THE BRIGHTON STRANGLER

US, 1945, 67 minutes, Black and white.
John Loder, June Duprez, Miles Mander, Rose Hobart.
Directed by Max Nosseck.

The Brighton Strangler is a small RKO programmer made at the end of the war but focusing on London during the war and the air raids.

It is a murder thriller, has an ingenious plot twist which was later used for A Double Life in 1947 where Ronald Colman won his Oscar for best actor in a similar kind of role. A very successful actor is tired of playing his role as the Boston Strangler and is about to finish the season, and get married to the playwright. However, he is injured in an air raid and loses his memory. However, he has the props from the play in his pocket including the rope and a ticket for Victoria Station luggage. He then assumes that he is the character from the play. He goes to Canterbury to meet his fiancée but meets an attractive young woman on the train, helps her with her military husband. However, he begins to repeat the scenario of the play, killing the mayor, killing the police chief. The film builds up to a dramatic climax where he repeats the final scene of the play with the young woman on the roof of a hotel in London.

The film is well written, well acted – and, although the plot device is more familiar now, it still has quite a strong resonance.

The film was directed by German-born Max Nosseck who made a number of films in the US during the 1940s and 50s.

1.An entertaining short programmer film?

2.Black and white photography, the American sets, the London setting, Canterbury? Authentic feel? Atmospheric score? The black and white photography and its light and shadows?

3.London, the blitz, theatres, military activity? The trains? Police investigations? Life in a provincial town? Authentic atmosphere?

4.Reginald Parker, the opening with the performance of the play, the murder? The curtain call? His wanting to leave the show? Its success? His relationship with Dorothy, her writing a new play for him? The engagement? The theatre manager? The coupons for Dorothy’s wedding dress? The phone call and cut off? His being caught in the raid? The injuries? Presumed dead, Dorothy not being able to identify the body?

5.Reginald and his bewilderment, the amnesia, finding the rope, the ticket? Assuming that he was Edward Grey from the play? Going to Victoria, buying the ticket, going to Canterbury, the memories of the play rather than his real life? The discussions with April on the train, her help with his amnesia? His helping her with her husband? Deceiving her parents?

6.Edward Grey in Canterbury, being invited to April’s house, meeting her parents, meeting the mayor? His killing the mayor and repeating the lines from the play? His later discussions with the police chief and murdering him according to the play? The irony of the blind man coming into the room to get some recordings and not realising the police chief was dead?

7.Reginald/Edward and his bewilderment? Remembering the play? Puzzled about what he had done? His helping April? Meeting Bob at the station? His nightmare and speaking and Bob’s suspicions? His taking April to the concert, going out to murder the police chief? Meeting April again? Going to London with her? The repetition of the final part of the play? The police pursuing, Dorothy, suggesting they applaud him rather than shoot him and his response to the applause? April’s safety? His falling from the building?

8.The background of April’s family, Bob and April and their relationship? The police and the investigations? The finale?

THE DAMNED UNITED

UK, 2009, 97 minutes, Colour.
Michael Sheen, Timothy Spall, Jim Broadbent, Colm Meaney, Stephen Graham, Maurice Roeves, Peter Mc Donald, Martin Compston.
Directed by Tom Hooper.

No problems for English audiences as long as they have a good knowledge of football and football history (which they tend to). A first problem for a non-English audience is wondering who is the United team, anyway. In recent history, it has been Manchester United which has been at the top. But this damned United is not Manchester. So, for the non-initiated, it is Leeds United who were the champions in the late 1960s, early 1970s.

With the identity problem out of the way, we next face the problem of Brian Clough. Once again the English know who the subject of the film is (the way that Americans know instantly the baseball champions whose lives are transferred to the screen when the rest of the world is none the wiser). Well, after watching The Damned United (and it is certainly a film that many will find worth watching), we know who Brian Clough was – and are fascinated that a man you probably would not particularly want to meet had such an impact on the game.

So, this is what the film is: a portrait of Brian Clough.

Since he is played by Michael Sheen, that in itself is a recommendation these days. In recent years, Sheen has excelled as Tony Blair (The Deal, The Queen), as David Frost (Frost/Nixon), as Kenneth Williams (Fantabulosa) – and as Lucian the head of the Lycans in the Underworld series! Once again, Sheen creates a distinctive personality. And, once again, he is speaking lines written by Peter Morgan (The Deal, The Queen, Longford, The Other Boleyn Girl, Frost/Nixon). This is quite a powerful combination.

Based on a novel by David Peace (The Red Riding books), Morgan illustrates Clough's character by showing him taking over as manager of Leeds United after years of envy of them and their coach Don Revie (Colm Meaney excellent in the role) who has been appointed England manager. The screenplay keeps going back to the late 60s with Clough's amazing achievement of bringing Derby Country from the third division to the first. He works with assistant Peter Taylor (Timothy Spall also excellent) who has a talent for recognising good players. Clough goes over the head of the chairman of the Club (Jim Broadbent in another excellent performance) in recruiting players.

But Clough has a huge ego, has a loud mouth, is consumed by ambition to beat Revie who had ignored him at a match. He antagonises the Derby Board, clashes with Peter Taylor and, on arrival at Leeds, finds no co-operation with the players who are still loyal to Revie.

There is enough drama here to interest non-footballers as well as the fans. The performances are worth seeing and the downfall (all his own fault) of a man with talent and potential makes one reflect.

1.A film for English audiences? Football audiences? World audiences?

2.A film about personalities, personality clash, management, ambitions?

