FROST/NIXON

US, 2008, 122 minutes, Colour.
Frank Langella, Michael Sheen, Kevin Bacon, Sam Rockwell, Oliver Platt, Matthew Mc Fadyen, Rebecca Hall, Clint Howard.
Directed by Ron Howard.

Frost/Nixon was a significant play on the London West End, Broadway and around the world. Its author, Peter Morgan, had made an impact on television with his screenplay for the alleged bargain between Tony Blair and Gordon Brown about the tenure of the British Prime Ministership, The Deal, as well as for Longford, his fine telemovie on Lord Longford and his contact with Moors Murderers, Myra Hindley and Ian Brady. For the big screen, he wrote The Last King of Scotland, The Other Boleyn Girl and the award-winning, The Queen. With Frost/Nixon, he extended his political interest to the United States and the history of the 1960s and 1970s, with a serious look at the Nixon heritage.

Many people were surprised that the task of bringing Morgan's adaptation of his play to the screen fell to Ron Howard, especially since Howard's previous film was The Da Vinci Code. However, Howard has proven himself with Frost/Nixon and reminded audiences that he is skilled at a wide range of genre films from his Oscar-winning, A Beautiful Mind to Apollo 13, The Missing and Parenthood.

Both in London and in New York, the central roles were taken by Frank Langella and Michael Sheen. Both are award-winning theatre actors. Over a long career, Langella has appeared in many films but, even though he does not look like Richard Nixon, we eventually accept the actor as the president and are both fascinated and repelled by this flawed American leader. Michael Sheen has been Mozart on stage in Amadeus, Kenneth Williams in Fantabulosa on television and Tony Blair both in The Deal and The Queen. Because David Frost has been around for so long now, audiences have forgotten, or never knew, the style and manner(isms) of Frost and his deadpan and emphatic voice – which Sheen does mimic well at times.

For those for whom the 1970s is a distant past, the opening credits recap the period, the American involvement in Vietnam, the heritage of John F Kennedy (against whom Nixon ran for president in 1960) and L.B. Johnson, the protest and demonstrations with their campus violence and deaths, the bombing of Cambodia. After the credits we are introduced to Frost, down on his luck in British and US TV but Down Under on his luck in hosting an odd reality program. He is in Australia when he sees Nixon's resignation speech on August 8th 1974. And he has an idea...

With the backing of British television producer, John Birt (Matthew Mc Fadyen), he starts negotiations for an interview with the disgraced president. What is interesting to watch is the eagerness exhibited by Nixon to reach the American public to justify himself, something backed by his principal adviser (Kevin Bacon). Nixon also has a rather mercenary approach to the interview, reflecting one of the key elements of the Watergate break-in concerning election year campaigning funds.

In the hindsight of the long career that Frost had in interviewing political personalities, it is something of a surprise to be reminded of his youth and inexperience, his presumption and his self-confidence, as well as his digging into his own pockets to pay for the interviews when he was scorned by political journalists and knocked back by the networks. While we know that, ultimately, the interviews were seen extensively in 1977, Frost's inept dealing with Nixon, allowing him to ramble and sermonise in the first three interviews, is also something of a shock.

Frost is seen as a celebrity (with famous parties), a talk show host and a performer. But, the film's drama builds up to the fourth interview where Frost had done more homework for a change, had consulted his researcher, James Reston (Sam Rockwell persuasive in a more mainstream role), and clicked with the President's need to admit mistakes and communicate with the American public.

The supporting cast is strong, including Rebecca Hall, Oliver Platt and Toby Jones.

Frost/Nixon reminds us of the key role that television plays in reaching a wide audience, with close-ups of face, body language and emotions, that do reveal a personality – while, on the other hand, presenting a carefully media-crafted image and persona.

So, in terms of politics, in terms of the impact of media and a glimpse back at a controversial and turbulent time in US history (just prior to the celebration of the Bicentenary of American independence in 1976 where one of the top films was All the President's Men), Frost/Nixon provides its audience with intelligent and thought-provoking cinema.

1.Acclaim for the play, the film, awards? Transferral to the screen?

2.Historical presuppositions about the United States, about Nixon, Watergate, Vietnam, the bombing of Cambodia, Nixon’s resignation? Presuppositions about Frost, as a TV personality, the interviews, his role?

3.How well did the film work as drama? The credits and the information about Nixon, his presidency, the Watergate scandal, the cover-up? Information about Frost? The idea for the interviews, the plan, the contacts, motivations? The preparations? The taping? The climax? Nixon’s confession?

4.The use of TV footage, the interviewees throughout the film, their retrospect views, the inserts into the drama? The studios, the United Kingdom, California?

5.Nixon and his career, his personality, his not being liked, his estimation of himself, his preference for intellectual debate, his decisions in the presidency? His history in court cases in the 40s and 50s, anticommunist, his vice-presidency, his confrontation with J.F. Kennedy? Inheriting the war from Lyndon Johnson? His patriotism, the politics of the war? Contacts with Mao Tse Tung, Brezhnev? His family and the background? The glimpses of Pat Nixon, her support, her health? The 1972 campaign? The money, the Watergate break-in, the cover-up, his various associates and the information given about them? The tapes, his resignation, his living in retirement, his TV interviews, his subsequent history as a private citizen?

6.Frank Langella’s impersonation of Nixon? His personality, Jack and the advice, his various associates? His attention to detail, his concern about money, the prurient touch about his questions, the shoes, Frost’s activity with women? Seeing him at home, his attitude towards the American public, the negotiations for the interviews, his working with David Frost? The interactions at the interviews, his chat, personalising, controlling Frost? His talk, the homilies in the interviews? The significance of his drinking, the night phone call, the duel with Frost? The final tape, the confession, the interruption, Jack and his appreciation of the gesture? His final admitting his faults? The aftermath, playing golf, the gift of the shoes, asking about the phone call?

