OZ

Australia, 1976, 103 minutes, Colour.
Joy Dunstan, Graham Matters, Bruce Spence, Michael Carmen, Gary Waddell, Robin Ramsay.
Directed by Chris Lofven.

Oz: an Oztralian rock/road musical in the Hair/Rocky Horror vein, and aimed at the adolescent audience, with the Ross Wilson music and capitalising on a four-letter freedom that may date it in time to come. m e conception of transplanting the Wizard of Oz to an Australian setting isn't bad at all and the parallels are quite interesting and entertaining, if frequently heavy-handed. The fantasy, fake Wizard and moralising are kept in tune with the style of the whole film. Bruce Spence's surfie/scarecrow is kindly and the cowardly lion/bikie is a good idea. But of limited appeal.

1. Audience interest in this film? The audience it was made for? The nature of the appeal?

2. The importance of the film as a Rock Musical? The quality of the music, singing? As reflecting the trends of the seventies?

3. The quality of the film as a road picture? The road pictures of the seventies, heroes and heroines wandering, journeying, destination? Picaresque adventures and episodes? The significance of travel and the vehicles for travelling on the road?

4. The quality of the plot in itself? The significance? The grouping in search of something, the ordinariness of life, the crash, the visualizing of fantasies, the moralizing about life?

5. The theme of fame and fortune, the realization of the heroine that fame and fortune were destroyers? How convincing was the moralizing? Or was the moralizing exploiting what had gone before?

6. The detail of the plotting? The reflection of the Australian situation, styles and interest in bikies, mechanics, surfies...?

7. The role of fantasy and its effect? The parallels of the characters in real life and in the fantasy? The heightened nature of fantasy? Dreams as being the creation of ourselves? What light did it throw on the heroine, and her understanding of people? What she really wanted?

8. How interesting and ingenious were the parallels with the Wizard of Oz? The initial story, the heroine, the fantasy, the moralizing? Comment on the detail of the parallels in terms of character? The two Dorothys and their quests? Wandering the countryside and a fantasy countryside? The surfie and the scarecrow and the details of making them parallel? The tin man and the mechanic without a heart? The cowardly lion and the bikie? The good fairy and the gay atmosphere? The Wiz as a phoney pop singer? How interesting was the paralleling? In comparison with the basic plot? The paralleling of places and the quest? The focus on Melbourne and the pop concert? The focus of themes in terms of the good fairy managing success. the scarecrow and his brains. the kindliness of the mechanic and his heart, the cowardly bikie learning some courage? The Wizard being revealed as a person who could not really sing?

9. Where did audience sympathies and interests lie? Were the characters sympathetic?

10. The atmosphere of rock, especially in the concert and its presentation? The atmosphere of the seventies in permissiveness, language? The ambiguities of sexuality in the seventies, bisexuality and the gay overtones? How much an allegory for the times? The quality of the music and the songs in this context?

11. What value has a film like this as entertainment? As reflecting the times?

THE ONE AND ONLY

UK, 2002, 92 minutes, Colour.
Justine Waddell, Richard Roxburgh, Jonathan Cake, Patsy Kensit, Michael Hodgson, Aisling O' Sullivan.
Directed by Simon Cellan Jones.

The One and Only is an adaptation of a Danish film of 1999 for the United Kingdom. The original film was by Susan Bier (Open Hearts, Brothers, Things We Lost in the Fire).

The action is transferred to Newcastle. The film focuses on two couples and their difficulties of their marriage. Things are brought to a head when a partner from each is attracted to the other. One, Justine Waddell, is pregnant to her Italian footballing husband, Jonathan Cake. The other is Richard Roxburgh who is bossed around by his wife, Aisling O’ Sullivan.

In the background are a couple who try to help, whose preoccupation is about sex, especially in their conversation.

While the film takes a whimsical tone, especially about marriage, commitment and break-up, using some of the stereotypes for comedy, it also has some more serious moments, especially in terms of a commitment in marriage and the issue of abortion.

Australian Richard Roxburgh takes on the Geordie accent for the hero.

1. The remake of a Danish film? The transferring of plot and characters as well as humour to Newcastle?

2. The Newcastle locations and the city as a character in the film, its bridges, river, the angel statue?

3. The title, to whom did it refer?

4. The patterns of the three different couples, their relationships, changes, death, betrayal?

5. Neil and Jenny, their relationship, the time together, no children, the decision to adopt, the interviews, the different motivations? Neil and his being bossed about by Jenny, wanting to leave her? Her toughness? Getting the child, Mgala? Its effect on their lives? Neil finding it more difficult to leave? Jenny and her sternness, going out to get the milk, the accident? The impact of her death - and Neil being relieved?

6. The contrast with Sonny and Stevie, the Italian football player and the parody of the hulking muscular brainless football player mangling his English? The lifestyle? Stevie and her glamour? Their not having any children? Wanting the kitchen, Neil and his delivering the kitchen, setting it up, the attraction towards Stevie? Her telling about her pregnancy? Meeting Donna at the manicure salon? Her mother? Realisation that she was going on the trip to Florence with Sonny? The clash with Sonny, throwing him out? Wanting the divorce? Sonny and his catching Neil in the room, though innocent? The preparation of divorce proceedings?

7. Stella and Stan, their sex preoccupation, their different stories, Stan and his work with Neil for the kitchens? The supermarket story? Stella and her telling the stories to Stevie? The further encounters? The sexual relationship? Each of them helping Neil and Stevie?

8. The divorce, Sonny and his changes of attitude? Stevie and her decision to have the abortion, going to the clinic, the preparations, going into the surgery? Neil and his realisation, desperation, racing to the hospital? His pleas for her not to kill the child?

9. Mgala and her being African, her relationship with Neil, not saying anything, eventually breaking out, singing? Her quizzical look at each of the characters? Her relationship to Stevie? The end and the new family, the baby and Mgala having parents?

10. A successful comedy, playing for laughs, the stereotypes?

OUTLAND

UK/US, 1981, 104 minutes, Colour.
Sean Connery, Peter Boyle, Frances Sternhagen, Kika Markham, James B. Sikking, Steven Berkoff.
Directed by Peter Hyams.

Outland is set on a moon of Jupiter. However, it is really a popular western reset in outer space.

The film has a familiar theme, a marshal sent to investigate criminals, this time a drug ring, and finds that the workers on the moon are using a drug which enables them to work incessantly – and then collapse and die. There is the usual confrontation between the marshal and the powers-that-be.

