UNKNOWN

US, 2006, 85 minutes, Colour.
James Caviezel, Greg Kinnear, Bridget Moynahan, Joe Pantoliano, Barry Pepper, Jeremy Sisto, Peter Stormare, Chris Mulkey, Mark Boone Jr, David Selby.
Directed by Simon Brand.

This is an intriguing 85 minute small budget feature starring a number of screen character actors. It is not only the presence of Joe Pantoliano that reminds movie buffs of Memento. This is a film about amnesia and attempts to recover memory.

The film opens in a drab and deserted factory out in the desert. Five men’s bodies lie lifeless until one comes to his senses. Gradually the other four also regain consciousness. They have been exposed to some almost lethal gas. But, they have lost their memories. Some flashes begin to remind them of what has happened. Initially hostile and suspicious, they eventually have to band together to defend themselves against the unknown men who are on their way.

The audience does have the advantage of knowing that there has been an abduction of some wealthy businessmen by a gang. But we don’t know who is who. In the meantime, the wife of one of them has to deliver the ransom money with the help of the police who have set matters up to apprehend the criminals. Of course, they don’t, so there are chases, desperate calls, collecting of information on the criminals.

The five men are played by Jim Caviezel, Greg Kinnear, Barry Pepper, Joe Pantoliano and Jeremy Sisto. They get plenty of chances to be aggressive, despairing, bonding (with a great deal of angry and exasperated swearing) until we find out the real identities. Once again, one needs to wait to the very final shot to appreciate exactly what really happened.

Not a necessary film but it certainly has its moments.

1.An effective thriller? Mystery? Character study?

2.The small budget, the limited settings, the interiors of the warehouse, the different floors, the dinginess? The glimpses outside? The police precinct? The open roads? The diners? Southern California? The musical score?

3.The title, amnesia, the audience not knowing the characters or the plot? Moving from the unknown to the known? Secrets and lies? The final revelation?

4.The structure of the film: the scenes in the present, the bodies of the men, coming to consciousness, unable to remember, the interactions, tensions, bonding, waiting for people to come? The insertion of the scenes outside, at the bus station, the police precinct, on the road, the trucks? The flashbacks of memory – in the visual style? The gradual awareness?

5.The awakening of Jean Jacket? Jim Caviezel as sympathetic? Audiences presuming that he was on the side of good? His behaviour, seeming sincerity? The clashes with the man with the broken nose? Coles and the bonding between them? The bound man and his antagonism? The handcuffed man – and the later revelation of their friendship, the truth? His using his wits, the gun, trying to break the windows? The boy and the father outside? His gradually remembering? The irony of the truth – his seeming to be a criminal, with the gang, the criminals arriving, his being ordered to kill the abducted men? The irony of the revelation that he was undercover police? His seeing Eliza, the memory of the truth, his affair, the fact that he had planned the whole thing with her? The irony about the money? Did he have a moment of redemption or not?

6.The man with the broken nose, his being upset, aggressive? His violence, using his wits? The clashes, the bonding? The truth that he was abducted? His participation in the plans? His being bound, the grave being dug – and his dying and defending Jean Jacket?

7.The bound man, his taunts, memories? His eventually being freed? His aggression, not knowing whether he was on the side of good or not – and the final revelation, part of the criminal gang? His death?

8.The man in handcuffs, his dying, his speech about friendship, the memories with the Jean Jacket man?

9.Coles, seemingly good man, his accurate memories, the fact that he was abducted? Relationship with his wife? A man of calm, using his wits, aligning himself with Jean Jacket? The preparations for the arrival of the criminals? His survival? Reconciliation with his wife – and the ironies?

10.The chief criminal, his manner, the plan, with his henchmen? Getting the money, the drive, going to the warehouse? The confrontation, the violence – the grave, his ordering Jean Jacket to kill the prisoners? His death? The other men?

11.The police, at headquarters, the information, the charge list? Working with Eliza, her tension, the surveillance, putting the money in the locker, the cleaner, his being slow-witted, the police watching, the money gone? Her desperation? The appearances in the flashbacks, the flirtation in the bar, the plan for the crime?

12.The boy and his father, playing, going off – but giving the police the information?

13.How well did the unknown move to the known – with twists in terms of character, motivation? A story of greed, malice?

