THE PERFECT STORM

US, 1999, 129 minutes, Colour.
George Clooney, Mark Wahlberg, Diane Lane, Mary Elizabeth Mastrantonio, John C.Reilly, William Fichtner, Christopher Mc Donald.
Directed by Wolfgang Petersen.

The Perfect Storm describes exactly what the film is about. The setting is 1991, and the area of the Atlantic outside Gloucester, Massachusetts. The Andrea Gail headed for the fishing grounds of the North Atlantic and got caught up in one of the strongest storms that had occurred in the South Atlantic. The film, very strong on special effects, gets the audience in the middle of the storm, trying to cope with the crew of the Andrea Gail, trying to anticipate what would happen – and the struggle for survival and limping back into port.

George Clooney had a good role as the captain with Mark Wahlberg as his assistant and Diane Lane as the woman waiting for the crew to come back. There is a strong supporting cast of character actors.

While the film is very strong on special effects, it is strong on drama – and is the work of German director Wolfgang Petersen who made the Oscar-winning The Boat in 1981 and then came to Hollywood making a whole range of films including Enemy Mine, In the Line of Fire and such spectacles as Troy and Poseidon.

1.The quality of this disaster movie? The tradition of cinema disaster movies? The fact that it was based on a true story? Actual characters - and filmed in the places where the tragedies happened?

2.The popular elements of the sketching in of characters, interactions and tensions, the life in Gloucester, the dependence on fishing, the fishing community? The success of building up characters and situating them within the crises of the storm?

3.The title, the book and the bestseller? The situation of the three weather fronts and their combining into the perfect storm? The repercussions for weather, for the Coast Guard, for sailing craft, for rescue?

4.The film and its sense of realism: the Massachusetts locations, the Gloucester settings? The bay, the sea? The blending of the storm special effects with the realism?

5.Audience response to the true story of the perfect storm, to the individual characters at the popular level, their motivations, relationships, tensions, competence, ordinariness and heroics?

6.The Massachusetts fishing tradition, the literary antecedents with Herman Melville and the atmosphere of Moby Dick? The town of Gloucester, the museum, the memorials with the names - and the finale with the names of those who died in the perfect storm? The detail of the world of Gloucester?

7.Billy and his work, his role as leader, his relationship with the crew, the clash with the boss, the lack of fish, the tension? With his crew, going to the bar, the raucous letting off of steam? The relationship with the women in the town? Families? The decision to go again and try to succeed with the fish? His influence on the fellow members of the crew?

8.The weather situation, the meteorologists and their forecasts? The sailors and their skills? The importance of the other captain and her ship, her skills, the relationship with Billy? The warnings, her later concern, faxing information about the storm? The audience responding through her character to the sailors in the storm?

9.The mechanic, his work, an angry man, fighting Murphy, the contrast with Murphy and his relationship with his estranged wife, the kids? The hotel and letting off steam? Pierre and his being a ladies' man? The awkward man and his name, nickname? Meeting Irene, talking to her, her coming to the wharf?

10.Bobby, his relationship with his mother? With his girlfriend, their relationship, wanting to marry her? His relationship with Billy and the contrast with Billy with no wife?

11.The fishing and the exercise of their skills, the lack of fish? The detail of the fishing scenes?

12.The pleasure craft, the people on board, their wealth, the captain and his determination, the response of the two women? The storm, the decisions, the helicopter, the rescue, their being on the Coast Guard ship?

13.The focus on the helicopters and their crew, the skills, the crashes, lack of fuel, trying to refuel in mid-air, the ditching of the helicopters, the rescue, the deaths, the Coast Guard? The picture of the Coast Guard and their skills and the demands made on them during storms?

15.The television studios, the meteorologist, his personality, communicating the information, his response to the storm, the maps and the detailed explanation of the weather movements?

16.The crew struggling hard against the storm, their riding with it, the final decision to go against it, the motivation, the fish, the money? Murphy going overboard, the rescue after the clashes? The bonding between the men? The physical demands? Billy and his speeches, the love for fishing, the meaning of his life? The decision, the huge wave and their drowning?

17.The people back at the pub, listening to the radio, Bobby's girlfriend and her attack on the boss? The grief and sadness of the relatives, the friends?

18.The memorial service, the speech, the listing of the men amongst those who have died in Gloucester?

19.The American perspective, the heroism, the death? The downbeat tone of the ending - but its realism?

PAYBACK

US, 1998, 101 minutes, Colour.
Mel Gibson, Gregg Henry, Maria Belo, David Paymer, Bill Duke, Deborah Kara Unger, John Glover, William Devane, Lucy Liu, Kris Kristofferson, James Coburn.
Directed by Brian Helgeland.