Sean Connery enjoys himself in this central role as the marshal on the Jupiter mining colony. He is pursued by gunfighters in the western style. However, the film is continually imaginative in its transference of the conventions of the western genre to outer space.

The film appeared in the aftermath of Alien – and actually uses some parts of the sets of Alien.

There is a strong supporting cast of character actors rather than stars including Peter Boyle, Frances Sternhagen and Stephen Berkoff.

The film was written and directed by Peter Hyams, a prolific writer and director of films starting with telemovies in the early 1970s. He was also director of photography on most of his films. His interest in space began with the story of a hoax and space landing with Capricorn One in 1978. After Outland he also made the continuation of 2001: A Space Odyssey with 2010. In the 1990s he also made a science fiction time-travel film with Jean Claude van Damme, Time Cop.

Interesting in terms of its variations on western themes and the future.

1. The appeal of science fiction? Popularity in '70s and '80s? Dreams, fantasy? What if .... ? An interpretation of the present - with reference to the past and past storytelling, imagination about the future?

2. The film's use of science fiction genres? The atmosphere of Star Wars and intergalactic communications? Life on other planets? The distances from Earth? The contrast with lifestyle on planets and Earth? The introduction of popular genres of the past into science fiction? The western: the overtones of High Noon, the mining town, the saloon, the killers and the showdown? The individual against the thugs (with the townspeople apathetic)? The popularity of police films during the '70s and the transferring of this style to science fiction and space? The portrayals of big business and multinational corruption? How well did the screenplay blend this variety of popular genres?

3. The importance of the technical aspects of the film: Panavision, colour? The introduction to the planet Io and the explanations? The galactic atmosphere, shapes and colours, the portrayal of the mine - and the impression of heights and depths? Architecture and its appearances and lines? Structures and shapes? The interiors? The emphasis on technology: computers, communications, surveillance? The mod saloon, nightclub? Hygienic medical centres? Models, matte work? Visual compositions - tableaux? The presentation of humans within this environment? Action sequences, confrontations - special effects? The mood of the score?

4. Editing and pace to indicate the various genres and their conventions, for tension? Establishing the situation, human sequences, action, suspense, shock and confrontation?

5. The credits and the information about Io? Different from Earth situations yet the same? The multinationals and their power, the franchise on Io, the miners at work, unions, abuses, use of drugs for higher productivity, money deals and cuts, the bosses and their lack of scruple? The presentation of the situation, the visualising of the bizarre deaths? The focus on drugs and money? Evocation of the drug and money deal films of the '70s? Police investigation, killers and hired murderers, communications? The repercussions for the multinationals once O'Neil had taken his stances and won? The discrediting of the multinationals?

6. The suggestion of the convention of the western: the title, themes of law and justice, the frontier. the outposts, the men's community, women in a minority: in the nightclubs, prostitutes, alcoholic doctors etc.? (And wives finding it very difficult? Corruption, money, the group: derelicts, ex-criminals, malpractice types? The marshall and his title? Weapons? The marshal’s authority and his supervision? The saloon and its sleazy atmosphere? Justice and integrity? Threats? The build-up to the showdown at high noon? How well did the film adapt conventions of the western for audience enjoyment and understanding?

7. The use of the conventions of the police dramas of the '70s: law, the police, police corruption, individual integrity, personal crises for the policemen, administration of justice, clashes with powerful bosses, chases, fights, drug-dealing, deaths?

8. Sheppard as villain: as the boss, his ironic welcoming of O'Neil, the explanation of the franchise, his corruption, deals, intergalactic communications, his golf-playing and wealth - and the way this was ironically used (with images of grass and greenery)? His messages to get the killers, his expecting to win and his threats against O'Neil, his cowardliness and his being hit at the end?

9. The background of the criminals, their standover methods, the importing of the drugs and their concealment etc.?

10. The visualising of the men going mad: exploding, the elevator, the spider, going berserk with the prostitute? The later deaths? The emphasis on violence? O'Neil's investigations? His being attacked by the criminals? The sequence in the freezer?

11. O'Neil as hero? Background of Sean Connery and his roles as heroes in films e.g. James Bond? His arrival, expectations, his reputation, his being assigned to difficult outland posts? His love for Carol, for Paul? The family sequences - and their departure? The messages from Carol and his replaying them? The encounter with Dr. Lazarus and his verbal sparring? The welcome by Sheppard and the build-up to confrontation between the two? Sheppard's attempted bribery and O'Neil's integrity? His relationship with Montone - deputy, support, offers of friendship and listening, especially after Carol's leaving, his surveillance and discovering Montone with Sheppard, the conflict between the two, his letting Montone do his job as deputy, his death? O'Neil's emotional response to his wife's leaving, his son going back to Earth - which he had never seen? The investigation of the suicides,' his theories, working with Dr. Lazarus, the blood samples, the deaths of the two criminals, especially in the prison cell? The threats? His surveillance? His hearing the record of the call for the hired killers? The emphasis on the electronic clocks and watches for the hours ticking away? His getting ready for the thugs: hiding the guns (and later their being gone)? His watching their arrival, stalking them, Dr. Lazarus' help, luring them into traps, conflicts, deaths? His seeming victory and the final confrontation with the black policeman and the surprise attack? The end and his coming to the crowd which had refused to support him? Sheppard's defeat? His sending the message to Carol and his return? The emotional effect of the experience? His integrity? The old theme of the West making a man?

12. Dr. Lazarus and her character, wisecracks, malpractice background, attack on O'Neil, his retorts, their friendship? The electronic technology to analyse the blood samples? Her theories? Her 'doing good'? Tough attitudes, help in the investigation? Continued support - in the squash court? Her decision to stand by O'Neil when nobody else did? Her watching the surveillance, giving him information, luring the gunfighter into the traps in the corridors? Her decision at the end to stay and her commendation?

13. The picture of the police and their presence on Io? Montone and his help, corruption, prisoner, death? The police being no help? The black traitor?

14. The sketch of Carol and Paul? The marriage, Paul not having seen Earth, love for his father? The emotional impact of the encounter at the beginning, Carol's taped message, the conversation during the film, O'Neil's return?

15. A technological future with echoes of 2001? The continuity of the realism of the past with the future? Action and the perennial themes of thrillers and action films?

AN OFFICER AND A GENTLEMAN

US, 1982, 118 minutes, Colour.
Richard Gere, Debra Winger, David Keith, Louis Gossett Jr, Lisa Blount, Lisa Eilbacher, David Caruso, Grace Zabriskie.
Directed by Taylor Hackford.