AT GUNPOINT

US, 1955, 81 minutes, Colour.
Fred Mac Murray, Dorothy Malone, Walter Brennan, Tommy Rettig, Skip Homeier, John Qualen, Whit Bissell.
Directed by Alfred L. Werker.

At Gunpoint is a good solid standard western of the 1950s. Fred Mac Murray, after a successful career in the 1930s and 1940s, especially with Double Indemnity, moved to more genial roles in the late 40s. However, during the 50s he was in a mixture of films from standard westerns and action adventures to more higher-profile films as Woman’s World and, especially, The Caine Mutiny. He appeared in The Apartment for Billy Wilder in 1960 and then during the 60s and 70s settled into comfortable grandfatherly roles for Walt Disney. Dorothy Malone was a popular star at the time and won an Oscar the following year for Written on the Wind. Walter Brennan had been around for many decades and had won three Oscars for best supporting actor (as was said, one performance, three Oscars). He gives his standard performance here and it is rather a shock to find that he was only sixty when he made the film. Child star Tommy Rettig appeared on Lassie at this time and also in a number of big-budget films including The Egyptian and River of No Return. Skip Homeier was a villain in many a western at this time.

It was only three years after High Noon and the plot is somewhat similar.

A group come to rob the bank in a very quiet town, Plainville. The store owner luckily shoots one of the robbers in the back and wards off the threat to the town. However, the gang reunite and wreak vengeance on the town, creating fear amongst all the populace so that the storekeeper goes from hero to someone shunned – finally asking him to leave the town. However, he tells the truth to the townspeople and they finally rally to confront the robbers. Fred MacMurray? is standard in the role, a solid Hollywood figure and an upright man. Dorothy Malone is charming as his wife. Tommy Rettig is their son.

The film was only brief – but is one of those westerns of the 50s which was made without much fuss and which still stands the test of time.

1.An interesting and entertaining western? The resemblance to the plot of High Noon? The western town, characters, conventions?

2.The picturing of the town, the locations, the store? The saloon? The streets? Familiar western territory? The conventions of the store owner, the saloon (rather sanitised)? The bank robbers? The marshals? The need for law and order?

3.The title, the focus on the Dennis gang before the credits, getting the guns, pointing the guns? The use of guns throughout the film? The robbers – and the shootings during the robbery? The teller attempting to get his gun? Jack Wright and his lucky shot? George Henderson and his shooting the robbers? The use of guns – especially in the killing of Wally? The finale – Jack Wright and the confrontation, Bob Dennis and his gun, his backup? The townspeople all pointing their rifles at the robbers?

4.The character of Jack Wright, the storekeeper, happy marriage, his son, his brother-in-law? Doc and his staying at the store, playing chess with the marshal? The kids happily coming into the store? The popular man? His shooting the Dennis brother in the back? His being feted, at the saloon, the townspeople wanting to elect him marshal? His decline? People gradually being afraid, his friends, going into the saloon and their moving out quickly, the stranger in town and their assumption that he was a killer? The women and the children? His wife, her concern? Bill and his admiration for his father? Worrying about him? Bob Dennis coming during the night, shooting Wally by mistake? Jack Wright and his principles, Martha taunting him? His wanting to send them away? His pride, going to the meeting, confronting the townspeople, speaking the blunt truth to them about the town, their cowardice? His being supported at the end? His getting the reward from the bank?

5.Martha, dutiful wife, mother, with Billy, her work? Friendly with Doc? The place of women in the town – subsidiary? The glimpse of the children, playing together, coming into the store for sweets?

6.Doc, Walter Brennan’s genial performance? The conscience of the town? His standing alone, supporting Jack? Shooting Bob Dennis?

7.Livingstone, at the bank, the robbery, the death of the teller, his gratitude, getting the money back, leadership in the town, the drinks and the election of the marshal, the reaction to the death of the new marshal? His being the spokesperson for the men and their fears? The other characters in the town, Al Ferguson, Clem Clark? At home with their wives?

8.The Dennis gang, Alvin Dennis and his leadership, his death? Bob, vengeance, the other members of the group, support? Bob and his shooting Wally? His coming into the town, his death?

9.The marshal, law and order – and his going back to Amarillo? The townspeople and their fears? An authentic aspect of the need for law and order in the American west?

15: THE MOVIE

Singapore, 2003, 96 minutes, Colour.
Melvin Chen, Erick Chun, Melvin Lee, Vynn Soh, Shaun Tan.
Directed by Royston Tan.