Payback is an unpleasant film which sees Mel Gibson as a bad guy, bent on revenge. While perpetrating a robbery with his colleague Val (Gregg Henry) he is turned on by his wife and Val and left for dead. He recovers, get the assistance of a high-class prostitute (played by Maria Bello) and sets out on a vengeance journey – which leads him to the world of organised crime and to the top.

The film was written and directed by Brian Helgeland who won an Oscar for his screenplay for LA Confidential. Helgeland wrote a number of screenplays (this one based on a Donald E. Westlake novel) and also directed several films including two with Heath Ledger, the humorous A Knight’s Tale and the rather ludicrous The Sin Eater.

1. A Mel Gibson vehicle? Tough Guy image? The image he has cultivated over the decades?

2. The tradition of the tough gangster thriller, the various versions of Donald Westlake's book, The Hunter (Point Blank, The Outfit)? A version for the '90s? The contribution of the writer-director, his skill in writing gangster films?

3. The title, the experience of Porter, the focus of the themes?

4. The moral perspective of the film, the world of the criminals, their values, relationships? Thieves? Honour amongst thieves and dishonour? Their codes, the outfits and their organisation, their codes? The clash of codes?

5. Porter and the voice-over, the hardboiled commentary, the lack of moral perspective, the narrative? Audience sympathies and moral alignment? Porter's perspective on all the characters and the incidents?

6. The opening, the bullets being removed from his back? The focus on his back and his injuries? His remarkable recovery? His motivation for revenge? The $70,000? His getting to his wife, his relationship with her, her surprise, the drugs, his failing to keep her alive?

7. Their lying on the bed, the flashbacks? The Chinese and the stakeout, their not wearing seatbelts? The information about the money? Val and his inside information? His wife and her participating in the robbery? The executing of the job, the Chinese crash, taking the money? Dividing the money, Porter's self-assurance, Val and his turning against him, his wife shooting him? Her motivation - the photo of himself with the prostitute?

8. Val, his type, manic style, greed, wanting money to get back into the outfit? His callous attitudes, his masochism and the prostitutes? The confrontation with Porter? The prostitute and her beating him? The set-up with Stegman contacting him? His plans, Porter's arrival? His giving the leads to the outfit, his lies, manoeuvres? His being shot dead?

9. The Chinese, their anger, their contacts with Stegman? Wanting to shoot Porter but his holding Stegman up at the car window? Porter and his confrontation with the Chinese, shooting them - especially the prostitute?

10. Porter and his going to see Stegman, the pizza boy and his delivery of the drugs, his brutal treatment of him to get the information? The police and their hanging out with Stegman, knowing that he was a drug dealer, getting their cut? Porter and his talk with Stegman, confronting Val? The confrontation with the police on the sidelines?

11. The police, their greed, with Stegman, talking to Porter, the irony of his setting them up, their discussion about their future plans with their money, their being under arrest with the internal affairs police?

12. Mr Carter, his place in the outfit, his assistants, his office, the interview, his despising Porter? His contact with the bosses of the outfit? His discussions, Porter killing him? His henchmen, the car and the explosion?

13. Fairfax and his place in the outfit, his house? The return from vacation, his bodyguards, the shooting of his cases? The camp irony of his manner? His going to Bronson, his distaste for the torture, his going with Bronson to the apartment - and his death?

14. Rosie and her past, Porter as her chauffeur, the relationship, his protection of her, love for her? His going to her for help, her giving information about the outfit's hotel and where Val was? Her love for him, wanting to give up the job? Her decision to take part in his plans, leading on Bronson's son, kidnapping him, in the car? Her going to the room - and a future with Porter?

15. Porter and the confrontation with Bronson, having taken his son, the bluff? The brutality of the torture? The sadism of the torturer? His then doing the deal, telling him which room the son was in, getting out of the boot of the car, the phone call, the empty room and the alerting to the bomb, the explosion?

16. Porter and his success in getting his money back? His future?

17. The film and its observation of criminals, audiences identifying with these characters or not? A brutal, nasty and amoral tone to this world of criminals?

PEOPLE I KNOW

US, 2001, 101 minutes, Colour.
Al Pacino, Kim Basinger, Robert Klein, Tea Leoni, Bill Nunn, Ryan O'Neal, Richard Schiff, Mark Webber, David Marshall Grant, Regis and Kathy Lee Philbin.
Directed by Dan Algrant.

Not a US box-office success, this film came and went from theatres very rapidly. A pity. It is a portrait of a truly burnt-out case, a public relations man who has lost the zest for life and who spends his hours covering up scandals for celebrities, pushing plays that he has no interest in and, indeed, loathes, trying to rally guests to go to functions and persuade personalities to attend and speak. He has reduced himself to a workaholic, pill-popping rat in a New York rat-race. He is played by Al Pacino which means that it is worth a look. Pacino (with a fluctuating Georgia accent) communicates the desperation of the man who leaps at a chance to get out and who is just too late.