7.Michael Sheen as David Frost, his career, the programs in London cancelled, in the US? His show in Australia, the variety show and the glimpses of the acts? August 8th, 1974, his watching the resignation speech, his idea, contacting John Birt, persuading him to be the producer? The negotiations, the discussions with Swifty Lazar, with Nixon, the visit to Nixon? Meeting Caroline on the plane, their talk, the revelation about himself, his inviting her, the meeting with Nixon? The importance of the money, his own money, the sponsors? Bob Reznik, James Reston, their backgrounds, television and research, publications? The preparation, his casual approach, going to parties? The relationship with Caroline, her advice? The exasperation of Reznik and Reston? John Birt having to support him? Going to the premiere of The Slipper and the Rose, his interviews on television? The first interview, his ineptness, Nixon taking over and talking? The reaction of those around? The further talks, foreign policy? The attempts at hard-hitting questions? The significance of the midnight phone call, Nixon surprised that Frost was at home, his drinking, their talking, the hard questions, the issues of the duel? Frost and his noticing a detail, listening to Nixon, the investigation, getting Reston to get the documents about Charles Coulson, the details, the interview, Frost sitting forward, asking stronger questions? Nixon and his more offhand reaction at opening the discussion, the questions and his responses, the interruption, the confession, the success of the interviews, the worldwide syndication, the sponsors, the apologies from the political commentators? Frost’s later visit to Nixon with Caroline, the gift of the shoes, telling Nixon they talked only about cheeseburgers on the phone?

8.The three interviews, Nixon’s response, control, explanation of himself, justifying? The last interview and the drama for the film?

9.The characters of Reznik and Reston, their backgrounds, ideology, Reznik and television, Reston and research, Reston not wanting to shake hands with Nixon, their aggravation with Frost, their joy in getting Nixon to confess?

10.John Birt, the English background, producer, caution, seeing Frost as a performer, his rushing naked into the sea in jubilation at the end?

11.Nixon’s entourage, the advice, Jack, steely-eyed, watching everything, the advice, his praise of the president, the gesture for him not to confess? His comments in retrospect?

12.The technicians, their work on the interviews?

13.The nature of television, the discussion at the end about close-ups, Nixon’s face, the confession, the need for the American public to hear Nixon admitting his guilt?

14.The film as contributing to an understanding of American history in the 1970s?

PHORPE (THE CUP)

Bhutan/Australia, 1999, 90 minutes, Colour.
Directed by Khyentse Norbu.

The Cup was very popular on its first release in 1999. It was the first film from Bhutan, a collaboration with finance and technical help from Australia.

The story is simple, was directed by a Buddhist monk and featured a number of monks in the cast. The focus is on a monastery, the abbot and his assistant, the arrival of two young students. The Bhuddists are refugees from Tibet in the aftermath of the exile of the Dalai Lama.

The situation is the World Cup, the enthusiasm of the monks and their playing football, the abbot and his assistant not being able to understand the game. Some of the very young monks want to watch the final on television and arrange for the hiring of a satellite dish from an Indian villager to watch the game. However, there are difficulties in raising the money, transporting the dish, setting it up and making it work – but all with a happy ending.

There is a very strong humanity in this film as well as the possibility of looking at life in a Buddhist monastery in great detail. The director went on to make a second film, The Travelling Magician, a far more ambitious film again about monks in the Indian mountains, life in the village, the attempts to move away from the village to the city.

1.The popularity of the film? Awards? Worldwide interest?

2.A film from Bhutan, the Australian help? The mountain locations, the beauty of the Indian and Bhutan countryside, the mountains? The musical score?

3.The picture of life in the monastery, the range of monks, their ages? Their shaved heads, their robes? Their life in the monastery, obeying the abbot and his assistant, the rules, breaking the rules? Akin to a boarding school? The film’s attention to the ritual detail of bells, community gatherings, prayer, meals, recreation …?

4.The football theme, the monks and their enjoyment of soccer?

5.The World Cup, France, the monks and their interest? Their knowledge of players and the game? The abbot and assistant and not knowing the details? The desire to watch the World Cup on television?

6.The young monk, his skill in finding the money, persuading a range of monks to give the money for the hire of the satellite dish? The newcomers and their slow collaboration, helping the young boy?

7.The money, the Indian, his being demanding about the money, his having custody of the dish? Getting the extra money, helping them – and giving directions where the dish should face?

8.The transportation of the dish, installing it on the roof? The difficulties? The direction in which it should face?

9.The transmission, success, the enjoyment of the game, the abbot, his assistant, everybody watching?

10.An entertaining blend of a religious tradition, its serious attitudes, detachment with the love for sport, entertainment and modern technology?

REINDEER GAMES

US, 2000, 106 minutes, Colour.
Ben Affleck, Gary Sinese, Charlize Theron, James Frain, Isaac Hayes, Donal Logue, Denis Farina.
Directed by John Frankenheimer.

Reindeer Games is a thriller by the veteran director John Frankenheimer. Moving from television in the 1950s, Frankenheimer had a very strong career, especially in the first half of the 1960s with such films as Birdman of Alcatraz, Seven Days in May, The Train. With Grand Prix he went more commercial and he had an up-and-down career in cinemas and on television. Some of his later striking films included The Burning Season with Raoul Julia and the fight of the rubber people against landowners and destroyers of the forests in Brazil.

This is a thriller set at Christmas time. Ben Affleck portrays a car thief who is in jail and befriends his roommate (James Frain). The cellmate reads him letters from a correspondent – and when the friend is murdered in a prison riot, and he is released, he takes on the identity of the cellmate and begins a relationship with the woman (Charlize Theron).

However, there are various set-ups, various twists which continue to make the film interesting – even though, one hopes, farfetched.

The plan is a casino robbery on an Indian reservation, the casino managed by Denis Farina. However, the central villain is played by Gary Sinese (who was an equally abhorrent villain in Ron Howard’s Ransom).

However, everything is not as it seems, and there are surprises towards the end of the film – and a rather Christmassy and benign ending to a film which is violent with touches of brutality.

1.A tough thriller, ugly aspects, twists?

2.The winter, Christmas season? Prison? Michigan, the countryside, the snow, the casino? The wintry mood?

3.The title, the references to Rudolph the Red-Nosed? Reindeer? Rudy as central character, the Santa Clauses, the sleigh ride, the reindeer games, the end?

4.The credibility of the plot, Rudy in prison, his relationship with Nick, Nick’s murder, getting out, taking Nick’s identity, the plan for the robbery, his shrewd reactions to the plan, saving himself? The leaders of the group, the pawns? The heist, the betrayals, the end?