Royston Tan is a Singapore documentary and feature film-maker. In 2002 he went out into the streets in the fringes of Singapore society to interview teenagers and to film them in their lives. He expanded this in 2005 to make a feature film.

He filmed five teenagers. What we see is their authentic action and reactions. Whenever Tan felt that they were performing for camera, he eliminated this material as inauthentic. With his hand-held camera, he went out into the city, to homes, to the streets, to tall buildings – for suicide attempts, to the range of city life in Singapore.

The film is a grim picture of these young outcasts. It seems to be without very much hope. However, he seems to suggest that church groups may be interested in helping these men. Tan then went on to make the feature film 4:30.

1.A portrait of Singapore, Singapore life, the fringes? In comparison with other cities in the world? In Asia, Latin America, Europe, Africa? Particular focus? Universal message?

2.The city of Singapore itself, the variety of locations, buildings, streets, wealthy areas, poor areas? Perspective? Schools, fashionable districts? Highlighting the contrasts? The musical score?

3.The focus on the boys themselves, their age, fifteen? Their attitude towards the law? Singapore and its strict laws and injunctions? Penalties?

4.The autobiographical tone of the film – Tan and his sympathy for these adolescents? Their life stories?

5.The five stories, the boys, non-professionals, the temptation to act, Tan seeking their genuine experiences?

6.The intersection of the lives, the various influences – on each other? How much friendship? How much peer pressure?

7.The role of parents, the glimpses of parents? Off screen? The authoritarian tone? Rejection of different behaviour? The teenagers seeing themselves as outcasts from their families?

8.The portrait of schools, the boys at schools, ordinary students, uniforms, orderliness, curriculum? The teenagers as acting against this? The final attempt of the boy to go to school – but the rejection because of his tattoos?

9.The significance of the drug world of Singapore, the access to drugs, the young boys and their addictions, money, the drugs themselves, the drug experiences?

10.The world of pornography, the temptations to perform, to be available? Sexuality at this stage of their life?

11.The issues of sexuality, the homoerotic film – and the absence of the feminine in these boys’ lives?

12.The meaning of life, meaninglessness, the issue of suicide, the peer pressure, seeking out buildings for suicide attempts?

13.How much future for these boys, hopes? Lost?

14.The tone of the film, observation, presenting their lives – without a specific moralising tone?

ALIEN FROM L.A.

US, 1987, 88 minutes, Colour.
Kathy Ireland, Thom Matthew, Don Michael Paul, Linda Kerridge.
Directed by Albert Pyun.

Alien from L.A. is an oddball reversal of aliens coming to Earth. This time a young Los Angeles teenager goes to a foreign civilisation as an alien and helps her father as an explorer and the aliens.

It is comic-book stuff, rather complicated to follow - sensationalist at times in tone and oddball most of the time.

It is of some interest because it was written and directed by Albert Pyun - who seemed to specialise in this kind of oddball film in the '80s. They are very striking, visually, with their bizarre landscapes and alien atmospheres. However, characterisation is not strong, there is a weird sense of humour - and the whole thing is somewhat bizarre. Other films by Albert Pyun include The Sword and the Sorcerer, Down Twisted, Radioactive Dreams, Cyborg.

ALICE

US, 1990,106 minutes, Colour.
Mia Farrow, William Hurt, Alec Baldwin, Joe Mantegna, Blythe Danner, Judy Davis, Bernadette Peters, Gwen Verdon, Cybill Shepherd.
Directed by Woody Allen.

Alice is Mia Farrow in her twelfth film for Woody Allen since 1982. Once again she gives a different, effective performance. She is a wife with a wealthy husband (William Hurt), servants, gossipy friends in the perpetual pedicure set. She is also a lapsed Catholic - and Catholicism has shaped her conscience. An attraction to a fellow parent (Joe Mantegna) and advice, herbs and some wizardry (including her being able to become invisible, fly and see ghosts) changes her life. So does her awareness and some film footage of Mother Teresa of Calcutta.

Woody Allen has been influenced by Federico Fellini, especially with Stardust Memories and Fellini's 8 1/2. His Radio Days could be paralleled with Fellini's Amarcord. Here the parallel is with Juliet of the Spirits in which Fellini explored a wife, her memories, Catholicism.