An Officer and a Gentleman has become something of a 1980s romantic classic. It received many Oscar nominations for writing and performance. It won Oscar, Golden Globe and BAFTA awards for its song, ‘Up Where We Belong’, as well as the performance by Louis Gosset Jnr as Gunnery Sergeant Foley.

The film is the familiar one about the young man who seems to be aimless, suffers from attitude, is put into a harsh disciplinary situation, reacts badly, comes to his senses, improves his attitude in life – as well as falling in love.

This is also a classic Richard Gere performance. Richard Gere had emerged in the latter part of the 1970s as a star with such films as Days of Heaven, Blood Brothers. He achieved fame, even notoriety, for American Gigolo.

During the latter part of the 1980s he was not so successful but, with Pretty Woman, he had a new surge in his career which continued for the succeeding decades. He was still able to headline films in his mid-fifties with such films as Chicago and The Bee Season.

Debra Winger is a strong presence in the film, having worked in such films as Urban Cowboy. Dissatisfied with some of the roles that she was given, she retired from film-making. However, actress Rosanna Arquette interviewed a number of women, including Debra Winger, in 2002 about women in films and called her documentary In Search of Debra Winger.

Louis Gossett Jnr is very strong as the gunnery sergeant who disciplines Richard Gere. David Keith appears as a friend and there is strong support from Robert Loggia.

The film was directed by Taylor Hackford who had made The Idolmaker. Not a prolific director, he has made quite a number of interesting films including Against All Odds, White Nights, Dolores Claybourne, The Devil’s Advocate, Proof of Life and Ray.

The same theme had been treated in a lighter vein – and with a spoilt woman as the centre, in Private Benjamin with Goldie Hawn and Eileen Brennan.

1. The popularity of the film, 1982-83? Second highest American box office '82? A film of the '80s? Impact in itself? Comparisons with other films of its kind?

2. The background of the Philippines, the background of Seattle and Washington State? Authentic locations: Academy, factories, the town? The conventions of the military romantic drama: characters, action, training? Stereotypes? Musical score - popular songs? Theme song and its lyrics?

3. The title and its British origins? Adaptation to America? Military, tradition? Irony? Possibilities? Externals and internals? Goals - self, society, respectability? A theme for the United States in the '80s?

4. The background of Zach and his squalor? The opening with his father and the girls? The flashback - (and the colour style - the yellow tones, the Orient)? Zach seeking his father in the Philippines, the story of his mother's suicide and her not leaving the note, his father's offhandedness? The brothel and the girls? The kids and the fights in the street? The effect on Zach and his growing up? The clashes with his father? His decision to go to the Navy? His defiance of his father? His last chance?

5. His arrival and the conventional material from the training films Foley and his abuse, loudness, drill? The humiliation of the trainees? Clothes, hair, uniforms? Zach and his laughing and defiance? The background of the course: its aim, toughness? The rooms and the bunks and Zach's manipulating? The group and Zach's relationship with them, his wheeler-dealing for polishing brass, etc., getting money?

6. The details of training: exercises, tests, obstacle courses? Sense of achievement? The punishment and the use of drill? The punishment of push-ups etc.? The tests for flying jets: the test of escaping from the cockpit in the water, the high altitude test? The repercussions on people and their fears? A course for both men and women?

7. The intercutting of the story of the girls, the factory, their hopes, their wanting a husband, the visit to the barracks. the dance and the introductions to the sailors? The importance of the aim for getting a husband. passing relationships, tricks to get out of the town? The sailors loving and leaving them? The older generation and the sailors' daughters? The warnings for the present generation?

8. The character of Foley: in himself, a loner, his talk about killing people, napalm, etc.? Harshness, skill in the martial arts? His warnings? Weeding people out? The water training and his diving in? His punishing Zach? Drilling him? Trying to force him out? The importance of Sid's leaving and the confrontation with Zach? His death? The fight and its brutality? The end and Zach farewelling Foley? The sequences of the process starting again? The film's comment on the character of Foley - in himself, with the Navy?

9. Richard Gere as Zach? The American hero? Squalid background, making good? Trying to prove himself? The fighting with Foley, the humiliations? Foley trying to break him and his saying he had nowhere to go? The importance of his getting the record in the obstacle course and his helping the woman trainee? The significance of his farewell to Foley? The encounter with Paula, meeting her, relating to her, tenderness. talking, the sexual liaison and the repercussions for both? Outings, the visit to her parents and the awkwardness of the meal., the abrasive reaction of her father. her mother's anxiety? The walking along the beach and the romantic scenes? His dropping her and cutting contact? The chance meeting? The importance of helping Sid?

10. The character of Paula: in herself, at work, friendship with Lynette? The visiting the barracks? The dance? The visit home- and the story about her stepfather, her mother and the sailor-father? History repeating itself? Lynette's plan and her reaction? Her not wanting to trick Zach? Her being hurt by his cut-off? The meeting? The grief, the beach? The end and her being swept off her feet? Her mother's reaction and wanting her safe from sailors? The reasons for her father watching? A credible girl in her situation?

11. The contrast with Lynette and her pushiness, Sid going for the blonde? Her hopes and her decision to try the pregnancy trick? Sid and his background, brother, expectations? The family and their visit? His friendship with Zach? The importance of the sexual liaison with Lynette? The growing confrontations - the plane test and his failure? His decision to leave, feeling free, proposal to Lynette, being hurt by the truth? Going back to the motel, drinking and the pathos of his death? The effect of his death on Lynette? On Zach and Paula?

12. The sketch of the other recruits: the redhead, the negro with the wife, the Puerto Rican making good, the girl and her surviving with the men - and the importance of Zach's helping her and losing his record? The interaction, the bunks, the room, the polishing of the brass, antagonisms? The outings - dances etc.? The farewell party? The atmosphere of solemnity for the graduation and the sense of achievement? The farewell to Foley? The film's comment on these graduates and their place in the American armed forces in the US?

13. The armed services, training, the realities of war and their harshness? Rugged training and strength? Reliability under crisis?

14. Zach and Paula as representing the ordinary American citizen - hopes, goals, struggles. difficulties, failings, making good and succeeding?

YOU DON’T MESS WITH THE ZOHAN

US, 2008, 113 minutes, Colour.
Adam Sandler, John Turturro, Emmanuelle Chriqui, Nick Swardson, Kevin Nealon, Lainie Kazan, Rob Schneider, Shelley Berman.
Cameos: Chris Rock, John Mc Enroe, George Takei, Mariah Carey, Henry Winkler.
Directed by Dennis Dugan.