5.The introduction to Rudy and Nick, Nick and his letters from Ashley, Rudy and his exercises, Nick and his talk, the riot, Nick’s death?

6.Rudy and his leaving, seeing Ashley, getting out of the bus, taking Nick’s identity, his motivations, the relationship with Ashley, the sexual relationship, her thinking he was Nick? The introduction to Monster? To the group? His protests about his identity, his ability to lie? This in retrospect after discovering Ashley’s plan, Nick’s plan, and his being a pawn to use Monster to do the robbery?

7.The effect on Rudy, the threats, information, his pretence, in the motel, chained, his trying to escape?

8.The casino, Jack, managing the casino, the Indian reservation, the money, the contrast with Las Vegas, the snow, the customers? The lax security?

9.Monster, the character, sinister-looking, his speech about the trucking and his lack of opportunity? His henchmen? Their loyalty? Their violence?

10.Christmas, the plan with everybody in Santa Claus dress, in the casino, Jack and the observation, Rudy and his picking a fight with the old man, saving the customers? The shootouts, the security, Jack and the safe, the special safe and Rudy’s memories, getting the money?

11.Rudy and the escape, Monster and Ashley, the threats, Ashley shooting Monster? Nick appearing, the explanation of his fake death, the master plan, Rudy as a pawn?

12.Ashley, her character, sympathetic, the letters? Her relationship with Rudy? Defending him? The irony of Rudy seeing her in the pool with Monster, suspicions? The irony of her masterminding the plan? Nick’s arrival, his relationship with her, the setting up of Rudy, the letters?

13.Rudy in the car, hot-wiring it, reversing into Nick, the flames, Ashley and her death?

14.Rudy, the distribution of the money, peacefully at home for Christmas?

15.Farfetched – but exciting and ingenious?

THE BOYNTON BEACH BEREAVEMENT CLUB

US, 2005, 105 minutes, Colour.
Brenda Vaccaro, Len Cariou, Sally Kellerman, Joseph Bologna, Michael Nouri, Renee Taylor.
Directed by Susan Seidelman.

The Boynton Beach Bereavement Club was co-written and directed by Susan Seidelman who had a movie career in the 1980s (Smithereens, She-Devil, Cookie) but in more recent decades has worked for television.

Boynton Beach is a town in southern Florida. It has the atmosphere of all the Florida resorts, especially for the elderly and retired. This film focuses on a number of people who have experienced bereavement, loss of a spouse. They go to a club, get to know one another, enter relationships. They also take part in activities (rather nostalgic and retrospective) for socialising.

The film has an interesting cast with the opportunity to see Brenda Vaccaro in a substantial role, Sally Kellerman in an older variation of roles that she played in the past. The men are played by Len Carious, Joseph Bologna and Michael Nouri. Renee Taylor (who is married to Joseph Bologna in real life for over forty years – and played Fran Drescher’s mother in The Nanny) has a supporting role.

The film offers some insight into serious themes – but all with the light touch, and the touch of soap opera treatment.

1.A film for older audiences, the subject of ageing, bereavement, relationships?

2.Florida, the town, the coast, people retired? Affluent? The musical score?

3.The title, the focus on bereavement?

4.Brenda Vaccaro, her life and age, love for her husband, nice, his song and dance, going down the street, the driver, talking on the phone, the crash, his death?

5.The importance of bereavement, the group, the leader and her style, very American? Men and women?

6.The focus on the different couples, their past, the photos from the past, the photos at the end?

7.The story of Lois and Don: Lois, her age, lying about it, her friendship with Brenda Vaccaro, at the meetings, giving driving lessons, Brenda Vaccaro being grateful to her? The chance meeting with Don, his suave manner, his being a real estate agent, going out with him, the relationship? The irony of meeting him at Brenda Vaccaro’s house, Lois’s anger, going to the dance with Brenda Vaccaro, her persuading her to go to Don, his arrival, the taxi, a future?

8.Jack and Sandy: Jack, his wife’s death, the funeral, Jewish background, his daughter and granddaughter, the discovery of his wife’s diary, the granddaughter reading it, his later reading it, his being amazed at learning about his wife? Sandy and her approach, their going out, dancing, Jack and the constant memories, at home, with Sandy, the next day? His daughter and her expectations? The irony of Jack and Sandy at the restaurant, her husband turning up, the humiliation, taking Sandy home? The later going to Sandy’s house, the reconciliation? A future?

9.Harry, member of the club, his internet searching, the dates? Belonging to the group, friends, the idea of the reunion, looking up the magazine, inviting the woman from the past? Being seen with her at the end?

10.The woman driving, talking on the phone, her hitting Brenda Vaccaro’s husband? Lois and Brenda Vaccaro seeing her at the restaurant, wanting to confront her? Her visiting her, talking with her, slapping her face, the woman amazed – and talking about dealing with it in therapy?

11.The focus on people in their sixties and seventies, men and women and their different approaches, the experience of bereavement, the effect, relationships, sexuality, success and failure? The party, the nostalgia, the final focus on the group at the party?

12.Brenda Vaccaro, the end, at home with her dog – content?

13.The serious themes – but with the light touch?

SINGIN’ IN THE RAIN

US, 1952, 102 minutes, Colour.
Gene Kelly, Donald O’ Connor, Debbie Reynolds, Jean Hagen
Directed by Gene Kelly and Stanley Donen

Singin’ in the Rain is one of the most entertaining of the MGM musicals of the 1950s. It’s now considered a classic – even one of the greatest of all the screen musicals. Released in 1952, it did not win any Oscars, the year that The Greatest Show on Earth was best film.

The film is set in the era of the transition from silent film to talkies. There is a lot of comedy about the Hollywood studios and especially about actors whose voices could not make it in sound. This gives an opportunity for Jean Hagen to be very funny as Lina Lamont, an actress who is unaware of her terrible voice (Jean Hagen getting an Oscar nomination for this role).

The film was directed by Gene Kelly and Stanley Donen who had directed On the Town. Donen was to go on to make a number of musicals including Funny Face and Seven Brides for Seven Brothers. Gene Kelly had been one of MGM’s top dancers (athletic compared to Fred Astaire’s graceful style). After his dance career finished he went into direction with such films as Hello Dolly.