The film is often funny, not hilarious, with Alice becoming more and more sympathetic. It is a pleasing character study. The ending is simplistic though real (thanks to Mother Teresa) and Allen enjoys sending up the shopping and hypochondriac Manhattan set. There are quite a number of cameo performances from stars like Judy Davis, Blythe Danner and Cybill Shepherd with Bernadette Peters as Alice's muse.

1. The work of Woody Allen? His views on life, people? Insights into human nature? Wit and satire? Manhattan and New Yorkers?

2. Woody Allen influenced by Federico Fellini? In previous films? Juliet of the Spirits - and Fellini directing his wife, Woody Allen directing Mia Farrow? The Catholic background (of Mia Farrow herself)? Memories, fantasy, change?

3. The relationship between Mia Farrow and Woody Allen as manifested in their films? Her career, her versatility? Drawing on her own background, Catholicism for her characterisation of Alice?

4. Woody Allen's Manhattan, New York settings, affluent, apartments, the business world, the media, schools? The score - and the range of old songs?

5. The title, Alice, Alice in Wonderland, Alice Blue Gown?

6. The portrait of Alice: age, experience, wife, mother? A New York woman? Lapsed Catholicism? Conscience, guilt? Her dreams? The father, the opening fantasy and her relationship with him - and reality? Her relationship to her husband, the detail of home life, the servants? Her expectations of life? Home style, children, school? Her friends, social chatter? Health concerns, meals, budgets, consultations? Art dealers and lavish prices and specials? Consultancy to doctors? The hairdresser sequences etc?

7. Her meeting the Chinese doctor, personality, treatment? The tablets? The results - her vanishing in the shop? Able to see ghosts? Being able to fly? Using her invisibility, with the father? Her memories, going back into the past, the picture of her parents, upbringing, understanding them? Revisiting the doctor, trying to understand what was going on? Her smooth talk and seductive style with the parent? Her daring? Falling in love, facing the truth? Her disappearances, tracking people, discovering the truth about her husband, her disillusionment? The challenge, Mother Teresa and the lecture, her decision to act?

8. The spoof of hypochondriacs, wealthy society women? Alice wanting to move out of this society? The impact of the information about Mother Teresa, her going to Calcutta, its effect on her, the ending? Moving to an ordinary way of life, leaving her husband, with her child?

9. The bland husband, self-centredness, his relationship with Alice, their lifestyle, smooth lies? The office party, Alice's invisibility, the secretary, the affairs? His double-dealing?

10. The contrast with the father at the school, his place in Alice's fantasies, the aquarium? The reality, their meetings, Alice standing him up, leaving the meal, her manoeuvres to get out of the house, the taxi and hurrying? Her fears? His reaction to Alice? His relationship with his wife, the separation, sexual tension? The glimpse of his wife? The flashback of his being invisible and hearing his wife with her therapist? Talking things over with Alice, the decision to break? His character, the breakdown of his marriage, the credibility of the reconciliation?

11. Alice's family, the visit to her sister, the long clashes between them, rivalry, talking things out, some kind of meeting of minds and hearts? Her memories of her parents, her mother? Domination? Freeing herself of the family pressures?

12. The dead boyfriend, his appearances, their discussions, his being a ghost, flying with her? Understanding herself and her relationships?

13. Her school friend, the media, the slick businesswoman, the world of ideas, media treatments, Alice's stories, her discussing with her friend, her seeming inept, the business style of her friend? Double-dealing?

14. The brief appearance of Bernadette Peters as Alice's muse, her comic style, interaction with Alice, jokey? Inspiration?

15. Alice, the transformation of her life, finding herself, moving beyond expectations, authentic?

16. Woody Allen's skill in portrait-making, accuracy of observation, the touch of the spoof and wit, critique?

ALEX: PORTRAIT OF A CHILD
US, 1986, 120 minutes, Colour.
Craig T. Nelson, Bonnie Bedelia, Gennie James, Cherry Jones.
Directed by Robert Markowitz.

Alex: Portrait of a Child is one of those American telemovies, frequently made, where a drama is presented centring on a fatal illness. It gives the audience opportunity to understand something of the illness, the emotional repercussions on the victim as well as on family. In this case, the illness is cystic fibrosis in a young child.

The film is based on a memoir by the girl's father. The structure of the film focuses on the father and his inability to deal with his daughter's death, his writing the memoir and the flashback memories - the effect on himself, on his wife, the family. It highlights the relationship between father and daughter and her death at a very early age.