3.The atmosphere of the 1960s and 70s with United Kingdom soccer, the defeat in the World Cup? The role of managers, clubs, the competitions, the fans, the cities and sport?

4.The period, the use of contemporary footage, making the film like the footage? Clothes, hair, cars? Television interviews?

5.The structure of the film: the focus on the 1970s, Brian Clough and his appointment to Leeds United? The flashbacks to his career in the late 60s? The fall and rise of Brian Clough? The comments on him and his work? The inconsistencies, the ironies, failure?

6.The focus on Don Revie? His role as manager of Leeds, his way of dealing with the press, interviews? The naming of his successor and his being the England manager? His reaction to Brian Clough? The phone calls, the meetings of the board, anger? The antipathy between Clough and Revie? The history of Revie’s team, their great success, the focus on the draw and Clough’s delight to be playing Leeds? The match, the preparations, Revie ignoring Clough? The enmity on Clough’s side? Revie and his tactics – and the accusations of cheating? The players and their extreme loyalty to Revie? As a manager, the discussions with Clough, the press, the phone calls in the night, the arguments, the final television interview and his superiority over Clough? The final information – his going to the Middle East, suspicions of his management and accusations?

7.Brian Clough, Michael Sheen’s screen presence and performance? The arrival at Leeds, the announcement of his being the manager, with the children in the car, going to the grounds, arriving late, the children and their interest, his wife coming to Leeds? His entrance and his introduction to the players? His wanting everything to be his show? The men, their behaviour, their lack of loyalty to him? His being imperious, his past in Derby? The draw, the excitement, playing Leeds, the rain, Revie and his superstition of walking from the vehicle to the grounds? His being ignored by Revie? His talk to the Leeds players, cutting off the past, not wanting any of Revie’s influence? His abilities or not as a manager? Leeds and the continued losing, the talk, the management and their dissatisfaction? His badmouthing the board? The players and his focus on the captain, reliance, his criticisms of Johnny Giles, the Irishman? His moods, the opportunities, finally alone and alienated?

8.The portrait of Peter Taylor, Timothy Spall’s presence, a good man, loyalty to Derbyshire, loyalty to Brian? The discussions, the club and its progress, his advice, his eye for successful players, his influencing Brian and Brian’s going to meet the players, in London, bringing them in? The clash between Taylor and Clough? Taylor not wanting to be outspoken against the Derbyshire management? Being persuaded by Clough, losing his job? Their going to Brighton, his house, his wife, the regular life and his relishing it? His decision to stay in Brighton?

9.The picture of the players, their background, hard work, winning, Leeds and the cheating issue? Rough playing? The captain, the individuals? The Irishman and his chip? The young men from Derbyshire? The failure under Clough, no loyalty?

10.Brian Clough and his family, his relationship with his wife, children? His work in Derby, his success, getting Derby through the ranks, the decision to go to Leeds which he disliked?

11.Derbyshire, the draw, hopes, Clough and his background, the matches, the determination, the collage of their rising through the ranks? His drinking – and a later problem?

12.Clough and the failure in Leeds, the phone call to Peter Taylor, the visit, after his dismissal, the old friendship, the reconciliation, the melodrama of his apology? His continued work with Taylor over the years and success?

13.The confrontation with Don Revy on the television, his being toppled, his being humiliated?

14.Clough and his pride, ambition, his lack of people skills, his self-confidence, his football skills or not?

15.Clough’s loud mouth, his attitude towards the Derbyshire board, not telling the board about his scouting and the payments, the clash with Sam Longson, the head of the board? The matches, his not taking the advice, Longson and his ability to see the overall picture, Clough’s failure, the loss of the match in the rain? The board and their lack of tolerance after such attacks? Letting him go? Clough and his trying to settle into Brighton, the phone call from Leeds United, his instant decision, not contacting Peter Taylor?

16.The history of English football? The place of Brian Clough, his subsequent career and success, media, his drinking and death? Peter Taylor, his abilities, his untimely death?

17.The success of the film as a biopic, as a study of a character, as a portrait of sport, as a personal tragedy – with comic touches?

GENOVA

UK, 2008, 94 minutes, Colour.
Colin Firth, Catherine Keener, Hope Davis, Willa Holland, Pearler Haney- Jardine.
Directed by Michael Winterbottom.

There are so many films that don't leap off the advertisement as 'must see' but, if you happen into them or, later, see them on television or rent them, you are glad that you did. Not everyone will like them. It depends on interests and moods. Genova is one of those films. I am glad I saw it.

The Genova of the title is indeed the city anglicised as Genoa. It is not the most beautiful of Italian cities but it has a great deal of history (Columbus, trade...) and atmosphere. By the end of the film, we do feel that we have visited and lived in the city for a while and have a feel for it and the surrounding sea and beaches and mountains.

Michael Winterbottom makes all kinds of genre films (political like The Road to Guantanomo, In This World), dramas (Wonderland), classic comedy (A Cock and Bull Story). This time it is a family drama.

When the mother (Hope Davis) is killed in a car accident, the father (Colin Firth) decides to take his two daughters from Chicago to Genova where he will lecture at the university, with the help of an old friend (Catherine Keener) and the two girls will go to school there.

There is a lot of edginess because the younger daughter blames herself for her mother's death and suffers from nightmares and sees her mother sometimes in the streets. The older daughter blames her sister and is at that precocious teen age where she wants to be with boys, lies to her father and pressurises her sister to conceal her behaviour. Father and daughters are still grieving and, despite counselling, have not come to terms at all with their mother's death and absence. Genova is both a welcoming city for them to make a new start but the camera keeps reminding us that it can also be sinister, with its narrow alleys and darkness where people can get lost.

