the several times of their being mistaken for criminals? Immigration laws? The continuing of the journey, the lift with the old man, his help, his heart attack and death? Their having met the two biker women, enjoying their company, on the bus, the hijacking of the bus, the biker husbands?

6. The wedding, Felix and his entanglement with Felice, the former sister-in-law, having met her on the way, at the wedding reception? Felix going off with Felice? Oscar returning home, alone?

7. The two biker women, their styles, the meeting with Oscar and Felix - and the aftermath with their husbands?

8. The old man, his character, picking up the two travellers, the encounter with them, his death?

9. Oscar's son, the engagement, preparation for the wedding, his relationship with his father? Felix and his daughter? The ceremony, the reaction to the parents?

10. The comic sequences, Neil Simon's wit and one-liners, repeated situations - and audiences enjoying them even though, in some ways, the two stars have become grumpy old men?