There is an impressive supporting cast. Ryan O'Neal plays a Hollywood star who has seen better days but who is still a drawcard despite his less than edifying private life - and his late-in-life conviction that he should stand for politics. Tea Leoni plays against type as a starlet who had talent but has become the equivalent of a callgirl. Kim Basinger has some scenes as Pacino's sister-in-law who is not deceived by the glitter and who persuades Pacino to think twice. The West Wing's Richard Schiff is a tycoon pulling political strings and Bill Nunn an ambitious black preacher who can't resist seeking media exposure.

This is not a nice film. It is not about nice people. It is literally a 'de profundis' film, a film where its central character is lost and cries out from the depths.

1. The title, indication of the theme, the publicist, public relations, connections, significant people, celebrities? Using them to promote other celebrities, functions and causes?

2. The New York City setting, the hotels, restaurants, agency offices, prisons? Authentic yet glamorised locations? Musical score?

3. The time-span of the film, just over twenty-four hours? The indications of time, Eli's day and the cumulative effect of the day, the last day of his life?

4. Al Pacino's performance as Eli Wurman? The publicist from the 60s? The collage behind the credits, the photos in his office, the significant politicians an celebrities that he knew? His comment about having sold himself out, gone for the celebrity and being the slave of celebrities rather than for causes? The Nigerian refugees (and the glimpses of them on television) as a cause by which he could do something good for people?

5. Eli's background, his relationship with Cary, his only major client? The possibility of Michael becoming a significant client? His assistant, ringing him at all hours, getting him to do the hard jobs? Sandy as his doctor, ringing him at all times? His failing health, the drug-taking, recreational, to keep him alert? His business, his age, his wanting to change, his wanting to do some good, the suicide of his brother, the meetings with Victoria and discussions about the future? His relationship to Victoria, her visit from Virginia, meeting her at the play, making the appointment for the next day, his being late, her wanting to talk in the room, her coming on to him, his backing down? Their mutual respect? The evening, her presence at the benefit, the possibility of going back to Virginia, of ending the rat-race life and getting some humanity? The irony that this was not to be?

6. The opening of the play, Eli working the foyer of the theatre, talking to the critics, to the producers, doing something for his friends? The negative reviews?

7. His relationship with Cary, the photos? Cary asking him to get Jilli Hopper out of prison? His doing Cary's will? Trying to get Cary to come to his benefit? The episode with the prison, getting Jilli out? Her reaction to him, negative, humiliating him? Her being on drugs? Two-thirty in the morning, his being desperately tired? His having to be Cary's lapdog? Going to get her to the airport, her return to the opium den? His seeing the celebrities, seeing Elliot Sharanski there, the drugs, his dose of opium? Jilli and her search, the owner of the place getting rid of her? Her looking for her toy? His going to the hotel with her, discussions about his life, the meaning of his life, his taking pills? Her being drugged? The frank talk between them, her background, starlet, going to Hollywood, her drug-taking, being the equivalent of a callgirl? His lying in the bath after making the phone call to Sandy? His glimpsing the murder through the open door? His wakening the next morning, not realising what had happened? Coming to his senses, with the photo and the camera?

8. His going back to his office, his having to deal with the people for the benefit, going uptown to Harlem, the meeting with the Reverend Blunt, the committee, Blunt and his tirade against Sharanski, his attack on Eli? Eli pulling out all the stops, powers of persuasion, getting Blunt to come to the meeting? Blunt, modelled on black leaders in Harlem like Al Shipton? Frank, wanting publicity - and Eli able to offer him exposure?

9. Going back to the office, meeting Michael, making the plans for the dinner, the upset at which room they were to be in? Trying to contact Cary to persuade him to come, to get the singer?

10. Going to Sharanski's office, the discussions, persuading him to come to the benefit, to be on the same platform as the Reverend Blunt, to be introduced by Cary? Eli's discovery that Cary was not wanted by this group, Sandy and his presence and wanting Eli to be honest about what had happened with Jilli's death?

11. His trying to lie down, the discussions with his assistant, the personality of his assistant, doing all the phoning and the hard jobs, his wanting to return to Seattle, Eli's comment on the wisdom of this?

12. The fight at the restaurant, the fashion editor and his defeating her? The guests at the benefit, the singer performing, everything seeming normal on the surface, his working the room, meeting everyone? Sharanski not wanting to come in and sitting in his car? Reverend Blunt in the kitchen? Their deals, who would speak first, Cary turning up and the possibility of success? His introductions, the photos, the speeches, the smiles? Cary and his firing Eli, despite their friendship, wanting somebody more dynamic for his political ambitions for the Senate? Sharanski's hostility?

13. Eli and going for the walk with Victoria, seeing her to the hotel, the decision to retire to the country, at the newspaper stand, his being stabbed and not realising it, his going home, sitting and watching the television? His death?