Colin Firth has one of his better roles. Catherine Keener is always good. The two girls, however, are very real. Willa Raymond is the pretty, pouting and wilful teenager and Perla Haney- Jardine is a strong screen presence and communicates her fears, her guilty feelings, he nightmares and her sobs most convincingly.

Most audiences will be able to identify with the situations and find a character that they empathise with and understand.

1.A focus on family, grief, coping, not coping, change?

2.The American sequences, the Chicago scenes? The contrast with Italy, Genova, the visuals, the views, the monuments and ancient city, the modern city, the wharves, the alleys, school, university, restaurants? Genova’s reputation?

3.The background of the mountains, the beach, the sea and its beauty? Musical score?

4.The prologue: Marianne and her playing the games with her children in the car, Kelly and her being right, Mary and her enjoying the games? Putting her hands on her mother’s eyes? The crash? The funeral and the grief?

5.Joe, his love for his wife, his daughters, grief, at the funeral, at the gathering, people offering their sympathy? The effect on him?

6.His decision to go to Italy with the children? The reasons? Barbara and the help with the university post, their going to school, spending the summer?

7.Barbaray as good friend, the background of her friendship with Joe at college, her work, her being a good tour guide, finding the apartment, going on the outings? Mary and the explanations of the church, the candles, the painting of the Annunciation? Mary liking listening to Barbara? Joe and his memories, Barbara and her attraction to Joe, his resisting, even hurting her after what she had done? At the beach, walking with Mary, the church, talking about Mary’s feelings of guilt, the candle, Mary running away, losing her, the search? Relief at Mary being found? Kelly’s piano recital? A strong portrait of friendship?

8.Joe, the tutorials, the students, discussions about Europe? Friendship with Rose? The coffee, at the beach, the lunch with her, flirting and kissing?

9.Mary, her age, her feelings of responsibility, the counselling after her mother’s death, her frequent nightmares, waking up, calling out, the deep sobs in the night? Her going to Italy, polite, poised, the piano lessons, the teacher and his help, playing with the children, walking home, the alleys, discovering Kelly with the boy, Kelly’s threats? The church, the candles, her prayer, faith? Listening to Barbara’s explanations? At the beach, enjoying the swimming, talking to Barbara in the church about her feeling guilty? Her disappearance, seeing her mother, hearing her mother? Her being lost, wandering, crossing the street to get to her mother, the cars? Settling down in Genova?

10.The contrast with Kelly, her age, grief, blaming Mary? Selfish, bored, not wanting the school after the tour, flirting with the boys, going out, on the bike, her lies, late home, drinking, the sexual relationship, at the apartment, Mary catching her, her being anxious when Mary was lost, the possibility of settling down, her going to the school?

11.The glimpse of Italian boys, flirting, sexual relationships, callous, the boy not giving a lift to Mary, the other friend helping her?

12.The range of situations, the continual edge, audiences expecting something terrible to happen?

13.Joe, his coping, Rose, his sense of responsibility for his daughters, his fears for them?

14.The challenge to the family, their future?

WHITE CHICKS

US, 2004, 109 minutes, Colour.
Shawn Wayans, Marlon Wayans, Jaime King, Frankie Faison, Lochlyn Munro, John Heard, Terry Crews.
Directed by Keenen Ivory Wayans.

White chicks are really the target for this broad (very broad) comedy. The arrogantly wealthy shop-till-you-drop crowd whose ambition is to be seen as socialites at in-parties, are mocked rather mercilessly.

This is a Wayans Brothers (Living Color) enterprise.Two FBI agents (Shawn Wayans and Marlon Wayans) have been too quick on the draw and are assigned guard duty to two obnoxious white chick sisters. To foil a kidnapping plot, the only thing they can do (but there must be other ways!) is to disguise themselves as the two sisters. One immediate drawback is that the girls are white and the agents are black. They do it and find themselves having to play being just two of the girls. Of course, they solve the mystery and foil the plots while falling foul of wives and girlfriends.

The film gives the American black audience a chance to hoot at the white chicks. White chicks themselves might not find it so funny as most of them turn out to be mean girls.

1.The target audience? Americans? African American audience? White audience? More universal?

2.The Wayans brothers, their TV tradition, their broad comedy, slapstick, parody? Writing? Wit – and sometimes witless?

3.The lavish settings, the FBI activity, headquarters? The world of the wealthy, the Hamptons, the weekend in the mansion? The grounds, the restaurants? The contrast with the agents’ homes? The musical score and songs? The choreography and dancing? Especially with the step-up rivalry?

4.The title, cross-dressing? The tradition in the movies: Tootsie,Mrs Doubtfire, Big Momma’s House…?

5.The FBI, the confrontation with the criminal, the impersonation of the ice cream sellers, the pursuit? The guns? Mishandling the situation? The chief, his wanting to sack them?

6.The situation with the abduction of the girls? Their going under cover? The transformation of the African American men into white girls? Masks, hair, dresses? The usual jokes about a man trying to cope as a woman?

7.The actual sisters, their haughtiness, the mean girls’ tradition? Flighty, selfish, greedy? The interaction with the agents? Crammed in the car, the dog, the luggage? The dog outside the car, the crash? Their concerned about their appearance? The men taking their place?

8.The credibility of Kevin and Marcus masquerading as white girls? The comedy of their impersonation? The going shopping, the dresses, their being too tight, the girls helping them? The talk? The chatter? The gossip? Talking about the boys? Their relating well with the girls, the girls liking them? The comedy about Marcus’s wife and her phone calls and suspicions? Kevin and the player wanting to court him? The auction, Latrell and his spending all his money buying the girl? The later comedy – and gross, very gross touches with the meal, the physical behaviour jokes?