Gene Kelly is very good in the central role and is given excellent support by Donald O’ Connor who has one of the best songs, ‘Be a Clown’. A young Debbie Reynolds joins them. Cyd Charisse has an interlude as a dancer, performing with Gene Kelly.

The film was written by Adolph Green and Betty Comden who were responsible for many of the MGM musicals: Good News, The Barkleys of Broadway, On the Town, The Band Wagon, It’s Always Fair Weather, Bells are Ringing. They also wrote the screenplay for Auntie Mame.

The film also features a number of songs, not originally written for this film, but which were performed in a number of MGM films. Many were written by the producer of this film, Arthur Freed.

1. The classic status of this film? The reasons for its reputation? Popularity?

2. The specific quality of MGM musicals of the 40s and 50s: the stars, the staging, the songs, dances, colour, style? Impact now?

3. The importance of the inventive screen play, the presentation of Hollywood in the 20s, the satire? The re-creation of the 20’s, the introduction of sound? The sympathetic portrayal of characters, the egotism of the stars? The spoofing of Hollywood? The charm and the wit and the humour?

4. The title based on the lyrics of a song, the credit sequence with Singin in the Rain, Gene Kelly' rendition of Singin in the Rain, Good Mornin', the comedy of Make 'em Laugh, the elocution song, the love song in the dancing cavalier?

5. How humorous and sympathetic the portrait of Hollywood: Don's memories at the interview and the humorous irony of the truth with the Hollywood glossy magazine style story? The presentation of early film making, the rise of the stunt man to star? The making of films? The humour of the contrast with the glamour? Appearances and realty? The presentation of the previews, the fans and their fainting, screaming? The interviewers and the expected answers for the crown? Hollywood silent films and the conventions of the silent film, their exaggeration in acting, plot? The presentation of making the films, e.g. going past the various sets with their variety of films on the lot? The stars, the magazines? The presentation of sound at the producer’s party and people’s suspicions? Variety and the success of Al Jolson? The transition of the studios and the humour of Lena with the sound and the loud and soft etc.? The poor voices for sound? The sound at stages? The cavalier becoming a singing and dancing cavalier as a sign of the times? The enjoyment of films and the hope for the future?

6. Gene Kelly's portrayal of Don, his origins, friendship with Cosmo, as a character in himself, conscious of his phoniness, his waving and stories at the preview, clashes with Lena, the humour of the fans chasing him and his crashing into Kathy's car, their conversation and the effect of the truth on him, the irony of seeing her coming out of the cake, the pie in Lena’s face? Her importance to him, his search, her part in the chorus, in the film? The genuineness of their falling in love, the failure of the preview, the preparation of the dancing cavalier? Her dubbing, his love for her at the end? His portrayal of The Broadway Melody sequence? Gene Kelly as the genial star?

7. Donald O'Connor as Cosmo and a foil for Gene Kelly, comic style, good support? His character as a friend? The importance of the 'Make 'em Laugh' sequence and his skill in comedy? His work in the studios, music? Dislike for Lena? Participation in the transition of the silent film to a musical? His participation in the comeuppance of Lena?

8. Debbie Reynolds attractive as Kathy, as heroine, her self-righteousness in the car, coming out of the cake, her singing in the chorus, the pie, her work in the chorus line and Don's search for her, falling in love, helping with the transition of the musical, her being hurt at the end, and being called back? A happy ending? A fairy tale story of stardom?

9. Jean Hagen's success as Lena? Seeing her at the preview and her not speaking, her work on the silent films and the spurning of Don until he was a star, her push in her career? Her voice and the revelation of her voice? The satire and comedy in the way she talked? In her performance? Her talking about her being dumb? Believing the fan magazine stories about Don? At Kathy, her hold over Don and Kathy? The humour of her elocution lessons? Her publicity, her trying to adapt to sound and failing, her success at the end and her vindictiveness over the studio and taking it over, making a speech and over-extending herself? Her discomfort, her being exposed? Too cruel, or sharply satiric?

10. The portrayal of the studio people, the studio head and his party, transition to talkies, being blackmailed by Lena, participating in her downfall?

11. The background of directors, elocution teachers, interviewers?

12. The build-up of the finale of the film, the crisis, the happy ending?

13. Why the perennial appeal of this film?

THE SMALLEST SHOW ON EARTH

UK, 1957, 81 minutes, Black and White.
Bill Travers, Virginia Mc Kenna, Leslie Phillips, Peter Sellers, Margaret Rutherford, Bernard Miles.
Directed by Basil Dearden

The Smallest Show on Earth is an entertaining comedy, nostalgia for the days of the movie theatres, even those called, as in this film, The Flea Pit.

The film was written by William Rose, an American who made an impact in British cinema in the 1950s with such films as Genevieve, The Maggie. In the United States he wrote screenplays for such films as It’s a Mad Mad World, The Russians Are Coming and won an Oscar for the screenplay for Guess Who’s Coming to Dinner.

Real-life couple, Virginia Mc Kenna and Bill Travers (Born Free, The Barretts of Wimpole Street) inherit the old movie theatre only to find that it is debt-ridden and run by a group of old eccentrics led by Margaret Rutherford. Also on hand are Peter Sellers and Bernard Miles as well as a young Leslie Phillips. Sid James is there as well.

The film is humorous, relies very much on the screen presence of its stars. It was directed by Basil Dearden who directed many serious films including The Blue Lamp, The Square Ring, The Gentle Gunman, Sapphire, Victim, Life for Ruth. His few comedies include this film, The League of Gentlemen and Only When I Larf. He also directed the big-budget Khartoum.

1. This film in the British comic tradition and style? Its quality?

2. Comment on its brevity, black and white photography, its use of city locations and the presentation of the cinemas, the characterizations for comedy, the parody of ordinary situations? The quality of these contributions to comedy?

3. The irony of the title, the reference to circuses, indication of themes with an ironic and parody touch?

4. The presentation of Matt and Jean as the conventional hero and heroine, their straight forward characterizations and style, the comic situations in which they were placed? The presentation of marriage relationship, domestic comedy and situations and crises, work and money investment, feelings, love and anger? The presentation of the two as normal, for audience sympathy, a background for the comic characters?