14. Regis Philbin and his wife on television, Eli having wanted them to come, their not being seen at the benefit, their having been there, their judging it a success?

15. The final shot, the long tracking into the air and the camera turning New York and Manhattan upside down?

16. An interesting glimpse of the world of celebrity, of politics, of public relations? Of surface smiles and of deep divisions in the dark side, leading to drug abuse, sexual abuse, political vengeance, murder?

PIECES OF APRIL

US, 2003, 80 minutes, Colour.
Katie Holmes, Patricia Clarkson, Derek Luke, Sean Hayes, Oliver Platt, Alison Pill.
Directed by Peter Hedges.

A movie genre that sprang up and developed, especially during the 1990s, was the Thanksgiving reunion and dinner genre: What's Cooking, Home for the Holidays, The Ice Storm, The Myth of Fingerprints... family antagonism, the reunion, the meal, possible reconciliation. Pieces of April belongs firmly to this genre. The dramatic action of this brief movie takes place over 12 hours of Thanksgiving Day. It is both a cooking movie and a road movie.

Katie Holmes as April is in charge of the cooking and is plagued by problems (which word sets her black African neighbour into fits of laughter, a nice white girl with problems!). What's cooking here is a New York City racial mix, Chinese included) who can come together happily for the dinner - except for the rather prissy Sean Hayes and his dog, Bernadette, who shows that the holiday does not mean kindness to everyone. Hayes makes an impression and offers a different variation on his role as Jack in Will and Grace. Antwone Fisher's Derek Luke is April's boyfriend.

Oliver Platt is in charge of the journey as the alienated family make one more effort to see April before her unaffirming mother dies of cancer. Mother (ironically named Joy) is played by Patricia Clarkson in an Oscar-nominated performance, a woman with a caustic mouth and no appreciation of her daughters. Platt, on the other hand, is the embodiment of kindness.

There is an overall sweetness about the movie despite the problems, the arguments, the recriminations and the frustrations in getting the meal ready. This genial tone comes from Peter Hedges, best known for his novel and screenplay of another fine film about a dysfunctional family, What's Eating Gilbert Grape. Hedges has a gift for creating dysfunctional characters as he also wrote the screenplay for
About a Boy. Pieces of April is his directorial debut.

1. The film as a Thanksgiving Dinner preparation and celebration story? The American themes of Thanksgiving, April and her trying to explain to the Chinese family the nature of Thanksgiving, American history, the Pilgrims, their hardships, the indigenous native Americans and the repercussions of the settlements? American celebration of Thanksgiving, especially reunions in families?

2. The title, the song, 'Pieces of April'? The focus on April, her shattered life? The regard in which she was held by her family, disregard? The pieces coming together?

3. New York City, the dingy area, the apartment, the apartment block, the staircases and other apartments? The ugliness of the street and the graffiti? Downtown New York City and the contrast? The contrast with the family home, the country, New York State, driving along the highways? The diners? The contrast between city and country? The musical score, the songs?

4. The initial focus on April, her age, appearance, in New York City, the apartment, with Bobby? Getting up, the prospect of the day, making Thanksgiving Dinner and her inability in the kitchen? Bobby's skills? The turkey, washing it, dropping it? Stuffing it? Her inability peeling the vegetables? Her plans, lists? The oven not working? Bobby away? Her initiative, going to the various people in the apartment block to see if she could borrow their ovens? The people not answering the door, slamming the door in her face? Evette and Eugene, suspicions, laughing at a white girl having problems, inviting her in, lending the oven for two hours, the discussions about food and Eugene's skill in specialties for Thanksgiving, her telling her story about her alienation from her family, especially her mother? Trying to get other people to help her for the two hours, the incomprehension of the Chinese family, the young woman who wouldn't allow poultry in her oven because she was a vegan, disregard from other people? The recommendation to go to Wayne, his arrival, with his dog Bernadette, the detail of the oven, his prissiness, his wanting some advantage, falling out, her comments, his slamming the door, her climbing up the fire escape to recoup the turkey? His being insulted? The Chinese family, communication, their giving her the oven, her trying to explain Thanksgiving to them? Their bringing down the turkey beautifully cooked?

5. Bobby, his relationship with April, helping her with the cooking, going out on his errand, people telling him that somebody was expecting him, the phone calls, the connection (and audience expectations that it would be a drug deal by a black man)? The irony of the true mission, the Salvation Army shop, trying on the coats, getting the suit, on his motor board? Meeting April's former fiance, changing his name? The confrontation, his being bashed? The return home?

6. The neighbours: Evette and Eugene, the black family, laughing at white problems, yet helping out, the story, the beautiful dinner, the extras? The Chinese family, sociable, lacking language, helping out, listening to the Thanksgiving story? Wayne, his behaviour, manner, the dog, his mean-mindedness? The other members of the apartment block?