9.The background of Warren Vandergeld and his daughters, throwing the party, lack of money, his deals? The plan to abduct the girls? Putting the plan into action, his being caught? The girls and their humiliation?

10.Kevin, his attraction towards the news reporter? Hitting on her? Taking her out to Latrell’s apartment, the dog? Her filming the confession? His apologising to her? Going out with her? The happy ending for him?

11.The agents, having to track the girls, their suspicions? Searching the room? Arresting the real sisters and the humiliating search? Losing their jobs?

12.Latrell, his vanity, sports, the auction, dating the girl? The revelation of the truth?

13.The dancing, the fashion show – and things ending in a mess?

14.The men, chasing the criminals in the street? Their masculine behaviour? The final unmasking? The shootour?

15.The dialogue, the heavy satire on affluent white girls and their way of life, behaviour, language and attitudes?

PETULIA

US, 1968, 108 minutes, Colour.
Julie Christie, George C. Scott, Richard Chamberlain, Shirley Knight, Arthur Hill, Joseph Cotten, Kathleen Widdoes, Pippa Scott.
Directed by Richard Lester.

Petulia marks American director, Richard Lester's return to his own country after about a decade's work in England and such successful films as The Knack, A Hard Day's Night, Help, A Funny Thing Happened on the Way to the Forum and How I Won the War. Petulia is not only an interesting psychological comedy about an unusual girl, but a comedy comment on the U.S. way of life in the 60's, If an audience gets on to Lester's wavelength (the film was not a resounding success commercially), it is entertaining and satisfying.

Julie Christie has no trouble in playing the spoilt and eccentric Petulia who wanders in and out of people's lives without having much grasp of the meaning of her own. She is obviously a symbol of the late twentieth century. Archie, her victim, is the ordinary conservative type (good -as doctor, bad - as a failed husband) who serves as the measure for Petulia's 'kookiness', George C. Scott, an excellent actor, invests Archie with a comic, puzzled dignity. The supporting cast is excellent. Richard Chamberlain, who has since emerged as a top actor, shows his ability as Petulia's husband. Joseph Cotten does a cutting caricature of the arrogant American parent. And Shirley Knight acts the part of Archie's wife so well that she may endow the character with more sympathy than is in the screenplay.

Richard Lester uses the techniques acquired from work in television commercials which he displayed so effectively in his earlier films. The sudden and contrasting cross-cutting and unusual angle shots seem like a facet of Petulia's personality and contribute to the 'kooky' mood of the film.

1. What is Petulia about?

2. How did the opening sequence affect your response to the film? - the rich invalids, the swinging party, Petulia and David dancing but not looking at each other, "Highway Safety", Archie wanting to leave?

3. Why did Petulia want to have an affair? Was she serious? She is described as a 'kook. What does this mean?

4. What was your impression of American marriage from the film? Petulia's, Archie's, Polo and Warren, David's parents, Archie's friends?

5. Do you understand Petulia - sense of truth, capacity for love, patronising the child, suffering, eccentric, exhibitionist, poseur? Did she love David at the end? "I'll never forget you, Arnold." The final word, "Archie", What does this mean?

6. Archie - intended to be 'normal'. The audience is able to identify with him and judge Petulia and events from his point of view. He says Petulia has turned him into a man - he likes her and begins to understand her. Was the audience brought to the same position?

7. Why does David behave as he does? listening to David's father speak might help to explain him. Does it?

8. Richard Lester said he was looking at and commenting on the American way of life. Catalogue what is shown of San Francisco as background to the film and judge the effectiveness of Lester's comment - rich invalids, high society swingers, the motel with its T.V. information, long corridors and huge radar key (so much for privacy), hospitals (and the prevalence of nuns and 'nunnish' comment), the homes, the Mendozas, the rows of poor cabin-houses, trains, Alcatraz, the Roller Derby, the Penguin pool, the topless restaurant.

9. What impression did Polo make on you? Was she a good mother? Why did she and Archie break up? Was Warren a better husband for her?

10. David's father - his 'lecture’ to Petulia in the hospital, his tantrums with the nun and his pulling importance and name-dropping? His reactions to Archie? What was Lester attacking in presenting him like this?

11. Can you explain the time-sequence of the events in the film, especially the boy's accident and Petulia's first seeing Archie? What was the effect of having a jumbled time-sequence? Was this 'symbolic' of Petulia's jumbled perception of things?

12. Richard Lester is an inventive director who irritates many people by such devices as time-shuffling, unusual angle-shots and bizarre sequences. This succeeded, far example, in the Beatles’ films. Does it succeed here? Had the film been made 'straight' (direct narrative and fewer camera gimmicks) would the impact of Petulia's behaviour have been the same? Would the film have been better?

THE PEOPLE UNDER THE STAIRS

US, 1991, 102 minutes, Colour.
Brandon Quintin Adams, Everett Mc Gill, Wendy Robie, Ving Rhames.
Directed by Wes Craven.

The People Under the Stairs was written and directed by horror expert, Wes Craven. His credits include The Hills have Eyes, Serpent and the Rainbow, Nightmare on Elm Street, Shocker. The screenplay is based, allegedly, on true events.

While the horror is there in the crazy couple, their adopted daughter and their child abuse attitudes towards her, their imprisoning visitors to the house and trapping them under the stairs, the whole lot is meant to be an analogy of contemporary American society. The seemingly respectable couple are actually evil, inbred, greedy, lacking all sensitivity and morals. The people they imprison include people from the ghetto, the loners from this kind of society. The mansion becomes an allegory of this kind of society.