Craig T. Nelson is solid as the father, Bonnie Bedelia as the mother. Gennie James is very good as the vivacious young girl.

Once again, the film is an emotional exploration of the illness and the presentation of how people try to cope.

1. Impact of the film? Drama, sentiment, emotional involvement with the ailing child, with the parents? The value of this kind of portrait of illness?

2. The film as telemovie: for the widest audience, for quick understanding, emotional involvement? The effect of this kind of movie for understanding and sympathy?

3. The setting: the period after the girl's death, the flashback memories? The home setting, the hospital sequences?

4. The film based on a true story, the emotional memories, learning from this kind of memoir?

5. The presentation of cystic fibrosis, origins, the effect on the child, on the system, eating, weakness? The effect on the child as she was growing up? What she could do ordinarily, unable to do? The debilitating weakness, going into hospital, the preparation for death?

6. The father and his response to his daughter's death, his writing his memoirs as the framework of the film? His inability to cope? Relationship with his wife? The importance of the memories, going over them again, the tribute to his daughter? The possibility of adopting a child? His inability to cope? The reconciliation with his wife - and the start of a new life?

7. The portrait of Alex: when she was born, the joy for the family, the doctor's news of her illness, the small child and the effect of the illness, the symptoms? As she was growing up, at home, with her brother, playing? Hospital, the difficulties in breathing? Her parents' vigilance? Going to school, doing ordinary things, her vivacity? Her sadness, the appreciation of death, her concern about her parents, discussions about angels and Heaven? The preparation for her death?

8. Frank and his wife, their having to deal with the situation, throughout the early life of the child, anxiety, joy? Relishing her presence? At hospital, the offhand attitude of doctors, at her bedside? Each dealing with the illness in their own way? Alex's brother and his dealing with it?

9. The presentation of doctors, experts, nursing staff?

10. The family friend, her pregnancy, her ability to care for Alex and support her?

11. The possibility of adoption, the wife's concern, her feeling alienated, the clash with Frank, going to the movies, the reconciliation, the news of getting the child, the homecoming, a future?

12. The popular American treatment of themes, characters? To educate and emotionally involve a wide audience?

A LA FOLIE

France, 1994, 91 minutes, Colour.
Anne Parillaud, Beatrice Dalle.
Directed by Diane Kurys.

A La Folie (Six Days, Six Nights) was written and directed by Diane Kurys (Peppermint Soda, Entre Nous, A Man in Love). It is a psychological drama about two sisters, their interdependence, their games and cruelty and finally, desperation. Anne Parillaud (Nikita, Innocent Blood, Map of the Human Heart) is the artist and younger sister whose life is disrupted by her older sister, played by Beatrice Dalle (Betty Blue, Night on Earth).

The film draws the character of each sister quite well, dramatises their interactions until a somewhat melodramatic ending which is in keeping with the whole drama.

1. The impact of the drama, relationships, love and hate between sisters?

2. The Paris settings, the musical score? The theme song - over and over again?

3. The title, the English interpretation?

4. Alice, her art, her agent, her not making decisions, the possibility of an exhibition in New York? Her relationship with Franck? His decision to move in, her reaction, accepting it? Their life together? Relationships, commitment, work?

5. The contrast with Elsa at home, her moods in the morning, the tension of her relationship with Thomas, her children, the coat, going away in her slippers, the train ride, her arrival at the studio?

6. The two sisters and their not having seen each other for two years? Reproaches? The impact of their mother and her ashes (and Elsa dispersing them after finding them in the cupboard)? The elderly father? The background of their love, hate, rivalry, games? Alice wanting to disown Elsa? Elsa having taught Alice? Alice allowing Elsa to move in, at the studio, the apartment? Giving her a bed, room? Her taking over, the bathroom, the food? Franck and his reaction?

7. Alice and her feelings, love, support of Elsa, the tensions, her trying to lead her ordinary life with Franck? His reactions? The outings, anger, her telling Franck that Elsa was not really her sister?

8. Franck, his boxing background, love for Alice, the decision to move in, his tenderness, the rescuing of the bird (and the image for Alice, and its final escape)? His decision to stop boxing, Elsa watching him? His fear for Alice's sanity, the decision to tie her up? The motivations for the sexual encounter with Elsa? What was he trying to prove?