7. The family at home, the beginning of the day, Jim and his waking up, searching for Joy, getting the kids to search, her sitting in the car waiting to go? Their hurrying, her bipping the horn, Timmy forgetting the camera? Beth and her trying to persuade her mother that there was no need to travel? Joy and her cancer, her wig, her illness, vomiting, yet her determination to go? The trip, going to the diner and eating all the sweet food? Jim throwing the candy into the trash bin? On the way, picking up Joy's mother, her incomprehension, the explanations of who everybody was? The difficulties on the trip, hitting the animal, burying it? The pulling over, Joy and her pretence to be ill, her making the joke about April's food and what strategies to avoid eating it? Finally stopping at the road, Joy getting out, Jim following her, persuading her to get back in the car?

8. Joy, forty-two, the cancer? Her caustic aspects, her formerly being kind and gentle, her mother's comments and disowning her? Her disdain of April, her failure of having happy memories, only remembering Beth? The falling out, the concern about April and her drug-taking, the dealer? The decision to go? In the car, her ironic comments, listening to the music, getting them to stop and giving the indication that she was sick whereas she was making the joke about April's cooking? Her being sick and vomiting on the way? Her wig? Her getting out of the car, not wanting to go, thinking everything would be a failure? The chemotherapy affecting her moods? Her love for Timmy? Her taking Jim for granted but loving him? Getting back in the car?

9. Jim, his concern, a good man, nice, his love for his children, love for his wife? Driving, throwing the sweets away? Pleading for Joy to continue the trip?

10. Beth, her age, the perfect girl, prissy, her comments, having everything perfect? Her singing and her mother wanting her to stop? Apologising? Her criticising everybody? Timmy, his age, the photos, more genial, making jokes about the memory of the pink nightgown? Joy's mother, her age, in the home, identifying people, disappointed at her daughter's behaviour?

11. The arrival at the address, the family thinking it was the wrong street, Bobby's arrival, his greeting, identifying himself? Their shock, the reactions? Their driving away, April going down and their not being there? Their going to the diner, wanting a nice meal? Joy going to the restroom, seeing the mother abandon her little girl in the toilet? Her change of heart, she and Timmy asking the bikers to give them a lift? Her arrival?

12. The dinner, April achieving success with the dinner? Her serving the plates, the Chinese family present, Eugene and Evette turning up? Her mother's arrival, their embrace, the possibilities for a reconciliation? Tim and the bikers joining in the dinner?

13. The director's technique for the dinner, a series of close-ups, stills, some movement but no dialogue? The cumulative effect of this collage? Jim, Joy's mother and Beth arriving?

14. The purpose of Thanksgiving, the food and the celebration, everybody together, the ethnic mix in the United States? Thanksgiving as a time for thanks, family and reconciliation?

PAVLOVA, A WOMAN FOR ALL TIME

1983, 155 minutes, Colour.
Galina Belyayeva.
Directed by Emil Loteanu.

Pavlova, A Woman For All Time is an Anglo- Russian co-production. It is an ambitious film but falls far short of its ambitions.

It is an old-fashioned kind of cine-biography. It outlines some of the facts of Anna Pavlova's life and career, presents her dancing, but gives very little insight into the woman and feel for her ambitions and career.

Galina Beliaeva is quite attractive as the dancer. There is a group of international stars supporting her from James Fox as Victor d'Andre, presented as a fashionable man, an aristocrat and official who falls in love with her, is extravagant with her and buys a house for her. How~ ever, he falls into financial troubles and Pavlova rescues him. They move to England. In fact, the film is designed as a flashback memoir by d'Andre.

More interesting is the portrait of Michael Fokine, the dancer-choreographer with whom she studied and with whom she danced for Diaghalev. He is presented as an exile in America, having achieved some success, while she is a touring exile. There are guest portraits by Bruce Forsyth as Alfred Batt, the English entrepreneur and Martin Scorsese as Gatti Cassaza, the manager of New York's Metropolitan Theatre. Roy Kinnear also appears as a gardener.

The film captures something of the atmosphere of Leningrad before the Revolution, of Diaghalev and his dancers in Paris, including Fokine and Nijinsky. It shows Pavlova dancing for the impresario in popular theatre in England. It also shows Pavlova's own company, with humiliation of a midnight performance in New York but a great success. It also shows her touring especially in South America. It also shows her illness and her death in Holland.

Of interest to a broad audience - but the equivalent of, say, a Reader's Digest portrait of a famous dancer.

THE POSEIDON ADVENTURE




US, 1973, 124 minutes, Colour.
Gene Hackman, Ernest Borgnine, Stella Stevens, Shelley Winters, Carol Lynley, Red Buttons, Eric Shea, Pamela Sue Martin, Roddy Mc Dowell, Jack Albertson, Leslie Neilson.
Directed by Ronald Neame.