5. The presentation of the Bijou Theatre, the old traditions of cinema and cinema-going that it represented, in England, in the town? Its look, its surroundings, its atmosphere, the humour in the way the films were projected, the type of audience that went, the way that they enjoyed films, audiences identifying with this ordinary looking cinema-going audience? Part of the comedy?

6. The humour of the visual presentation of the sessions, the screenings, things going wrong, the contribution of the staff?

7. How was the irony accentuated by the contrast with the Grand Theatre, its owners, their programmes, the appeal to the public, the lavish nature of the theatre, the various deals, the highhanded approach to Matt and Jean, the sabotage? Ironic elements of comedy and social comment?

8. The particular humour in the trio of the staff of the Bijou, as comic types, viewed with affection, presented in comedy situation and dialogue? What did Mr. Quill represent, the old-fashioned projectionist, Peter Sellers' style of impersonation, his drinking etc.? Old Tom and his shyness, and yet his saving the day by sabotage? Mrs. Fasackalee and Margaret Rutherford's
style, the humour of the lady who sells the tickets, her self-importance, awareness of her job? Her treatment of people? Which were the best humorous scenes in which these characters appeared?

9. The people of the town, the people who came to see the films, their reactions? Especially in view of the type of film shown, the traditions of Hollywood and the conventions of films and people's reactions?

10. The film as an example of British comedy in the fifties, a look at British characters and tradition, sentiment, the British working classes and moneyed classes, money etc.? How valid is social comment through comedy?

THE SNAKE PIT

US, 1948, 108 minutes, Black and White.
Olivia De Havilland, Mark Stevens, Leo Genn, Celeste Holm.
Directed by Anatole Litvak

The Snake Pit was a very striking film for 1948, life in a mental institution before the 40s. The film is based on a story by Mary Jane Ward and the Olivia de Havilland character is based on Miss Ward’s own experience. She finds herself in an institution, her husband talks and the flashbacks present her story. She is under the care of Doctor Kik, based on the career of Doctor Gerard Chrzanowski (died in 2000).

Olivia de Havilland had won an Oscar for To Each His Own and was to win another one the next year for The Heiress. A leading lady in dramas and adventures in the 1930s, she showed her dramatic strength in the films of the 1940s. There is very good support from Leo Genn as Doctor Kick and Betsy Blair as one of the inmates.

Ukraine-born director Anatole Litvak had begun his career in Germany, coming to the United States and directing such films as The Sisters, Confessions of a Nazi Spy. In the 1940s he directed The Long Night as well as Sorry, Wrong Number. Later he was to direct The Deep Blue Sea and Ingrid Bergman in her Oscar-winning performance in Anastasia.

1. The overtones of the title - the horror, yet its shock therapy value for Virginia?

2. Overall impression of the film? How engrossing? How horrifying? How did the film bear the mark of 1948? In style, in psychological techniques? In being didactic about its subject? In its reforming plea for asylums? What impact does it have in later decades?

3. How successful was the structure of the film? The introduction to the mad Virginia? With her hallucinations and voices? An emotional response to this and then flashbacks to the sane Virginia and the contrast and sympathies for the real Virginia? Was it cumbersome or was it convincing?

4. What importance did the flashbacks have as regards our sharing Virginia's outlook? Her groping for the truth about herself? Her growth in under- standing? Our growth in understanding her?

5. What impression did the asylum make? How horrifying and why? The nature of the treatment of the patients? The inhumanity of the wards? The rough treatment of the personnel? The dormitories and the screaming etc.? The nature of the shock treatment? The straight jackets and the varying cells and grades of treatment? How have treatments changed in institutions?

6. How much kindness was there in the film? How could the patients respond to kindness? How did they grow through the kindness? Dr Kick? How kind was he? His use of shock treatment, his use of therapy by listening? Critics have commented that this was phoney psychology. Do you agree? How did Virginia fall in love with Dr. Kick? Did this matter? When she was cured how did she see this? The effect of kindness of other patients eg. Virginia kindness to Hester, in the ward, at the dance, when she was leaving?

7. What impact did the asylum have on Virginia? At the beginning? Her line-up going to the doctor, to meals etc. her rebellion? Was this intended to cure her or did it make her situation worse? When did she begin to regain her sanity? When did her voices stop?

8. What was the immediate cause of Virginia’s break-down? The revelation in the flashbacks about her meeting with Robert? (How did we see Virginia from Robert's point of view and understand her?) The erratic behaviour, her love for Robert, her fear of loving him? Why did this have such strong impact and make her break?

9. Was the explanation of Virginia's potential for breakdown quite credible? The flashbacks to Virginia as a girl? To her father and his reprimanding her? To Gordon and his proposal? Her feelings of responsibility for deaths? Her inability to give herself in love? How convincing was this?

10. How did Virginia gradually feel a sense of liberation from her past? The importance of her interview with the staff? How horrifying was this? Why? How was the severe nurse responsible for Virginia’s further collapse? The incident with the doll? Her going back to the lowest ward etc.?

11. What effect did this have on Robert? The nature of his devotion? His pressurising to get her out? The misinformed value of this? His gradual change to help her?

12. Comment on the sequence which visualised the title of the film. What impact did it have on you? On her?

13. How much hope was there in the film? Was it a realistic presentation of an ever present reality of madness in the world?

14. How have things changed from 1948?

SQUIZZY TAYLOR

Australia, 1982, 97 minutes, Colour.
David Atkins, Jacki Weaver, Alan Cassell, Michael Long, Kim Lewis, Robert Hughes, Cul Cullen, Steve Bisley.
Directed by Kevin James Dobson.

Squizzy Taylor is a big production about a small-time and small gangster in the Melbourne of the 1920s. There was a popularity of treating some of the gangster themes of Australia’s past at this time, especially in Sydney with Kitty and the Bagman (directed by Donald Crombie who also directed the Depression-set Caddie).

The film is colourful in its presentation of Melbourne at the period, costumes, décor. David Atkins, a talented dancer and choreographer, is Squizzy Taylor and Jacki Weaver is his girl, Dolly. Alan Cassell and Michael Long portray detectives.

This was a period of gangs, police corruption, and this is a reminder that a city like Melbourne can have its criminals and gangsters.

1. The impact of this portrait of Taylor? The re-creation of period, the city of Melbourne and the inner city, Melbourne gangsters, the police? Portrait of an individual? Portrait of urban society?