The setting, is Los Angeles, an old mansion near the black ghetto. The hero is a 13 year old boy who is able to unmask the villains, rescue the young girl - and open up the possibilities for some kind of social and moral reform. There are scenes of horror which will delight enthusiasts. However, a lot of the material is, by its nature, very ugly. Horror connoisseurs will probably enjoy the blend of the horror conventions with the message. Others will prefer to get the message via other genres gentler than that of horror.

l. Impact of the horror film? The horror plot, style, techniques? contemporary American society?

2. The social and horror interests of Wes Craven, concern? Horror style in the tradition of his films and the American tradition?

3. Los Angeles, the world of the ghetto and its squalor, the mansion and its pleasant rooms, its cellar, the corridors behind the door? The special effects? Editing for scares and shocks, the musical score?

4. The title and the irony of who the people under the stairs were, how and why they got there? Torment in being imprisoned? Their tongues, being starved, no light or air?

5. The focus on the young boy, his nickname of Fool? His sister and the Tarot cards? Relationship with Ruby, in the apartment? The sick mother and her need for the operation? Grandfather and wisdom? Threat of eviction, rent?
The needs for the household? Leroy's visit, relationship with Ruby? The proposal about the robbery?

6. Fool and his being forced to join in the robbery, his decision? Dressing up as the boy scout, his encounter with Mother? The return to Leroy, his wanting to leave? Spencer and his wanting to go into the house, his, his fake card, pretending to read the gas meter, going in - his disappearance and Mother leaving?

7. Leroy and his decision to go into the house, going in with Fool, the difficulties of getting in, the rooms, the dog and its attack? The smell of the house, corridors, hiding? Mother’s return? The dogs, Leroy’s being chased, death? Fool and his fear, seeing Alice at the window, his being able to move himself through the corridors? His terror?

8.Mother and Father and their story? The background of their lives, family, inbred? Their personalities - the surface home beautiful magazine style? Yet their brutality towards Alice, the food, searching for the fork, hitting at the wall? The terror and the child abuse, the belting and cruelty? Audience attitude towards Father and Mother?

9. Mother and father and what they had done, the money and their greed? Leroy and his destruction, Spencer and the pit? Feeding the people under the stairs? The dog devouring the human flesh? Spencer and the ring? Cruelty? Use of technology in the house? Their being able to cover themselves? Their anger with Roach, pursuing him? Father’s chase through the corridors? For Roach, Fool, Alice? Fool chased and escaping? Alice not jumping from the roof? Speed in repairing the house, draining the pool, fixing the walls? Fooling the police? Their visit and search? Charm of the home beautiful and the cookies?

10. The people under the stairs and their story, visits to the house, cruelty, lack of air, food, light? Roach’s friendship with Alice? Disfigured, his tongue, yet his help? Alice and the truth about her adoption? Helping? Roach’s death?

11. Fool, his age, experience, wits, the continued chase? Getting out of the house, going back to the family, discussing with grandfather? His return to the house, confrontation with Mother? Ruby and the crowds of people at the door?

12. Mother and Father and their panic, Father and his leather Suit, the attacks, violence, the psychotic personalities? Their verbal abuse? The people getting out from under the stairs - and turning on Mother and father? Mother, the Confrontation with Alice, the knife, her death? Fool finding the coins? confrontation with Father? The explosion, his death? The money falling out of the sky and the people collecting it?

13. Mother and Father as monsters? The tradition of the horror film, the confrontation of the monsters? Struggles between good and evil, the setting of evil and the haunted house?

14. The social allegory, family and inbreeding, greed and the hoarding of money? The American surface and its niceness? Below the surface, madness? Child abuse? The dark side and evil? And the possibility of revolting against this control - black people and their rising up from the ghetto? The possibility of a more just world?

PERFECT

US, 1984, 115 minutes, Colour.
John Travolta, Jamie Lee Curtis, Stefan Gierasch, Anne de Salvo, Kenneth Welsh.
Directed by James Bridges.

Perfect is a film co-written with author Aaron Latham (originator of the articles on which the film is based). The film is one of the few that was not a success in James Bridges’ directorial career. Others of his films included Urban Cowboy, The Baby Maker, The Paper Chase, The China Syndrome, Mike’s Murder.

The film was also a John Travolta vehicle, at a time when he was popular but was about to become unpopular. He plays a journalist investigating the gymnasiums of the 80s with their cult of the body, the amoral background, sexuality, prevalence of drugs. He is matched with Jamie Lee Curtis as one of the trainers at the gymnasium.

The film reflects an atmosphere of the 80s, an amoral attitude, a worldliness, a self-satisfaction in American society during the Reagan years. Perhaps this communicated itself to the audience and the film was not particularly popular – and received quite harsh critical reviews.

1. Audience interest and enjoyment? A popular concoction movie?

2. The title, meaning, treatment of perfection themes: physical, moral, idealism, failure?

3. Production values: Panavision photography, New York, the Rolling Stone offices, the world of journalists - home, affluence? The world of big business and courts? The world of exercise and aerobics? The strip shows? New York State, California? Holidays in the snowfields? The fashionable world of the '80s? The guest stars, Carly Simon, Lauren Hutton? The score, the songs, the rhythms? (Editing and pace for aerobics and the sexual innuendo?)

4. The work of Latham as a Rolling Stone reporter, the autobiographical background of the story, the kind of Rolling Stone's investigations, slick, competent, standards? The film as the visual equivalent of such articles?