Adam Sandler comedies used to be raucous in his Billy Madison days. Then he went a bit more up-market with such comedies as The Wedding Singer, then more serious with Punch Drunk Love. Since then he has been combining most of these elements, which is what he is doing here. However, a lot of people are put off by the lowbrow end of his humour and this cancels out the middlebrow humour for them even though it is often quite good.

This is what has happened with this one. There are plenty of corny-to-crass jokes of a sexual variety as well as some farcical slapstick, especially when Israeli agent Zohan is doing battle with Palestinian champion, The Phantom. With that said, there remain quite a lot of gags and jokes that are entertaining.

On the serious side (at least in intention), this is a comedy about the present Israel -Palestine situation, the one that is deadly for that part of the Middle East with terrorist attacks and military reprisals. The subject of comedy? Of an Adam Sandler comedy? Why not? Millions of people are going to see it, have a laugh and maybe give not only a second thought but also a third thought and beyond to the sad and deadly implications of the conflict. Sandler is not trying to solve the problems or find a peace solution but, as an American Jewish comedian, he is asking his audiences to think about what each side has in common (apart from terrified Americans after 9/11 thinking that Jews and Arabs look the same so are suspicious of them)
and ask whether peace is possible.

Sandler plays Zohan a top Israeli agent whose nemesis is the Palestinian The Phantom (John Turturro in overdrive). Tired of warfare and possessed of a dream of going to New York to become a hair stylist (not what his Jewish Momma or father had in mind), he fakes his death and stows away to the US calling himself after the two poodles he travelled with. He doesn’t make immediate headway but finally gets a job in a Palestinian salon (on the Palestinian side of the street opposite the Jewish side) calling himself an Australian. Then the sex scenes begin! With the mother of the shy man whose side he takes in after demolishing a driver who caused a car accident, then with all the senior-age ladies who come to get their hair done and… It is probably important to note here that one of the writers is the now very successful Jud Appatow and, looking at recent films he has written and sometimes directed, we find that there is a ‘Jud Appatow Syndrome’ (in The 40 Year Old Virgin, in Knocked up and here): characters promote and indulge in promiscuity but finally discover genuine and true love and move to committed monogamy. No moralist could complain about that.

To complicate the Jewish -Palestinian conflict further, some Palestinians in New York (including an almost unrecognisable Rob Schneider who appears in most of Sandler’s films) want to firebomb Zohan’s salon in revenge for his confiscating their goat, and then some WASP capitalist developers hire thugs to disguise themselves as Palestinians and create warfare so that the Americans can come in, take over and build a mall!

Needless to say, there is a happy ending, with a love story between Zohan and his Palestinian boss, with The Phantom and his dream of selling shoes and with peace breaking out, at least on the street.

So, the Sandler formula of lowbrow, middlebrow comedy with something of a message.

1.Adam Sandler comedies, his screen presence, persona, comic, touch of the obnoxious, the touch of the genial? Dramatising vanity? Sexual prowess? Physical prowess? His capacity for timing, farce? His being the hero, antihero?

2.The title, the Israeli settings, the counterterrorism, Israeli agents, their achievement? Attitudes towards the Palestinians? The contrast with the Palestinians, the Phantom? His being traded for exchange of prisoners? The Mossad, giving a mission to the Zohan, setting up the mission? Going into action? Zohan and the fight with the Phantom, opting out, his dreams?

3.Israel and the challenge to security? The Palestinians? The butts of jokes on both sides? Exaggerating each side? In America their both being Semitic and hated, looking alike? Across the street in New York, the shops, the enmity? Yet the shared heritage, being targeted and used – especially by US capitalism? The love story from both sides of the street? The ending, the importance of the message – and the effectiveness of the light touch, the ruder touch, the spoof in getting people to see the futility of the hatred?

4.The middlebrow style of the story? The lowbrow jokes, sexuality, physicality? Audience response to the jokes – the fastidious disdaining the jokes, ordinary people enjoying them? The use of the camera for farcical aspects, speeding up, Zohan’s dexterity, the battles, the stunts and the effects? The Jud Apatow principle and the focus on promiscuity and the final realisation of true love and monogamy?

5.Zohan in action, cooking in the buff, his dexterity with the barbeque? His martial arts skill? Going home to his parents, telling them about his dream, their laughing at him? The gay jokes about hairdressers? His being called, the mission, the head of Mossad manipulating him into agreeing? Going into action, watching the Phantom on television, the confrontation, the fight, the bag underwater and his leaving? The Phantom victorious?

6.His looking at the Paul Mitchell book, his wanting to be a hairdresser, trimming his own hair? Going to New York, the dogs on the plane, calling himself Scrappy Coco after the dogs? Going to the salon, their laughing at him, his other attempts to get a job, seeing the crash, encountering Michael, fixing the car with a hit? Michael’s mother, inviting him to stay, the sexual encounters and Michael’s bewildered and disgusted reactions? The mother and Zohan being cavalier?

7.Going to Dahlia’s shop, on the Palestinian side of the street? The threats to the shop, the standover tactics of the developers? Dahlia agreeing for Zohan to sweep, his brisk action in getting every hair? The opportunity to cut, his sweet-talking the ladies, the innuendo, the old woman and her being agreeable, the sexual encounters, the promiscuity, the jokes? The discussions with Claude, Claude as gay? The success, the money, paying off the debts? The continued threats?

8.His going to the nightclub, meeting Oori, being recognised, not wanting a job in electronics? The jokes about Jews and electronics in New York City? His friends? The taxi drivers?

9.The taxi drivers in New York City, their insulting the women, wanting to get jobs, double jobs? Salim and his style, the story of the goat and Zohan taking it? The decision to get the bomb, going to the pharmacist, the splotch on the window?

10.The developer, the posters, the banquet, his plans, hiring the thugs, the attacks, the graffiti, the racists and their disguised as Palestinians and Jews? Getting all the people to the party, his stirring up trouble, the fire? Rebuilding in the new mall?

11.Dahlia and Zohan, finally agreeing, the bonding, going out together, his impotence, The old lady and her warning, the fact that he would learn monogamous love?

12.Michael, his character, alone, with his mother, fastidious? His mother, down-to-earth? Zohan telling them that he was an Australian Tibetan? His finally telling the truth and their support?

13.The Phantom, his franchise, the TV commercials, going to New York, encountering Zohan, fighting with him – and the special effects for the fight? The revelation that Dalia was his sister? Their banding together, confiding his dreams about selling shoes?

14.The dreams instead of fighting and hatred? A recipe for Israelis and Palestinians to get together? The futility of their fights? Better to live their dreams?