2. The period 1919-21: the use of many Melbourne locations, the re-creation of the period, the streets, Flinders Street Station, the Yarra River and parks, the inner city suburbs, warehouses, homes, railway stations, police stations, beer houses? The colour photography and the dark suggest ions of the period? The attention to detail in decor, costumes, sets? The feel of the period, its manner and style? Style of language?

3. The contribution of the score – the feel of the times, jazz era? The contribution of the dances – the choreography, the dramatic use of dancing: Squizzy and Dolly, Squizzy and Ida? The dancing during the final credits?

4. The structure of the film in two parts: 1919 with Taylor's background, his activities, his manoeuvring and manipulation, his being on the rise? 1921 and his success, criminal activities, comeuppance, defeat? The episodic nature of the film and yet the gradual development of Taylor's career and downfall? The comparing of the criminals with the police, especially with Taylor and Brophy? The paralleling of the women: Dolly in the first part, Ida in the second part? The contribution of David Atkins and his presence, style, interpretation of Squizzy? His skills as a choreographer and their contribution?

5. Audience knowledge of Squizzy Taylor – how necessary? The reputation in Melbourne and Victoria? The ugliness of his activity? The larrikin hero? The conflict with the law, especially the corrupt law? The legends about the gangster hero? The comparison with American gangsters of the '20s and '30s? The influence of people making heroes of criminals? The contribution of the newspapers and reporters? The film's dramatising the various cases Taylor was involved in? The use of the newspapers?

6. The conventions of gangster films: the small tough gangster, his inflated style and push, the gangster in action, his deals, manipulation, betrayal, violence, treatment of women as molls, self-centred (Napoleonic complex), graft, use of the police, rise to the top, over-reaching himself? Does the gangster have any moment of truth? Was Taylor caught in his own legend?

7. The film's attitude towards Squizzy Taylor – accurate portrayal, realism or glorification and romanticising? The upstart, ambitions? The tiny man trying to be bigger? Self-centred – attacks on Dolly, for instance, as attacks on him? Love of power, control? Often afraid, but exploiting situations? Deviousness? Was he a man of any feeling? A man of poses and show? The pathos of the final shooting and his death? His death by criminals and police?

8. Squizzy Taylor's character seen in relationship to the two women in his life: Dolly and the initial set-up for the robbery in the side street, his access to her house, using her, the show of love and concern, his making her walk the streets and take clients even when she was upset, taking her dancing – but yet slashing the face of the insulting fat man? His reaction to her being raped – taking it as an insult to himself? His setting her up in her own room? In times of success judging the old prostitutes she was hiring, the chance encounter with her in the park at the banks of the Yarra, her being bashed by Snowy Cutmore and visiting him, and her urging him to look after Ida? His lack of regard for Dolly? The contrast with the meeting with Ida: at the dance, the dancing sequence, taking her home and flirting in the car, the arrangement for the races, the wet afternoon together, her questioning him about prostitution and set up in a room, her being a one-man woman and staying with him, the room and the awkwardness of the visits, the respectability of marriage, the possibility of happiness together, Gus Murray staying with them and eyeing her when she was posing in the bathroom, her pregnancy, her not believing the stories told about him, her being attacked by Piggott at the end? Dolly and her loyalty to him? Ida and her love for him? Did Squizzy Taylor seem likable as seen through the eyes of these two women?

9. Taylor's criminal background: the accusations of murder, his being acquitted, his time in prison? The initial robbery set-up and Angus Murray's killing the carrier, Taylor's fear and exploiting the situation for escape, his robbing overcoats, going to the two-up game and gambling his money, asking Henry Stokes for an alibi, being picked up by the police and getting a hold over Brophy, betraying Angus Murray? Taylor's shrewdness in assessing the situation between Brophy and Piggott and playing them off against each other? His hold over Henry Stokes – who underestimated him? The set-up of the jewel robbery with its violence and his betraying the group for a raid? His reaction to Dolly's rape and getting the thugs drunk, the fire bombs and the shooting during the Chinese procession? The encounter with Reg. Harvey and his insinuating comments about Henry Stokes? The setting up of gang warfare and shootings in the street? His takeover when Henry Stokes had to leave Melbourne? The build-up to manipulation, hold over people, wealth and success?

10. The little man coming from poverty – the ironic symbolism of the masks for the robbery, the tram ride? The stealing of the overcoats? Squizzy and his lack of money, gambling of Henry Stokes' car etc.? The cheery young upstart from the inner city suburbs-, oppression and poverty aiming for wealth and power?

11. Squizzy and his success: establishing Dolly in her own rooms, having his own henchmen, chauffeur? Playing cards with businessmen? The illegal trucking of whisky? With the police continually chasing him and arresting him? His ability to get off – using Brophy and antagonising Piggott? His having to lie low? The meeting in the library with : Brophy? The Colin Ross murder and the setting up of Vi Matthews? Taylor's enjoyment of bashing her to give evidence? The execution of Colin Ross? Angus Murray and the setting up of the robbery at the station? Taylor once again betraying Murray? His giving himself up – the publicity, the newspaper testimony? His speech in court and his appeal to the jury? His getting off once again? His establishing himself as king of the underworld – but deprecating this in court? The return of Snowy Cutmore to Melbourne? Cutmore's destruction of Dolly's house? The build-up to the confrontation : between Cutmore and Taylor? Piggott getting the upper hand over Brophy and Brophy's spurning of Taylor? The possibility of the Colin Ross file being reopened and Brophy's need to act? The irony and ugliness of Brophy being revealed as manipulating the murder of both Cutmore and Taylor?

12. Taylor's response to Brophy, understanding him, playing on his need for rivalry with Piggott? Having him on the payroll? Piggott arresting him in his flat and Brophy unable to do anything? The discovery of the truth? Brophy's final spurning of him in the railyard? Organising his death? Piggott and his aloofness and spurning of Taylor? The heavy bail? Finally confronting him and wanting to know the truth? Causing his death? Unwitting accomplice with Brophy in killing Taylor?