9. Elsa, the shopping, staying at home, the discussions on the roof? Her control? Getting the condoms? Her getting onto the train - and then getting off again? Her anger, the interchange with Alice, her vicious smashing of the studio? Her motivation with the condom? Alice tied up? The sexual experience with Franck? Her destroying Alice's art, her life?

10. Thomas's arrival, tension in the apartment, his talking, explanation, cards?

11. Alice tied up, her torment, wanting to escape, her being hurt, the knife, the disillusionment with Franck, embracing Elsa but threatening her with the knife? Never wanting to see her again? Asserting her freedom?

12. The New York scenes, the agent, the new boyfriend, the possibility of the show? Elsa's drawing appearing under the door? The freeze-frame ending? How would she cope with Elsa? Have strength for the future?

AKIRA KUROSAWA'S DREAMS

Japan, 1990, 119 minutes, Colour.
Directed by Akira Kurosawa.

Akira Kurosawa's Dreams is a master work from the celebrated Japanese director. Kurosawa made many Samurai dramas in the '40s, '50s and '60s. His celebrated films include Rashomon, The Seventh Samurai, The Throne of Blood, Red Beard. During the '70s and '80s he made fewer films - though all of them were striking, ranging from Dodes'kaden to Dersu Uzala, Kagamusha and Ran.

Kurosawa was not only an expert film director, he was also an artist. This is evident in his Dreams (made at the age of 80).

In one of the stories, the Japanese enters into a Van Gogh landscape, pursues the artist himself and experiences Van Gogh's sensibilities. The film is something like this - we are invited to observe moving pictures in Kurosawa's gallery and he invites us in to share his sensibility.

He touches on Japanese legends, Japanese art styles, Japanese customs. There are beautiful pictures of peach blossoms and humans miming peach blossoms. There is a child who watches the wedding procession of the foxes. There is a beautiful finale with a village and a procession of joy and hope. In between are stories which are much more serious: mountain climbers being lulled by a charming vision into death - which is then unmasked as a vision of cruelty; a Japanese soldier going through a tunnel and reliving his war past; some warnings about nuclear destruction.

The film is not made for the moviegoer in a hurry. Rather, we are invited to share Kurosawa's sensibility and share his dreams.

1. This film as a climax in the career of Akira Kurosawa? The focus of his films, his Japanese sensibilities? The painter? The man of action? The man of ideas and sentiment?

2. The overall effect of the collection: delight, charm, gloom? The messages? The simplicity of the messages - some simplistic? The legacy of an old man?

3. The impact of the colour photography, the compositions, the movement and mime? The creation of a dream world? The special effects? Photography angles, tableau? Beauty?

4. The Van Gogh story and the parallel with the audience watching this film? A gallery of moving pictures, watching them, entering into them, pursuing the artist, experiencing with the artist?

5. The nature of dreams: image logic, lack of logic? Archetypal stories? Dreams as aspects of the self? Messages, fears, facing fears and dreads, hopes and vision?

6. Sunshine amid the rain: the images of rain and sunshine, the Japanese village, the little boy and his mother, her beckoning him in, the story of the foxes, his going into the forest, the beauty of the mime and the procession, the music and the pauses and the poses? The foxes and their wedding? Humans not allowed to see? His going back, his mother's severe story, giving the offering for the foxes? Or death? His going to give the gift?

7. The peach blossoms: the beauty of the orchard, the children, the little girls at home, the boy and the missing visitor, his vision? Watching the peach trees and the blossoms, the pageant of beauty? The people and their costumes and make-up as the peach blossoms? His delight, his tears? The girl as the tree?

8. The blizzard: the slow motion photography, the snow, the climbers trying to move through the blizzard, the temptation to lie down and die, the darkness, the loss of time, the soft snow, the vision of the woman caressing and soothing, her hair blowing in the wind, the transformation into a sinister figure of evil, reacting against death? Waking up, the vision of the mountain peak and the achievement of the climb?

9. The tunnel, the soldier, the fierce dog with the hand grenades? The private going through the tunnel, meeting the dead, hearing his story, the platoon, the confrontation of the evil symbol of the dog?

10. The field of crows: the Japanese artist, admiring Van Gogh's pictures, the gallery, the beauty, the women doing the washing, the picture transformed into life, Martin Scorsese as Van Gogh, his bandages, the cutting off of his ear, his explanation of painting, walking through the fields, the artist following him, immersed in the flight of the crows?