The Poseidon Adventure proved to Hollywood that general audiences like human interest films and were keen on disasters. After The Poseidon Adventure there was to be Beyond The Poseidon Adventure and then skyscrapers burning in The Towering Inferno, Zeppelins crashing in The Hindenburg, and the self-explanatory Airport 75, and Earthquake. one might ask why the public is so interested in disasters. They certainly hold a fascination of death and
challenge.

However, The Poseidon Adventure was extremely popular. Shelley Winters in her portrayal of a Jewish grandmother and underwater swimmer helped the mood of the film considerably. The appeal of Gene Hackman as the leader (a minister and potential Christ-figure) was also to the film's advantage. The special effects won an Oscar and were very impressive, especially in the overturning of the ship and flooding of the dining room. The song The Morning After became very popular. It is a very enjoyable and well-made film.

1. What were the implications of the title, and the theme song, The Morning After?

2. Why did audiences find the film so entertaining and what were its successful ingredients? Do people like disaster film? Are they morbid or captivated by the theme of survival? Do they identify with the characters?

3. How interesting was life on the ship as a floating hotel? Was this well illustrated? The atmosphere before the disaster, did it help to pin-point the people on the ship?

4. How was the ship presented in its last voyage? The new owners and representative? Difficulties of the storm and ballast? what moral comment was the film making?

5. How plausible was the disaster? Was it technically impressive?

6. Was the atmosphere of the party preparation for the disaster? What was your response to the capsizing of the ship, people sliding and falling about?

7. The Rev Scott - was he sympathetic? The impact of the message he preached, search for freedom? was he a good leader, decisive? Was he a saviour figure, leading people to survival and giving his life to save others?

8. Rogo and Linda - were they interesting, their married life, background? What did Linda's death mean to Rogo, emotional response and sadness? Why did he take over as a leader and how did this disaster transform him?

9. The Rosens - an enjoyable and happy couple, their Jewish background? Was Manny a good man, considerate of Belle? How endearing and sympathetic was Belle? Was Shelley Winter's performance successful? Was her swimming plausible and giving her life for others? How heroic and moving was this?

10. Comment also on Robin and Susan, Nonnie, Mr. Martin, the steward, Father John and their reactions to the disaster.

11. What effect did this tragedy have on the survivors? What was your reaction?

12. Would you say this was a good adventure film, realistic, showing human ingenuity for survival, sudden reality of death?

13. Can you indicate its most important themes?

14. Give your views on life, death, trust, hope, kindness and survival.

THE PARENT TRAP

US, 1998, 110 minutes, Colour.
Dennis Quaid, Natasha Richardson, Lindsay Lohan.
Directed by Nancy Myers.

Hayley Mills did a wonderful job as twins in the original film in the 60s, a pert American twin and a proper English twin who suddenly meet and find out about each other (one living with her father, the other with her mother). They decide to change places and plot to bring their parents together again. It has now been pleasantly updated (and, for a modern fairy tale, they live in very affluent and successful circumstances) and made all the more poignant as marriage break-up has become so much more prevalent than in the 60s.

Lindsay Lohan does an excellent job as the twins, creating a lively personality for each. Natasha Richardson and Dennis Quaid are the parents. Humour, sadness, hope - a family film.

1. A popular story? The German origins in the story Lottie and Lisa? The popular film with Brian Keith, Maureen O'Hara and the young Hayley Mills in the 60s? Audience familiarity with the story?

2. The contrast with the settings: London and sophistication, Napa Valley and vineyard wealth? The atmosphere of the London home, the city of London? The openness of California, the valley, the house? The locations like restaurants as well as the summer camp? The musical score, the wide range of songs?

3. The title, the reference to the twins, their parents' separation, wanting to bring them together again, their successfully doing so?

4. The London household: Annie with her mother, age, experience, the butler, Martin? Her mother's work, life, busyness? Her relationship with her mother? The comparisons with Hallie, her relationship with her father, his work, success? Chessie as the manager of the household?

5. The summer camp in Maine, life at the camp, the girls there, those in charge? The routine of the camp? The encounter between the two girls, the comic touches, their astonishment? Their getting on well together? Their discussions, the realisation that they were twins? Their plan, deciding to take each other's place?

6. The vice-versa comedy, the American trying to be English, the English trying to be American? Lindsay Lohan's skill in creating the two different characters as well as each pretending to be the other? Annie and her being with her father, trying to adapt, learn to understand him, the various devices in order not to be detected? The encounter with Meredith Blake, her work as a publicist, her wanting to marry Nick? The clashes between Annie and Meredith? The contrast with Hallie in London, trying to be English, trying to understand her mother? The information about Nick and his remarriage?

7. Hallie and the discussion with Elizabeth, the truth? The mother's amazement? Her decision to go to America with her daughter?

8. The meeting, the ten years' absence, their appreciation of one another, memories of their separation? The twins and their presence, the father and his discovery of his other daughter? The move towards a happy ending?