13. Alan Cassel’s interpretation of Brophy, the seedy policeman, ambitious, weak and able to be corrupted, comparing himself and his role with Piggott? The deals with Taylor concealed from Piggott? The raid on Whiting and capturing him? His behaviour at the press conference about the gang wars? His turning a blind eye to Taylor's behaviour? The Colin Ross case and setting him up to pressure Vi Matthews? The victory and his drunken talk with Piggott? His being humiliated by Taylor and by Piggott? The final denunciation and manoeuvring for his death? Portrait of a man, jealous, weak, ambitious, unscrupulous? An ugly portrait of a policeman?

14. The contrast with Piggott – his war experience and patriotism, coming from the country, spurning of the city and not understanding it? Upright and aloof? Style and manner, smoking? His not knowing the ropes – but learning them? The press conference and Brophy's promotion over him? His gradual rise and waiting for Taylor the 300 pounds bail? The arrest in the flat? His talking to Ida and condemning Taylor? The end and the confrontation, his desperate wanting to find the truth about Brophy? His killing Taylor? The upright policeman – any better than Brophy?

15. The portrait of Melbourne criminals: Angus Murray and his initial violence, the escape from prison, holing up with Taylor, his eyeing of Ida, the murder on the railway station? Henry Stokes and his two-up school, horse deals, the set-ups for the Fitzroy group, participation in the gang wars, framed by Brophy in handling the gun, having to leave town for Tasmania? The wealthy businessman and criminal outwitted by Taylor? Harry Slater and the Fitzroy group and the beer ho us-c? Snowy Cutmore and their brutality on Dolly? The revenge in the burning of the beer house? His return to Melbourne and the destruction of Dolly's house? The various young punks in Melbourne in Taylor's pay, Cutmore's pay? Taylor's henchmen, chauffeurs? Their betrayal? Tough postures, life of the streets, violent gang wars?

16. Reg Harvey and his naively, believing all that he was fed by Taylor? The presence at the press conference? His writing his column and manoeuvring for Taylor? His presumption? The scene of his rowing on the Yarra? His fear in being taken to the two-up game? His presence in the court and discovering how he had been manipulated? His final story with the death of Squizzy Taylor?

17. The importance of the atmosphere of the sets: the initial street scene with the barber's shop and Dolly, the masks and the ride on the tram, the people masked for the epidemic? The centre for vapours for the epidemic? The robbery sequences? The beer house and the Chinese procession? The dance and the slashing? The dance lesson? The park at the Yarra, Flinders Street Station, the Exhibition Building, the Court House, St. Vincent's Hospital etc.?

18. A memoir of a lawless time? Crime, gangsters? The police? The public? Newspapers?

STARSTRUCK

Australia, 1982, 104 minutes, Colour.
Jo Kennedy, Ross O’ Donovan, Margo Lee, Max Cullen, Pat Everson, John O’ May, Dennis Miller, Melissa Jaffer, Ned Lander, Mark Little, Geoffrey Rush.
Directed by Gillian Armstrong.

Gillian Armstrong had made an impact with some short films in the 1970s and then her first feature, My Brilliant Career, with Judy Davis and Sam Neill. Starstruck was her next film, a bright and breezy show business affair with some garish colours, costumes and lots of music.

The film has a great deal of verve with Jo Kennedy as the lead (she was to win Best Actress in Berlin in 1985 for Wrong World). A gallery of Australian character actors are in support including comedian Mark Little and Geoffrey Rush in a very early role.

Gillian Armstrong was to go on to Hollywood to make Mrs Soffel as well as The Fires Within. She was very successful with her version of Little Women. In Australia she was also successful with High Tide and The Last Days of Chez Nous. She made international features like Oscar and Lucinda, Charlotte Grey and Death-Defying? Acts. She also made a series of successful documentaries tracing the history of four girls from Adelaide: Smokes and Lollies, Fourteen’s Good, Eighteen’s Better and Bingo, Bridesmaids and Braces.

1. Successful and satisfying entertainment? For what audience? lively comedy musical? The conventions of the musical, techniques, stereotypes for plot and characters?

2. The age-old musical comedy material (filtered through Hollywood musicals)? The star is bore' type? 'The show must go on'? The satire on theatrical agents? The pub could be lost? How well did the film adapt these conventions to the Sydney scene?

3. The appeal to the adolescent audience? To adults? The background of television pop music programmes? Visuals, sound, glamour, style, excitement? The pop world, music and dance? Exuberance and involvement?

4. The film styled itself a 'comedy musical' – the relative emphases? The songs and their atmosphere? The focus for characters and incidents? Starstruck at the beginning in Angus' fantasy and as the climax? I'm All Right at the Lizard Lounge? Jackie singing Temper, Temper? The big pub number, She's Got Body? The duet with Robbie? The tough song and its satire on Australian macho images? Angus and I Want to Live in a House? Angus' songs and their comic lyrics? The conventional lyrical song for the Wow programme? The Monkey in Me for Jackie's finale? The incidental music especially during the opening credits with the aerial shots of the cars in the Sydney streets? The old songs – Who's Sorry Now, etc.? The influence of such films as Fame, The Rocky Horror Picture Show, Bette Midler songs, Punk? The presentation of the bands, instrumentals? Style and quality?

5. The film's use of Sydney: the credits, the pub and its location under the bridge, the harbour and the beach suburbs, the high-rise skyline of Sydney, television studios, hotels, the Opera House? The bright and breezy presentation of the city? Cars and trains? The special world under the bridge, the old fashioned pub and its dying? The sub-culture of that part of Sydney? The sub-culture of the adolescent pop world? Ephemeral . glamour? The picture of a period?

6. The pub and its social standing, its clientele, their working backgrounds? The children and possibilities, dreams, expectations? The lack of boarders except for the lady with the cats? Reg and Pearl and their trying to keep things going? Nazza and company and their regular patronage? The dinner hour, the drinks, the fights, the songs, getting more change from Nana? The pressure from the brewery? The symbol of an old lifestyle and people hanging on? The aura of the Australian pub – talk, singing, the family management? The background to the Christmas party, Nana's crystal ball and the hopes for the future?

7. The contrast with the new world and the pop world: the contrast of drabness and glamour, Angus at school and his dream, the short school sequence and the discussion about careers, Angus and his bulldozer in lights? The dyeing of the hair blue, the darkness and the Punk atmosphere of the Lizard Lounge? Robbie's world and the band? TV studios, personalities, style of the media? The gay sub-culture in the hotel sequence? The contrast between the old world and the new? Tinsel and phony tinsel?