5. The film as a John Travolta vehicle - his screen persona, persuasive? Adam and his work, the attack by Carly Simon? The investigations, the big business deals and the government, court cases, tapes and interviews, interviewing associates of the accused? The world of the courts, contempt? The clashes and the difficulties for following up such investigations? Adam as a man of his word, pressures? The transition to the investigation of the Health Clubs? The symbol of the Health Club for the 1980s, the '80s equivalent of the singles bar of the '70s? Looking for Mr Goodbody? The visit to California, the tour of the club, the types encountered? Adam's fascination with Jessie? His quoting Emerson and the seemingly elevated tone of his investigation? Jessie's resistance, contacts, the beginning of the affair? His writing and interviews? Jessie disillusioned with his writing and erasing it from the word processor?

6. The visit to the strip shows? The discussions with the girls? The return to New York, the editor and the pressure? The photos? The changing of the article, his work in Africa, his return home? The clash with Jessie and her hurt? Going to court, keeping to his word, going to prison, coming out and the reconciliations?

7. Jessie and her skill as an athlete, aerobics training, her friends? Resistance to Adam? The story, the background of a journalist betraying her emotional story? Her relationship with her mother, humour, tensions? Her family, the visit to the ski resort? Her pushing herself on Aaron and the beginning of the affair? Disillusionment? Defending her friends? The article and her hostility? Going to court, the reconciliation?

8. The club and its various members? The tour guides, the experts? Roger and his keeping fit, the sequence and showing him in his strip show, the raucous feminine reaction? Sally and Linda and their looking for men, relationships? Sal and her new relationship, reputation? with Roger? Socialising, parties? Linda and the low results all being reported in the article? The photos and the way 'that it was all used?

9. The reputation of Rolling Stone, the real-life editor portraying the editor? Pressures, treatment, investigations, lawyers and court cases? Frankie and her photo-journalism? The journalists and jealousies, changing articles, responsibility?

10. The world of big business, drug-running, financial set-ups, cover-ups?

11. A film of the 1980s, moral and amoral stances, affluence, perfectionism, male sexuality - and the feminine response to the strip? The contrast with the quiet men and the listless woman stripper? Relationships, commitment? The focus on health, exercise and perfection of the body?

PETERSEN

Australia, 1974, 107 minutes, Colour.
Jack Thompson, Wendy Hughes, Jacki Weaver, Arthur Dignam, Bud Tingwell, Belinda Giblin, John Ewart, Helen Morse.
Directed by Tim Burstall.

Petersen: the production know-how behind this film, music, acting of Jack Thompson and Wendy Hughes especially, is quite impressive, but Petersen is an odd mixture of the real and unreal. There are many sharp observations of your supposedly average Aussie male who is not content with his traditional anti intellectual poses, booze and women; but they are placed within a succession of rather contrived pieces – most well done in themselves (although too much nod in the direction of violence, nudity and the colour aura of the cigarette commercial) but straining credibility: the sex demonstration on the Uni lawn, bikie party invasion, police bashing.

1. An enjoyable film? How successful was it as comedy, drama, observation of Australian life and manners?

2. Comment on the use of colour photography, the impact of the music, the acting styles. Comment on the Australian tone of the film.

3. Were the characters in the film real? Were the situations authentic? Or were the characters more of caricatures?

4. Comment on the change of image of the Australian male in this film; the ocker man goes to the University. The intellectuals' clash with the anti-intellectuals? The tradesman trying to make the transition from work to intellectual work? Was this theme well explored?

5. How did the film make Petersen central? Jack Thompson's style of acting, the incidents all focusing on him, the ordinary man, his good qualities and his bad, the presumption that he was likeable, loveable? What were Petersen's main qualities as a person? What were his main defects? How were these best illustrated?

6. Petersen as the typical Australian male; his attitude of live and let live, the aggressive tone, his work, football background, education, drink, attitudes towards his wife and v women, attitudes towards authority, to the police, to religion? Were these themes well explored?

7. Petersen as a human being; his relationship with his children at the start, his saving people from violence at the party, the softer tones to Petersen's character and his picnic with Patricia, etc?

8. What was the quality of the relationship between Petersen and Suzy? The love aspects, the sexuality as presented, Suzy and her limited suburban world, her inane comments, Petersen being ashamed of her, their relationship and style at home, their support of one another? Was this a typical Australian suburban marriage?

9. How did the relationship between Petersen and Patricia contrast with his home life? The study background, Petersen's ambition, Patricia amusing herself, sex on the floor of her office, each of them using the other, their relationship at the party, the weekend, the prospect of having the baby, the Oxford job, Petersen forcing her to correct his work? What kind of person was Patricia? Was she meant to be typical of the university world? The attractive qualities of her character, the unattractive qualities?

10. The example of mateship with Petersen and Heinz? How good was the support? At the party, at the university?

11. What comment was being made on universities, their style, hypocrisy, attitudes towards education through the character of Kent? The human relationship side of the Kents, especially Jane? The quality of the relationships between the Kents? What comment was being made on manners and morals?

12. The importance of the incident with Pete and Marj in the country? Petersen and Suzy contrasting with Pete and Marj? Petersen not moving from the city for a lucrative business in. the country? The party, the dance, the drinking, the emotional clashes, the embarrassment?

13. Was the film too episodic? How did it make its points through the episodes? Comment on the style of the important episodes and their impact? Their meaning; the tutorial, the women speaking, the sex demonstration on the lawn, Petersen's clash with the driver, the party and its violence, the fiance salesman and Petersen's clash with him, the country dance, the weekend with Patricia, the interaction with his father, their discussion on the Church, the police bashing, his failure in his exams, the end with his electrical work and meeting women?