9. The tricks on Meredith, her being a bad sport, her getting the huff and leaving? Her ultimatum to Nick, his choosing his daughters?

10. The characters of Martin and Chessie, the faithful retainers in each household, their attraction towards one another - their romance!

11. The happy reunion, the parents together again, the twins together again?

12. The predicability of the action, yet the charm with which it is performed and audiences identifying with the twins and their hopes for their parents getting together again?

PROM NIGHT

Canada, 1980, 90 minutes, Colour.
Leslie Nielsen, Jamie Lee Curtis.
Directed by Paul Lynch.

Prom Night is one of several slasher films that feature Jamie Lee Curtis after her debut in John Carpenter’s Halloween in 1978. She appeared in other Halloween films as well as Terror Train.

This is the kind of slasher movie that became popular after Halloween – and was released in the same year as the first of the Friday the 13th franchise.

This time four young girls were responsible for bullying a young girl who fell to her death when they were twelve. When the prom night at the end of their school career arrives, a masked avenger comes to torment them.

The film capitalises on the high school atmosphere, on Jamie Lee Curtis as the scream queen as she was called at the time, and with Leslie Nielsen as her father. Direction is by British-born Paul Lynch who began work in television in the early 1970s and continued to work prolifically with telemovies and television series.

1. An enjoyable and successful thriller? The appeal of this kind of nightmare horror? Gory murders? The threat to young victims? The realistic American scene? for what audience was the film made? Adult, adolescent? Its quality?

2. The title and its American focus? Adolescence, school? Heroes and heroines?

3. How well did the film create the atmosphere of the small American town, family, school, Prom night and preparations, the range of adolescents, their interrelationships? The police? The escaped madman and the atmosphere of fear?

4. The prologue and the black aspects of the killing game the children played and the irony of its being played in sunlight? the seeming innocence of the children and yet their mouthing the word 'kill'? The irony for the rest of the film? The victim girl and her encounter with the children? The ugly aspects of their hounding her? Her death? Wendy and her control of the other children? Their fear of going to prison, hiding the truth?

5. The irony of the pervert being arrested, the general assumption that he was guilty? His disfigurement by fire, interment in the asylum? The coincidence of his escape, his murder of the nurse? His being captured at the melodramatic moment? The device as a red herring?

6. Prom dates: the passing of time of six years, the family at the victim's grave? The role of the father in the school? His grief, the mother's grief and her getting over it? Preparations for the Prom Night dance?

7. Kim as heroine, a pleasant and resourceful young girl, Queen of the Proms, her practice dancing, her intelligence and friendliness with the other girls, sport? Her place in the family? Her friendship with Nick and going to the Prom with him? Her fondness for Alex?, her friendship with Kelly and the other girls, their discussions, especially about sex? Wendy and her jealousy? Dressing for the Prom, the long sequence of her disco dancing with Nick? The procession and its gory ending? Her violent reaction to save Nick and the irony of her killing Alex? her stunned grief at the end? How well delineated a character for this kind of thriller?

8. Jude in the present and the memories of her in the flashbacks? her friendship with the boy in the band? The threats to her, the photo, the knife? The encounter with the boy in the band, on the cliff, the ugliness of her murder? The boy's death? Kelly and Drew and the threats? Drew leaving Kelly? The ugliness of her death?

9. Wendy and her control? The memories of the past? Lew as the bully in the school? His expulsion? Wendy's using him? The ride to the dance, the plans for disrupting it? The ugliness of the pursuit of Wendy throughout the whole school? Audience antipathy towards her and reaction to her death?

10. Alex at home, the viciousness of the fight with Lew? The murders and the discovery of the truth? how evident was it that he was the killer? The credibility of his actions and motivation?

11. The brief delineation of the father and his role in the school, the mother and her grief?

12. The scenes of violence, pursuit? The suspense atmosphere the invitation for the audience to scream?

13. The appeal of this kind of nightmare horror thriller? A bad influence in frightening audiences, promoting violence? A more cathartic effect for audiences being scared and experiencing nightmare?

PSYCHO

US, 1960, 108 minutes, Black and white.
Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, John Mclntyre.
Directed by Alfred Hitchcock.

Psycho is considered a Hitchcock classic, and was thought to be outrageous on its first release. As the years have gone by Psycho has been discussed a great deal; Hitchcock is alleged to have said that it was a 'fun film’.

This film marked his return to black and white photography, appropriate for the stark Gothic horror. The author was Robert Bloch who has written quite a number of horror films, especially in such omnibus English series as Torture Garden, and The House that Dripped Blood. Anthony Perkins has presented quite a number of sensitive neurotic characters in his films and this is one of the best. The success of the film depends a great deal on audience reaction to him. One of the surprising things was the disappearance of the main star of the film before it was half over. The film jolted even the ordinary expectations of the audience, as well as making them scream.