15.The movie jokes, the references to Mel Gibson? The cameos, Chris Rock, John Mc Enroe and his enthusiasm, George Takei and the gays, Mariah Carey and her concert, Henry Winkler and his being a celebrity and being sick?

16.The politically incorrect jokes, the range, the ethnic jokes, the American jokes, the sex jokes, the gay jokes? The cumulative effect of this kind of tongue-in-cheek and raucous spoof in order to make political and humane points?

THE CLONE WARS

US, 2008, 90 minutes, Colour.
Voices of: Samuel L. Jackson, Anthony Daniels, Christopher Lee.
Directed by Don Filoni

Just when many reviewers thought that ‘Enough is enough with the Star Wars franchise’, it is now taking off again in a new form. And, perhaps, the old fans (who were around 10 when the first Star Wars film was released in 1977) will be pleased to see some more. And the younger audiences may be pleased with an animated version rather than live action. For that is what it is, an animated version, relying on the popular styles of daytime television and of the Anime and Manga cartoons from Japan. (Much of the animation for this film was done in Lucasfilms Singapore studios.)

After a voiceover introduction explaining who is who, what is what and where is where (and some why is why) that might bamboozle those (few?) who are not familiar with the Republic and its becoming the Empire, we find that many of us are more at home in the galaxy than we might have thought. After getting accustomed to the animation style (not classy in finesse but strong in Lucas atmosphere), we find that it is not bad and it is quite enjoyable to be in the company of Yoda, Obi -Wan Kenobi, Annikin, The Chancellor, Senator Padmila, Jabba the Hut and many old friends and enemies (especially Count Dooku) and Jabba’s Truman Capote-sounding brother, Zero the Hut.

While there are many Clone battles, the main action concerns Count Dooku (voiced in his familiar sinister fashion by Christopher Lee who played him in previous episodes) and his plot to bring down the Jedi and the Republic by getting his sinister lady-assassin to abduct Jubba’s son, a little Hutlet. Annikin, still in training with Obi -Wan Kenobi, and showing some of the impetuosity that we know will lead him to the Dark Side, hurries to the rescue, along with a 14 year old trainee Ahsoka Tano who shows she is impetuous too. After a number of adventures, especially destroying the destructive shield, they achieve their goals, not without further risks and dangers. R2 D2 accompanies them – and 3CPO is allied with the Senator.

Apparently this episode fits in between 2 and 3, although Annikin and Padme Amidala don’t seem to be as well acquainted as they were in The Attack of the Clones.

An above average animation film though no masterpiece. But, after all, there could be some sequels and we are assured that The Force is well and truly with us again.

1.Thirty years of popularity of Star Wars? The six films? The re-releases? Audience knowledge of the characters, the world of the galaxies and the empire? Their love for the Star Wars stories and characters?

2.Star Wars in the 21st century? The change of audience, the older audience who loved the films in the past? Younger audiences? The influence of the tradition of television cartoons? The reliance of the stars of Japanese anime and manga?

3.The style of the animation, broad, the characters, not realistic? The backgrounds, the galaxies and the planets? The staging of the battles? The voices and their familiarity? The robots? The musical score and John Williams’ themes?

4.The situation of this episode in the six films? With episodes two and three? The focus on Obi Wan Kenobi? On the young Anakin? The senator? Jabba the Hutt? Duku, the wars and the treaties?

5.Looking back at the characters in the hindsight of the later films? Of Anakin going over to the Dark Side? Of Obi Wan Kenobi as the wise Jedi? The Skywalker family? Anakin’s marriage, the birth of Luke and Leah?

6.The background of the republic, the leader of the republic, the role of the Senate, the role of the Jedi? The battles of the clones? The importance of trade, permissions at the edge of the empire, the building of the empire?

7.Yoda, his presence, his role, his way of speaking, advice, communication, being beamed up? His adviser? The leader and his role?

8.Anakin and his character, memories of him as a boy, impulsive, being trained by Obi Wan Kenobi? His being assigned to the Padma? His clashes with her, the plans, ideas? Going into action? The importance of the shield, their getting under the shield, their being able to reverse it? Landing on the planet, in the desert, getting the Huttlet back, the nature of the rescue? Going to Jabber the Hutt, her being captured, his not knowing and fighting, confronting Jabber the Hutt? Anakin and the change? The Paduan and the change?

9.Jabber the Hutt, his role in the galaxies, the abduction of the Huttlet? His power, the treaties, his anger, sending the bounty hunters? His suspicions of Anakin? His being upset, the Paduan and Anakin telling him the truth, not believing? Duku and his trying to persuade him otherwise, his plans and lies? Reunited with his child?

10.Zero, the senator going to see him, the club, the patrons, his manner, her overhearing the truth about Duku? Her plan, the confrontation, informing C3PO and his leading the troops to her rescue? Her presence with Anakin – and the audience knowing the future?

11.Count Duku, his being a Jedi, his being sinister, the Dark Side, his plans and intrigues, using Zero, abducting the Huttlet, the confrontation and his losing? The importance of his assassin, her presence, the capture, deadly?

12.Obi Wan Kenobi, the Jedi tradition, training Luke, trying to make him see the truth, integrity? An honourable Jedi?

13.The robots, R2D2? - his being with Anakin? C3PO and his being with the senator?

14.The wars, the clones, the visualising of the battles, the effects?

15.Anakin and his character, the possibility of the two sides, the meeting with the senator? The dangers, the Paduan and his learning from her? The battle?

16.The Paduan, her character, young, inexperienced, brash, wise, with the Huttlet?

17.The possibility of more stories and the opening up of the history of the galaxy?

MISS PETTIGREW LIVES FOR A DAY

US/UK, 2007, 92 minutes, Colour.
Frances Mc Dormand, Amy Adams, Lee Pace, Ciaran Hinds, Shirley Henderson, Mark Strong, Tom Paine, Christina Cole, Stephanie Cole.
Directed by Bharat Nalluri.

I suppose there are some Miss Pettigrews somewhere in England today but the name sounds so much like a name from the past, especially when Miss Pettigrew’s first name is Guinevere. In fact, she is the central character to a novel that was very popular in the late 1930s where the book is set. The author, Winifred Watson, stopped writing in 1943 to bring up a family and died in 2002 having seen her book of sixty years earlier be reprinted and experience a new success. Now, here is the film version.