14. How well explored was the theme of human relationships?

15. Comment on the presentation of gaps; the gaps in relationships and loving, the work gaps, the intellectual gaps, generation gap.

16. What had Petersen achieved by the end of the film? Was his return to his trade realistic or an avoidance of his ambitions?

PICNIC AT HANGING ROCK

Australia, 1975, 115 minutes, Colour.
Rachel Roberts, Helen Morse, Jacki Weaver, John Jarratt, Dominic Guard, Vivean Grey, Anne Lambert.
Directed by Peter Weir.

Picnic at Hanging Rock is a film that is a continual delight to watch and listen to, exquisitely designed and photographed, a re-creation of a period, often in beautiful tableaux. But the plot is full of mystery, suggestion, hints at what motivates people beneath the level of consciousness, people in a remote colony, trying to make an England in the Antipodes, bring civilisation to the rugged bush, act out behaviour in an age that suppressed feeling under genteel manners. Hanging Rock becomes a symbol of the conflicts which arise for teachers, pupils, the gentry, the townspeople. What happens is not so important, rather the mystery of the meaning, The film boasts many fine performances including those of Rachel Roberts and Helen Morse. The photography and the music have been lavishly praised. In fact Picnic at Hanging Rock is one of the finest films of the earliest seventies made in Australia.

1. The achievement of this film? As an Australian film? Content, the technical aspects?

2. Audience curiosity and interest in this real-life puzzle? The response to the various aspects and pieces of the puzzle? The fact that the puzzle was not solved?

3. The eerie atmosphere for the film? How well was this communicated? The watches stopping, the heat and the haze, the Rock spiriting away the girls, the scratches, the lack of injuries on Irma, the music and the Pipes of Pan? Miranda and her comment on 'the right time for things'? How satisfactory were the clues? Enough for an interpretation which was not fully natural?

4. A realistic interpretation of the mystery? The girls being curious, getting lost, falling down holes and disappearing? The romantic attitudes of the girls so that they would get lost? Were there sufficient clues for a realistic interpretation?

5. The initial atmosphere of the school as important for themes and the atmosphere? The opening with the attention to detail on the girls, their characters, ways of behaviour, the atmosphere of a school at 1900? The girlish behaviour, giggling and talking and chatter? The number of pupils in this exclusive school, the attitude of the teachers? The atmosphere of St. Valentine's Day? The emphasis on manners and breeding? The significance of the outing? Mrs. Appleyard's instructions about behaviour for example the gloves, not wandering on the rocks? The presentation of so much of the school and its way of life in the form of tableau and painting? Audience response to this detailed atmosphere for the mystery?

6. The prim and repressed atmosphere of the school? 1900 and Victorian manners and morals? The smouldering beginnings of desire under the surface? Miranda and her air of mystery, her hold over the others, Sarah as an orphan and her longing for friendship and love? Miranda's mysterious words to her? Sarah and her staying at home and pining, her insolence to Mrs. Appleyard? The other girls as illustrating this?

7. The contrast with the Rock, the way that it was filmed, standing out, primitive and phallic symbol? The rugged detail of the lock? Its fascination and draw on the girls? Its being seen from a distance, at close-up? The musical and sound accompaniment to the Rock? The girls and their exploration and the effect that it had on them, drawing them, tiring them out, moving away in slow motion? Miss Mc Craw and her attitude towards the Rock? And her disappearance?

8. The portrayal of the picnic itself: its detailed panning through the various girls and their behaviour of playing, eating, resting? The insight into each girl at the picnic? Mademoiselle and her comment on 'Botticelli angels'? The music during the picnic?

9. The film's portrayal of the behaviour of the girls: as ordinary and girlish, taking their stockings off etc., symbolic? The ascent and its symbolic nature, slow motion? The screaming as the girls disappeared?

10. The contrast with Mrs. Appleyard? Her attitude towards her school, trying to make an English school in Australia? Her standards? Victorian primness? Her attitude towards Sarah and the learning of the poem? Her attitude towards the girls' disappearance, her being desolated, lacking in control? Worrying about parents taking the girls away, her harshness as regards Sarah's fee? The resignation of the teachers? Her beginning to drink, her repression, her behaviour at the meal, the servants' attitudes? The incident and the picnic killing Mrs Appleyard? Her attitude towards Sarah and Sarah's death, her own sitting at her desk with the commentary about her death? The significance of her death?

11. The presentation of Sarah and her role in the film? As different from the other girls? Relationship to Miranda? The detail of her treasures? Irma and her attraction to Miranda? To Mademoiselle? The fact that she was rescued, that she recovered, the hysteria of her return? Mademoiselle as a sensible person and her relationship to the girls? Her romantic attitudes? Her grief and trying to discover the truth? Her coping with the situation? With Irma’s hysterical visit to the girls? The other teacher and her prim and properness, her inability to cope, her hiding during the hysteria, her resignation? Minnie and her observations on the girls? The servants' attitudes in the school? Her discussion of the girls with her boyfriend? What did these characters contribute to the theme and the atmosphere?

12. The theme of class difference? The town of Woodend, the police, the trackers, their being photographed for history? The ugly atmosphere of the town and resentment of the girls* disappearance? Suspicions of crime? The way the Inspector and his assistant handled the case?