11. Mount Fujiama and red: the chaos, the nuclear disorder? People fleeing, people crushing each other, the reflections on scientific development, the disaster? The warning?

12. The demon: the man on the desolate field, confronting the demon, what had happened with the world? The nightmare? The destruction?

13. The peaceful village: the windmills, the tranquillity of the stream, the old man and his messages, the simplicity of conservation, harmony with nature? The beauty of the procession? A finale for Kurosawa's Dreams?

14. The actor as identifying with Kurosawa? In the various stories? Kurosawa's own experiences? His memories? Fears, regrets, hopes? His legacy for his viewers? The work of an aged man?

AIR FORCE ONE

US, 1977, 130 minutes, Colour.
Harrison Ford, Glenn Close, Gary Oldman, Dean Stockwell, J.T.Walsh, Wendy Crewson, Xander Berkely.
Directed by Wolfgang Peterson.

In the past, this might have been another episode in the Airport series but with political overtones. However, we are in a 90s disaster movie phase as well as a phase of seeking new villains for American action movies. Renegade Soviets are among the top contenders - as they are here. That said (and the fact that this is very American in patriotism and sentiment), it all works rather well and excitingly. Had it ended with the defeat of the terrorists, it might have had more impact because it does go on with the heroics in getting the President's plane out of the air.

Harrison Ford is intense and heroically resourceful as he President and Gary Oldman is yet another snarling villain (he does it so well). Glenn Close is the vice-president. Action, effects and tension are the main thing plus some moralising over policy concerning negotiating with terrorists. Action, politics and effects.

1. The immense popularity of the film in the mid-'90s? For the United States? Worldwide? The focus on political issues, policy issues, the end of the Cold War and collaboration with Russia? Rogue terrorists? Family focus? The tradition of the disaster movie?

2. The credibility of the plot, the action, the characters? The credibility of the technology on Air Force 1 and the techniques used for communication and rescue?

3. The plane itself, its interiors, vastness? The White House? The outside action, action in the air, the crash? The atmospheric musical score?

4. The title, the focus on the plane, the President of the United States? Harrison Ford and the aura of the President - and integrity and heroism?

5. The prologue and the activity in the Republic? The parachutists, the capture of the rogue general, American and Russian relationships and collaboration? Anti-terrorism? The transition to Moscow, the celebration and its lavishness, the tribute to the American President? His speech, his declaration of policy on non-negotiation with terrorists? The prologue for his own stance on negotiation and terrorism?

6. The set-up for the disaster: the group of journalists and their infiltrating the plane, the head of the Secret Service as a traitor? The brutality of their outburst, the violence of the shooting and deaths? Their cause, conservative communism, ideology? The leader and his embodying this ideology?

7. The portrait of the American President, Harrison Ford as President? The focus on policy, strong stances, his collaboration with his advisers - and yet dictating policy to them? His relationship with his family? On board, their replay of the game, the set-up for the attack?

8. The group and the takeover of the plane, the ruthlessness, the getting of the guns, the passengers and the staff and their fears, the hustling of the President away, going into the pod (and the suspense with its landing, the tracking devices, the finding of it empty)? The staff as hostages? Being terrorised, the executions? The First Lady and her daughter being taken into the central control room?

10. The White House and the response? Glenn Close as the Vice President, the woman Vice President, the collaboration with and the clashes with the Secretary of Defence? Power games? The generals and their advice? The control room, listening to the phone from the plane, the demands, the elaboration of strategies? The human concern and the uncertainty about the President? Protocols and orders? The President phoning and giving directives - especially for the missile to hit the plane? The phoning of the Russian President? His refusal? Playing for time? The President and the phone, the fax? The technique for refuelling the plane - and letting the hostages off by parachute? The constitutional question and the documentation, the signatures - and the Vice- President not signing? The reaction to the deaths? The final achievement? Glenn Close and her dramatising the Vice-President?

11. The Russians, their refusal to negotiate, the phone calls with the Vice- President, the President's phone calls, the capitulation, the exercise of releasing the general from prison, the reaction of the prisoners, his triumphant walk out, his almost being at the helicopter, the change of plan, his being shot, the Russian bureaucrats rejoicing?

12. The President and his skills, locked in the bottom of the plane, evading capture, confronting the men, releasing the fuel, finding the phone, giving the orders, the missile attacking the plane - but evading it? The escort and their attack? The fights, the hostages, his allowing himself to be taken?