I wished I could have liked and enjoyed it as much as so many reviewers and the public have. It is very well made and acted but it belongs to a period and to a world that can sometimes be more than mildly irritating when portrayed on stage or screen (like Being Julia with Annette Bening some years ago), the enclosed world of the theatre with its petty intrigues, its wealth and snobbery. It is the world of Noel Coward comedies, drawing rooms, dressing rooms and brittlely witty repartee. It is a London of the 1930s.

What makes this one different is that Miss Pettigrew does not really belong in this world at all. She is an impoverished governess who lost her fiancé in action in World War I and is dreading the oncoming, which is imminent in 1939 where this story is now set, of the next World War. She speaks her mind – which loses her jobs from the obnoxious rich and exasperates the manager of the employment service. She has to sleep out at railway stations and eat at soup kitchens.

The day of the title is the one where she takes a card from the desk of the employment agency and hurries to she knows not what – in the form of an American actress with the impossible name of Delysia Lafosse who is as scatty as they come, is involved with the son of a West End producer, in a flat owned by a London night club owner where she sings and is in love (though career hopes make her blind and selfish towards it) with her pianist. It is up to Miss Pettigrew to juggle all the farcical aspects of this when they visit. The next thing is that she improbably attends a fashion show where she recognises a shop owner, Edythe, whom she saw with another man – but Delysia wants her to persuade Edythe’s lingerie designer fiancé, Joe, not to cancel the engagement.

There is a lavish party where Miss Pettigrew achieves all this. But, a the nightclub, during an air raid drill, she persuades Delysia (really Sally) to do the right thing, charms Joe who learns the truth about his fiancée – but Miss Pettigrew goes back to the railway station.

Of course, it does not end there. This is a Cinderella story with Miss Pettigrew as both a Cinderella herself while being a benign fairy godmother.

Frances Mc Dormand, clipped British accent and all, makes the film as Miss Pettigrew counterbalancing Amy Adams’ ditzyness as Delysia. Shirley Henderson is a mean Edythe. Mark Strong is the nightclub owner and Lee Pace the pianist. Ciaran Hinds brings some dignity as Joe.

1.A period piece? 1939, characters, situations? As seen in the retrospective of the 21st century?

2.A 1938 popular novel? Set a year later with the outlook of World War Two? The re-creation of the period, one day in Miss Pettigrew’s life? The war looming, as seen in the newspaper headlines, talk, the planes flying over, the young people applauding the planes, the air raid drill, the shelters? The end of an era?

3.The remembering of World War One, the older people, the griefs, the deaths? Guinevere’s fiancé? All Joe’s school friends?

4.The structure of the film: over the one day, the focus on Miss Pettigrew?, on Delysia? Fortunes and misfortunes? Change?

5.The film as a Cinderella story? Guinevere and Delysia as Cinderella? Guinevere as the fairy godmother?

6.The opening, Miss Pettigrew and the voice, her being sacked, humiliated, the woman sacking her glimpsed at the window, the contrast between the arrogant rich and the poor? Miss Pettigrew? and her clothes, not being paid? The clash with the prisoner, her case, her fright, losing everything? Her going to the shelter, the soup kitchen?

7.Her going to the agency? The discussions, her past jobs? Her criticism of the employer drinking? Miss Holt and her severity? The card and her taking it?

8.Going to Delysia’s flat, Delysia as scatty, discovering Philip in the bed, the discussions, getting him to go? Tidying up? Nick’s phone call, his impression, her smoking the cigar, her ousting him? Delysia and her relying on her? The meeting with Michael and realising that it was he who bumped into her? Going to the fashion show, meeting Edythe? The ladies, her clothes? Going to the shop, Edythe fitting her out? Edythe and her remembering her face – and Guinevere seeing her with the boyfriend, observing her?

9.The fashion show, Edythe and her presence, the women, Joe and his designing lingerie, engagement to Edythe, his compliment on Miss Pettigrew’s? scarf? Her dropping the food on his shoe? Vanishing?

10.Delysia and her reaction? Her decision for Philip, to become his mistress, wanting the part in the West End musical? Nick and his flat, his using her, singing in his club? Michael, in prison, his love for her, the tickets for New York?

11.Delysia and her scattiness, her true story, her name, her poverty? Her character and surface, gossip, Edythe? Beginning to rely on Guinevere for the day? The party, her advice, the actress sneering at her, Philip and his commitment, her getting the role?

12.The party and the ambiguity, Edythe and her advice, Joe and the engagement on again? The talking with Joe, the regrets about the past?

13.Going to the club, Nick and his welcome to the club, Delysia singing, Michael playing the piano, the Cole Porter music, the plaintive song? Her being upset – but covering it up? The air raid drill? Talking with Guinevere under the piano, authentic talk, wisdom? Seeing Philip kissing the other girl, Nick confronting Michael, the fight? Delysia and Michael deciding to go to America?

14.Guinevere, her waiting outside, talking with Joe, Edythe and the truth, Guinevere not betraying her? Joe wanting honesty and breaking with her?

15.Guinevere going to the station, the apple being swept up? Joe arriving, the proposal? The fairytale ending?

16.A glimpse of a 1930s world, bright young things, superficiality, the war impending? Authenticity and integrity?

HELLBOY II: THE GOLDEN ARMY

US, 2008, 119 minutes, Colour.
Ron Perlman, Selma Blair, Doug Jones, Jeffrey Tambour, John Hurt, John Alexander, James Dodd, Seth Mc Farlane, Luke Goss, Anna Walton, Brian Steele, Roy Dotrice.
Directed by Guillermo Del Toro.

Mexican director, Guillermo del Toro, must love the Hellboy comics. Not only did he write and direct the very successful and imaginative Hellboy in 2004, he has written and directed this sequel and, as with all his films, especially the Oscar-winning Pan’s Labyrinth, has imagined the extraordinary and sumptuous fantasy locations and creatures that abound here. Visually, Hellboy II is a treat.

Taking for granted the detail in the original Hellboy about how the young lad came to Earth during World War II and was saved by the Allies from being a creature of destruction, the film opens in 1955 with a pleasing interlude where John Hurt as the adolescent boy’s father-figure (who has to struggle with Hellboy’s penchant for watching junk television) tells him a fable that is the basis of what is to follow.

In a secret kingdom, gold clone warriors are made by the ambitious king. However, out of control, they massacre their enemies. The king sequesters them but his ambitious son (Luke Goss) needs the missing part of the royal crown to bring the army alive again. When the crown is up for auction in modern-day New York, the prince strikes, using a monstrous creature to destroy all in his path. But, Hellboy (Ron Perlman recreating his role) lives in New York where (a bit like Hancock), people and the media misunderstand his actions to save them. Hellboy’s partner Liz who can burst into flames (Selma Blair again) is having domestic difficulties and is fighting with him.