14. Class questions as focussed in the two boys? The party of the English group and its formality and tableau? Michael and his being part of this world, his going to talk with Albert? The significance of their reaching out for the bottle, sharing thoughts and talk? Watching the girls? Michael’s gradual involvement and fascination with Miranda? His following the girls, his dreaming, his climbing of the Rock and the torture that it gave, the reason for finding Irma? His inability to cope? The contrast with Albert and his preoccupation with the present? The working class and servants? His ability to track Michael, rescue Irma, and yet not be preoccupied about it? The relating of the dream? Albert and his relationship with Sarah and their symbolic significance?

15. What was Michael's role in the mystery of Hanging Rock? The effect on him?

16. How was the film a symbolic one? The film's portrayal of visual symbols? Music? How realistic was the film? Is it a film classic?

THE PICTURE SHOW MAN

Australia, 1977, 98 minutes, Colour.
John Meillon, Rod Taylor, John Ewart, Harold Hopkins, Yelena Zigon, Patrick Cargill, Gary Mc Donald.
Directed by John Power.

The Picture Show Man is a very entertaining Australian film from the 70s, soon after the renaissance of the Australian film industry. It is a pleasing collection of anecdotes about travelling picture shows in Australia in the 20s with an enjoyable glimpse of wanderers and the way of life in the country and in rural towns.

It was written by Joan Long, a film historian, based on the memories of an actual picture show man, Lyle Penn. The film has a very good cast with John Meillon as the picture show man and Rod Taylor as a manager. John Meillon is at home in the role of Pym, the entrepreneur of twenty years, challenged by rival (Rod Taylor awkward in this role) and the advent of sound. Pym is bluff, kindly, pompous, stingy, won't let his son be independent. He is a character.

In supporting roles are Garry Mc Donald as a pianist, John Ewart, Harold Hopkins and Judy Morris. There are a number of character actors who also appear including Britain’s Patrick Cargill.

The film has a jaunty score by Peter Best and was directed by John Power (The Sound of Love, Father), director of a number of television films and television series in Australia who moved to America and directed a number of telemovies there.

The film is important as a rollicking part of Australia’s cinema history, the travelling picture show people who went from town to town, setting up the machines and screens, encountering all kinds of difficulties in their travel, strange interactions and characters in the country towns of Australia. While the underlying story is serious, the tone of the film is entertaining and comic.

1. How attractive and entertaining a film? How enjoyable a piece of Australiana? History, nostalgia? How important Is it for local audiences to see this kind of past?

2. The contribution of locations, colour photography, the atmosphere of town and countryside in the twenties? Comment on the film's attention to detail, to the picture show man, his machines, his presentation, the piano playing, the shows and the audiences, the vaudeville touches to add to the picture show?

3. The importance of the music, the theme song of ‘The Picture Show Man? The Tap Tap song?

4. How authentic did the atmosphere seem? The opening in the muddy countryside, Pym and his dray, his assistant, the rival? The showing of the films, the people in the towns, moving from town to town, the coming of sound? People roving around the countryside? How much did the atmosphere contribute to insight into the past?

5. The countryside and the way that it was presented as the environment for this worlds the open spaces and the mud, the halls, the mountains, rivers, roads and their dangers, the homesteads?

6. Pym as the picture show man? The initial impact as a character, the fact that he was a character? His work of twenty years, his devotion to the films and showing them, his son and incorporation into the business, the assistant? The fact that he stayed with the old methods? The strengths and weaknesses of his character? His hard-headedness, arrogance and dominance? Yet the conman and the showman? An old-fashioned man? The fact that he was mean with money and saved it? The humour of his dray and the horses, the racehorse, the new carriage? The fact that he wouldn’t trust people? John Meillon's style?

7. Pym's rival, smart, modernizing, poaching on Pym's land? Stealing away his assistant? Shrewd in terms of progress? The build-up to a physical fight between them? Rod Taylor's style in characterizing the rival? Appropriate for this film? A balance to Meillon?

8. Pym's assistant, his exasperation, his being tempted by Pym's rival, a 'yes man'? His later appearances in the film as a weak man?

9. Why did Larry seem colourless beside his father? Overshadowed by him? His father's dominance? his helping his father; having no independence? His skill at his work? His need to grow up, his infatuation with the young girl and the blossoming of romance? The lyrical sequence of their swim and the building on this of the possibility of a marriage? His father trusting him to work his own theatre? His seeing the possibilities of the future, sound? His involvement in the fight? The picture show man of the next generation?

10. The contribution of the character of Freddie? The fact that Freddie was a character? His past and his boasting of his reputation, his joining Pym and working with him, his friendship with Pym, his skill in piano playing? Giving an authentic feeling to the performances? His joining Pym in the singing? The humour of his being a ladies' man especially as illustrated by his tuning the piano of the widow? His involvement in the fight with the rival? An engaging character? The family at the property, the father and his interest in the picture show people, the younger daughter and her love for Larry, the humour of the elder daughter and her Isadora-like training of the girls in the countryside? Humour and irony?

12. The introduction of the magician and his wife? Their poverty, their being on the roads of New South Wales? Their characters and the desperation of the magician? The humour and atmosphere of the mind-reading sequences? Pym's emotional Involvement with the lady? The anger of the magician and his wanting to burn the theatre down? The swindling and the robbery of the money? Pym's disillusionment in his trust?

13. How important were the sequences of the showing of the films? Adolph Menjou and the comedy, the shade put down when there was a breakdown, the music, the danger of fire? The cameras roving over the variety of people in the audience - aborigines, Chinese? families?

14. What is the value of this kind of anecdotal film, picaresque structure and story? Did the film sustain its quality? The seeming impression of being rushed towards the end?

15. Australian values in enjoyment?