13. The hostages and their fear, the national adviser and his death? The protocol adviser and her being taken into the centre, her being executed in front of the First Lady and her daughter?

14. Gary Oldman as villain? His henchmen, getting themselves on the plane, their cover? The attack, the violence, the shooting? Weapons? Killing of the pilots? The cause, past glories of Communism? The phone calls to the White House, the dialogue? Shooting the hostages? The confrontation with America? With the Russian President? The pilots and the attempt to land the plane, almost on the ground, the henchmen getting the plane up in the air again? The escorts, the missile? The issue of refuelling and his control? Confronting the President, the clash of ideologies, the accusations of killings and massacres? His treatment of the First Lady and her daughter? The anger at the President's hiding and being destructive? The final issues, control? Going down to the parachute hold, the final fight, melodramatic? The parachute and his being ordered off the President's plane? His death? The henchmen, their control, their deaths?

15. The fax, its effectiveness, the officer and her being able to send a message? The getting of the hostages out of the room, parachutes? The discovery of the open hold the people falling off the plane, the President hanging on and being rescued? The role of the traitor, letting the people on the plane, his having to go along with the parachuting?

16. The President and his decision to stay, negotiations? The control by the villain? The negotiations with the Russian President, the General and his being released? The villain and his thinking that the mission had been a success? With his death, the reverse phone call, the death of the rogue General, the rejoicing in Moscow?

17. The rescue link, the First Lady and her daughter? The plane and its control? The aide and his death? The confrontation with the traitor? The President and his final going across the link? The crash of the plane?

18. Issues of policy and negotiation with terrorists? Strong stances? Humane exceptions? Tough American stances, patriotism? The patriotic issues blended with the touches of American sentiment and cuteness? An effective combination for popular entertainment?

AIR FORCE

US, 1943, 124 minutes, Black and white.
John Garfield, Gig Young, Arthur Kennedy, Charles Drake, John Ridgley, Harry Carey, George Tobias, Stanley Ridges, Moroni Olsen, Edward Brophy.
Directed by Howard Hawks.

Air Force is a well-made war propaganda film of 1943. It was written by veteran Dudley Nichols and directed by Howard Hawks, a director with interest in planes and flight (Only Angels Have Wings).

The film begins on 6 December 1941, focusing on a group in a plane on a test flight. They suddenly become involved, over the Pacific, in the news about Pearl Harbor, have to land for an emergency on one of the Hawaiian islands, proceed to Pearl, to Wake Island and have to make their way to the Philippines.
The film and its plot are seen in the perspective of the uncertainties of World War Two. It is interesting to look at this story and its perspective in the retrospect of the outcome of the war.

Filmed in black and white, with a veteran cast from Warner Bros led by John Garfield, the film focuses on a small group and thus dramatises the impact of the war on American servicemen and on the American people. It ends with a note of urgency.

1. War film? Story of war action? Morale-boosting? Propaganda?

2. Black and white photography, aerial sequences, flying, battles? War sequences? Musical score?

3. The title, the focus, American preparedness for World War Two, neutral, involved, Pearl Harbor?

4. The presentation of the plane and its name: Mary Ann? The crew and their personalities, their roles? The strong cast portraying the crew? Audiences learning about them individually: the pilot and his wife hurrying to the airport, his support of the men, his clash with the failed pilot-become-bomber? The bomber and his resentment, wanting to leave the army, his gradual involvement? The navigator with the hero pilot for father? The old veteran and his wise words, his son and his son's death? The other bomber, his concern about his sister? The other members of the crew, the radio operator and his mother's concern? Typical men? Typical crew?

5. The mission, the ordinariness of the flight, the expected return? The enjoyment of the flight? The Japanese voices, the bombings? The uncertainties? The emergency landing, the Japanese snipers? Continuing on the journey, the sight of Pearl Harbor? Discussions? Going on, reconditioning the plane? The landing at Wake Island? The threat of the Japanese, stealing the parts, rebuilding the plane? Flying on to the Philippines? The sighting of the Japanese navy? Being hit, the bombardier bringing the plane down? The death of the pilot? The involvement in war?

6. Audience knowledge of the war at the time? Pearl Harbor, Wake Island, Manila and the Philippines? The perspective of '43? Subsequently?

7. A well-made war film? Morale-booster?