In the meantime, Tom Manning (Jeffrey Tambor) is trying to keep a lid on the experiments going on, especially with Abe Sapien, the Merman (Doug Jones). No such luck as Prince Nuada keeps attacking after killing his father. However, his twin sister, Nuala (Anna Walton), is on the side of good and Abe Sapien falls for her (and, at one stage, with Hellboy lamenting his fights with Liz, they sing along with Barry Manilow to ‘Can’t Live without You’!).

There are all kinds of breathtaking feats, including Hellboy, holding on to a baby he has rescued, confronting a monstrous tree demon as he scales the buildings in Times Square, an underground market of mutants and the caverns under New York where the Golden Army is revived and goes into battle).

While there are some similarities with the now familiar screen heroes like Spiderman and Iron Man. Del Toro’s visual imagination makes the Hellboy films quite different from the others.

1.The impact of the sequel? The popularity of comic strips? The hero types, the world in which they live and work, the heroes, themselves, ordinary powers, extraordinary powers? Good versus evil?

2.The work of Guillermo Del Toro, his imagination? Serious films? Comic strips? Creating characters, the author of the screenplay, his drawings, sketches and designs, the monsters, the action, interest in machines, cogs etc?

3.The studio work for the film: the sets of New York, 1955, Trinton, the laboratories, the mythical kingdom? The Golden Army and the soldiers? The caves in Ireland? The market of the trolls?

4.The special effects, for characters, makeup, actors within the costumes, computer graphics, the battles, the creatures? The monster: Mr Wink, the green monster? The angel of death? The chancellor? The tooth fairies?

5.The musical score, the use of the classics, Barry Manilow and ‘Can’t Live Without You’? The final credits with Barry Manilow’s song?

6.The popularity of the Hellboy films, the differences from other characters? The introduction, the explanation about World War Two, the boy saved by the Allies, the photo with the troops and the infant? The 1955 sequence, the boy and his watching TV? The professor, his bringing up the boy, reading the story, the imagination? The introduction to the myths that followed?

7.The illustration of the story, the king, the battles, the massacres, the humans and the machines? The creation of the Golden Army? The slaughter? The king’s decision, hiding the army? His son, his daughter? His son rebelling?

8.The present, the setting up of the auction, the statue, the crown? Nuada and his preparation, physical training, physique? Mr Wink, letting him loose, the various machines getting the crown? The absolute destruction?

9.New York City, the television, the journalists, their reaction to Hellboy? The photos, the newspapers? Manny and his dismay at the photos, discussions with Abe? In New Jersey, the walking and talking – and passing all the rooms with experiments, struggles? The comic ignoring of what was going on? The crisis in New York?

10.Hellboy, his appearance, part devil, horns and tail, Red? His character, in the past, becoming a slob, watching TV, fighting, the living with Liz, the arguments, the destructive battles between them? Her keeping quiet about her pregnancy? Her wanting time alone? Asking Red to rethink?

11.The media and its turning against Red after he saved New York from the monster?

12.The agents, their confronting Mr Wink, fighting the tooth fairies, the destruction? The tooth fairy giving the information about the market?

13.The new head of the agency, his being a vapour? Germanic in tone, accent, orders? Red and his reactions? The fight with the vapour, the banging of the locker doors? His changing attitude, participation in the action, allowing the plane to be taken?

14.Abe, in himself, aquamarine, with Manny, observing the fights? His care for the princess, trust, falling in love? Their discussions, Tennyson’s poetry? Listening to Barry Manilow, drinking with Red, their duet with Barry Manilow? His knowledge of Liz’s pregnancy? His stealing part of the crown from the Tennyson book? At the end, giving the piece to Nuada to save his sister?

15.The market, the range of creatures, their activities, the door and the vapour getting through the lock to open? The entry into the kingdom?

16.Nuada, his sister, the bonds between them, appearance, their mutual feeling? The blue book, his search? The fight in the library? Confronting Red, Red and his drinking? Wounding Red, the difficulty of removing the spear, Red going to hospital?

17.The map, the revelation about Antrim? The Irish mythical creature, the bargain about the spearhead, opening the rocks, their becoming a statue? Going to the depths? Meeting the angel of death? The bargain, Red living? The beggar getting his spearhead?

18.Nuada, his wanting to get the army, the fighting with the soldiers, his killing his father? The peace (**?piece?) from Abe, his power? The soldiers, the army resurrecting? The fight, the vapour getting into one of the soldiers and destroying them? Red challenging Nuada, the rules of chivalry? The choreography of their duel? Red within the cogs?

19.Nuada, his speech, his power, the princess killing herself, his death? Liz, and her burning the crown before Red could make decisions?

20.Manny and the agents outside the rocks? The happy ending for Red and Liz – walking the Irish countryside, wanting to get a house in the country? The baby?

21.A satisfying and highly imaginative rendition of comic book stories, good and evil, mythologies, battles?

15 MINUTES

US, 2001, 120 minutes, Colour.
Robert De Niro, Edward Burns, Kelsey Grammer, Avery Brooks, Karel Roden, Oleg Taktarov, Vera Farmiga, James Handy, Charlize Theron, Kim Cattrall, David Allen Greer.
Directed by John Herzveld.

It was Andy Warhol who made the famous remark about everybody's have 15 minutes of fame. With television and video, more and more people have an opportunity for those 15 minutes. This is an exciting but rather ugly film about fame and crime, television, video and sensationalism.

A Russian and a Czech thug get into the US to retrieve stolen money. Within moments, they have committed a murder and are in pursuit of a witness. What is different is that the Czech has a video camera, wants to make movies and videos the crimes. In the meantime, crack police officer, Robert de Niro, has become a television celebrity and is asked to take on the case. He meets a fire officer (Edward Burns) who is to assist him. The film is demanding its audience to react emotionally to police work and its dangers, to the brutality of crime and to the voyeuristic attitudes that the public have developed and which news television fosters.

1.The blend of police investigation, media exploitation and expose?

2.The title, Andy Warhol’s comment about fifteen minutes of fame? Television, Top Stories? Celebrities, police celebrities? The fifteen minutes with the broadcast of the murder? Television networks, financial considerations and decisions? The criminals, the movies, deals? Video records of crimes?

3.New York City, Times Square, police precincts, homes and apartments, the television studios, the burning buildings? A feel for New York City? Musical score?