1. What is the meaning of the title? Do you agree with Hitchcock's statement that this was merely meant to be a 'fun film'?

2. Was this a successful thriller? Which were more important, shocks or suspense?

3. Why do audiences respond so vividly to Psycho?

4. How well did Hitchcock establish the beginning of the film? How important was this for audience identification and involvement with the characters?

5. Marion Crane - implications of her lunch hour meetings with Sam, their love affair, wishing to marry? Fear of her mother, Sam's inability to marry because of money problems? Was this important for the rest of the film?

6. Marion's temptation to steal. Why did she steal the money, for whom? Did this bother her? How was this illustrated?

7. How did Hitchcock create suspense and involve the audience - Marion being followed by the police, and being worried by the rain?

8. The Bates' place? How sinister?

9. What were your first impressions of Norman? Did he seem normal?

10. How did Norman change Marion? Did she understand him?

11. Did you believe that there was a real mother? Has Hitchcock fair in creating this impression? Did he play unfair tricks on the audience?

12. What were your impressions of the murder? How did it shock your sensibilities?

13. How were your emotional responses challenged by Norman's actions?

14. Why was Lila introduced only at this stage of the film? Was she a credible character?

15. Can you understand how Sam was under suspicion?

16. Were you surprised by the entrance of Arbogast? What was his function in the film? His murder is considered something of a classic. Why?

17. How did Arbogast's death make the visit of Lila and Sam all the more ominous?

18. Was the psychological postscript convincing? Was it necessary to explain what had happened? How well was it handled?

19. How much insight into human behaviour, madness, guilt did the film give?

20. Visual detail: precise opening-setting in Phoenix; Marion's going home, seeing her boss, mental dialogue; selling the car and the police; Norman's fussiness and his hobby; Marion's decision to return; the paper in the toilet; the disappearance of the car and the money; Lila's similarity to Marion; Lila's psychological tour of the house; the attack on Lila; Norman's finally be- ' coming his mother (and the fly)?

PRESSURE POINT

US, 1962, 80 minutes, Black and white.
Sydney Poitier, Bobby Darin, Peter Falk, Carl Benton Reid.
Directed by Hubert Cornfield.

Pressure Point is a short but telling message film that tackles a number of issues very sincerely, perhaps at times a little too sincerely in a way. It fits into the cycle of Sidney Poitier films that show him as good and heroic (A Patch of Blue; The Slender Thread; To Sir With Love; Guess Who's Coming to Dinner) although it pre-dates these by some years. In 1963 he won the Oscar for Lilies of the Field.

Bobby Darin has acted effectively in several films. Here he has quite an unsympathetic role which he handles well. Direction is by Hubert Cornfield who made the Marion Brando drama (banned in Australia in 1969), The Night of the Following Day, later seen on television. Pressure Point is a good film on racism, America, psychiatry and mental illness.

1. What was the Pressure Point referred to in the title?

2. Was the structure of the film effective - setting, central flashback, commentary by Poitier, Darin's childhood and past, his fantasies and dreams? How else would this story have been told?

3. How important was the message of racism in the film?

4. Was Sidney Poitier's character credible, likeable? The effect of seeing him as older advising a younger doctor? What was the point of telling his story?

5. What did the war setting, prison, psychiatry, black and white photography add to the film?

6. What were your first impressions of the patient? Sympathy in spite of his hostility? Did he need treatment and did the doctor offer this to him?

7. Did the doctor allow personal hostility to interfere with his treatment? Was he right in attempting to refuse the case? Was he ultimately successful in getting a positive response from the patient?

8. How interesting was the case history of the patient? The doctors remarked that there were a million men in similar situations but had coped. Why hadn't this patient?

9. What did the film have to offer on right-wing tendencies in people, the paranoia of fascists and appeal of extreme fascism to such personalities; their fear of personal violence yet advocating extreme violence? The patient's Nazism in relation to African Americans (better than Jews - they could be identified without a star)?

10. The individual optimism of each and their clash - that Fascist liberty would win and the Doctor's view that sanity would keep winning? The patient's taunt that the Doctor was dreaming - his United States did not even accord him the equality of the Constitution?

11. What is the impact of a film like this in "educating" audiences to balanced and 'normal' ideas and attitudes? Why? How?

12. Details of the case history: the turns, seeing himself (then his father) struggling in the sink; his lonely childhood; neurotic mother; the drunken father and the girl and his love for his mother; destructive games at school; his dislike of blood - the incident with the liver; his potentate fantasy and the elephant treading on him; his work after school; his meeting with the fascists; his going to Nazi meetings and signing up; his visual presentations of how the Nazis grow in number and build up funds; the rally; the aims of the Nazis; his arrests; the Doctor's analysis of why he joined the Nazis. The film informed us quietly of the execution of the patient and showed us the Doctor's success. Was this a convincing optimistic view?