4.Top Stories and sensationalism? The audience appetite for this kind of material? Robert Hawkins, the initial discussions with his policy team? Eddie Flemming and the interview with him, arrangements to cover arrests on television, the footage? Their use? Seen on Times Square? The criminals seeing this material? Eddie Flemming’s interview with the serial killer, his plea for temporary insanity, his getting off his charge, the movie deal? Oleg and his filming? His ambitions? Emil and the idea for making money, the filming of Eddie Flemming’s death? Selling it to Robert Hawkins? His dilemma, the money, the broadcast? Audience reactions? Fascination? The irony of Oleg and his evidence against Emil? Hawkins and his crocodile tears, double-talk?

5.Eddie Flemming and his skills, the television interviews, his work with Robert Hawkins, taking him on the arrest? His relationship with Nicolette? The meal, the proposal? The initial murder, meeting Jordy Warsaw? The investigation, the scene of the crime, Jordy and his help, his jokes at Jordy’s expense, the bond between them? Partners? The phone calls, going to the escort agency, checking on Daphne in the hair salon? The street chase of Emil and Oleg? The shootings? His partner being shot? At home, his being abducted, interrogated and tortured by Emil, filmed by Oleg, the stunt work for the fight as Eddie was tied to the chair? His being killed?

6.Jordy and his work, fires, arson investigations? The scene of the crime? His boss and his concern about public relations? Seeing Daphne at the back of the crowd? The discussions with Eddie, going along with him, the escort agency, Daphne, her silence, his allowing her to go to his apartment, take a shower, the possibility of compromise? The further investigations, the result of Eddie’s death? His attempted violence, with the gun, the pursuit of the criminals? Not shooting Emil?

7.Emil and Oleg, their arrival in New York, Czech and Russian, their language clashes, with the inspector at passport control, the talk about Frank Capra and the American dream? The visit, their clashes, going to find the man who betrayed them, his wife, the arguments, the murder, it being filmed? Daphne seeing it? Arranging the bodies, burning the apartment? Going to the hotel, the phone call to the agency, wanting a Czech girl, the prostitute coming, her death? Moving, filming, finding Daphne and threatening her, the salon, the chase in the streets, Emil being shot, the confrontation with the police? Watching television, watching Eddie’s interview? Abducting him, interrogations, spurning him, the spitting, the torture, the fight, death? Going to the studios and bargaining about the video?

8.Daphne, being illegal, her story, the witness, at the salon, her running, hiding, relationship with Jordy? The truth about the killing, in the hands of Customs and Passports?

9.Issues of law and order, society, media, integrity?

GET SHORTY

US, 1995, 106 minutes, Colour.
John Travolta, Gene Hackman, Rene Russo, Danny De Vito, Dennis Farina, Delroy Lindo, James Gandolfini, Jon Gries, David Paymer, Miguel Sandoval, Linda Hart, uncredited: Alex Rocco, Penny Marshall, Harvey Keitel, Bette Midler.
Directed by Barry Sonnenfeld.

There are funny situations, timing and one-liners in Get Shorty. It is a film for filmbuffs and for anyone who has aspired to get into the movie business. It is an adaptation of an Elmore Leonard novel, Leonard being of the tough private eye, colloquial school. He has been well served by writer, Scott Frank, and the cast.

John Travolta is at his best, embodying the Florida hatchet man, Chilli Palmer, who discovers he not only loves the movies but has a great story to film - his own. We take it for granted that Gene Hackman is a great serious actor, but he deserves another Oscar nomination for his comic talents as a Z-grade producer who takes himself seriously. And Danny de Vito proves his comic skills. Rough style, but excellent movie-making.

1.Entertaining, critical praise? Elmore Leonard’s work? The movie world? The world of gamblers?

2.The Miami settings, Las Vegas and the casinos, Los Angeles, Hollywood, the mansions, the studios? The Hollywood atmosphere? The touches of realism as well as fantasy? The musical score, moods?

3.The screenplay: verbal wit, situations, plot links and films within films?

4.John Travolta as Chilly Palmer, his coat, the clash with Bones, breaking his nose, shooting him? The barbers and the conversation? Jimmy Capp, the talk about Mommo and New Jersey, Mommo’s death? Bones and his loyalties?

5.The Leo Devoe situation, his gambling, going to the airport, drinking, going off the plane, its crashing, his claiming the insurance, the fraud with his wife? In Las Vegas? Chilly Palmer tracking him down? Bones wanting the money? The encounter in Las Vegas?

6.Las Vegas, Chilly and the discussion with the debt collectors, the information about Harry Zimm? Chilly going to Los Angeles, getting into the house, watching the television, the encounter with Harry, the discussion about the Leo story? Karen and her reaction, his admiring Karen, her twigging with the nature of the story before Harry did?

7.Beau Catlett and Bear? Deals, at the airport, the messenger, taking him back to the house, his bewilderment with the number of lockers, not getting the money? Beau killing him? The confrontation with Harry, the discussion about film-making, Harry’s debts? Getting the screenplay? Beau wanting to be a producer? The discussions with Chilly and Leo’s money? With Harry and the promise to give him half a million dollars? The confrontation with Chilly in the restaurant, his throwing Bear down the steps? The confrontation with Bear? In the house, Beau’s death?

8.Martin Weir and his self-importance, Danny De Vito’s comedy, the posters for Napoleon? The previous marriage with Karen, his being with Nicky? Her knowing Chilly? The discussions, his trying to get the Eye for the film, training by Chilly? His enthusiasm about Mr Lovejoy?

9.Chilly and the set-up by Beau, waiting for him? His going to the airport, his skill in checking out number C17, the authorities picking him up, the interrogation and search? His knowing about the set-up, Bones’s arrival in Los Angeles, the confrontation, the gun, Bones taking the key to the locker and his being caught by the authorities?

10.Karen, sympathetic, actress, horror films, her career, with Harry, with Chilly? Going to see A Touch of Evil, the discussions with Martin?

11.Harry, his gambling, his being the dumb Hollywood director, his horror films, his posters, his home and office? Talking too much, gambling, Beau promising the half a million? The contracts? His hard lines to Bones on the phone?

12.Doris, her arrival, her husband and the screenplay, her coming on to Harry, the contract, at the filming and their being two weeks behind?

13.Harry, his talk, Chilly and the movie references, going to see A Touch of Evil, the gangsters as in the movies?

14.The finale, the making of the film, the transition from Bones to Harvey Keitel? The cameos with Penny Marshall? The making of the film?

15.A piece of Americana, the humour about gangsters in Miami, the world of Las Vegas, the world of Los Angeles and the ins and outs of moviemaking?