8. The focus on Angus and his comedy, his push? The diminutive Aussie male? Dream, ambitions, reaction to his blue hair, pushing Jackie, writing songs, buying the kangaroo outfit and going in it, exhilaration at the Lizard Lounge, his phone calls to Terry, his thinking up Jackie's stunt, watching it come to success, the police station, his wagging school? His staying with his aunt and uncle? his father turning up every couple of years and borrowing money back from him? The discovery of his father robbing the safe? The details of life in the pub – his room and posters, pressure on Jackie, his imitation of dying in the street? His reaction to Jackie's failure on the television show? The song about the house at the television studios? The Christmas dinner and the family joy? His maneuvering them to success at the Opera House? The comic touch with the girl on the steps at the end? A variation on the Australian comic larrikin?

9. Jackie in comparison with Angus? The hotel background, education, working in the hotel? Eighteen? Her singing and her verve? Punk style? The kangaroo suit? Success at the Lizard Lounge? The night with Robbie and the casual moral attitudes? Robbie's infatuation with her? At work? Singing Angus' songs – in Bette Midler style? Her relationship with her parents? With Nana? The build-up to the stunt? Her being interviewed on the tightrope? The police station? Her mother going for a holiday and returning with the 'She's Got Body' number? Jackie as an 18-year-old with television hopes? The infatuation with Terry? The mix-up at the television station and her singing the glamour number? Her sense of failure? The tough song? Her disillusionment with her infatuation with Terry? Change of heart? Reconciliation with Robbie, especially with the duet in the darkened pub? Christmas party? Her verve and talent in the final song? A Star is Born?

10. Pearl and her toughness, money, building up to the holiday, wary of Nana giving too much change, her friendship with the woman with the cats, her attitude towards the customers? Reg and the plate in his head and her tolerance of him? The infatuation. with his brother coming down from Queensland? Care for Jackie, concern for Angus and his going to school? The return from holidays? Flirtation, the robbery? The pressure by the brewery? The Christmas party and giving her dress to Jackie? The happy ending?

11. Reg and Wally – Reg nice but the plate in his head? His devotion to his cockatoo? The ineffectual male around the hotel? The contrast with his irresponsible brother who had charm? Nana's response to him? Flirting with Pearl? His casual attitude towards Angus? Shooting through with the money?

12. Nana and her niceness, hosing the footpath, washing Angus' hair, giving too much change, enjoying all the excitement, the television presentation and giving her purse to Jackie, her teeth, the Christmas party, her crystal ball at the end? The genial presentation of a grandmother?

13. Terry Lambert and the presentation of the meoia ,DOp music type? His reaction to Angus' phone calls? The publicity stunt? Nis assistant and his being photographed? His participation in the body dance? His double-dealing with the television show and persuading Jackie to sing the song? His friend at the hotel and the singing of Tough? His reaction to Jackie at the end? The comment on homosexuality in Sydney society – presentation, tolerance' acceptance? The satire in the presentation of Tough and the jibes at the tough lifesaver image?

14. Robbie and his band, attachment to Jackie, the night together, playing for her and singing for her, jealous about the studio production, happy at her failure, reconciliation?

15. The gallery of characters at the pub – the cat lady, Hazza and his going to the television studio, the range of people participating in the songs?

16. The picture of adolescents and their enthusiasm, pressurised by the media? Fame, response, dreams?

17. 'The show must go on' in suburban Sydney – the contribution of this film to the '70s-'80s Australian renaissance? Australian capacity to produce a musical?

THE STILL POINT

Australia, 1985, 92 minutes, Colour.
Nadine Garner, Lyn Semmler, Steve Bastoni, Ben Mendelsohn.
Directed by Barbara Boyd Anderson.

The Still Point is a small-budget drama produced in Melbourne. It focuses on a teenage girl who has a hearing problem, partially deaf. She comes from a broken family, wants to cope with growing up and feels isolated. She feels lost at home training to be a ballet dancer and with her grandfather. The film focuses on a small period of time and shows her encounters with her mother, her possible stepfather, her grandfather, some teenagers where she goes on holidays. The material is that of many telemovies. It is done with some delicacy and Nadine Garner is effective in the central role of Sarah. Direction is by Barbara Boyd Anderson.

1. An entertaining film? Dramatic impact? Its achievement on a small budget? A humane story with a message?

2. The Australian style of the film? Universal impact? Teenagers, family, disabilities, marriage?

3. The theme of a disability and its effect on an individual, the impact on self-confidence, on interrelationships? Others treating a disabled person cruelly? Insight via story and empathy?

4. The Melbourne settings: school, home? the countryside, the beach? The use of locations for authenticity?

5. The use of close-ups – especially for the audience seeing and under standing Sarah? The reliance on visuals (to highlight the hearing disability and Sarah's introversion?

6. Sarah and her point of view? Audience sympathies with her? The ballet credits and the beauty of the dance, movement? Sarah moving without hearing? Audiences discovering Sarah's deafness (as people would in real life)? Sarah in herself, her age, puberty, relation ships, isolation? The importance of her deafness? Her hearing aids? Her having to ask for repetitions, not hearing, reactions in the art class? Her anger and taking out her hearing aids?

7. Sarah at home: seeing her with Barbara and Paul? Her being angry and rude? Disliking Paul and commenting on his smiling? Her outing with her father – and his avoiding issues? Barbara and her being busy? her wanting her father? The build-up to the holiday? he train-ride? The phone calls back to her mother? Her mother's arrival; the blue dress? Her offhand receiving of it? Highlighting the barriers with her mother? Her love for her grandfather and sharing with him? Paul's arrival and her continued rudeness? Fighting with her mother? The dramatic set-up of the final talk? Her mother speaking sympathetically, telling the story of her life, its effect on her? The possibility of accepting herself and her disability? Accepting her mother? Her mother's experience with having a deaf child? Paul as a stepfather? The future – and the final freeze-frame?

8. Barbara in herself, in the light of the story, her age, the marriage, the deaf baby, the difficulty of the birth, the aware ness of the disabled child, feelings of blame, the break-up of the marriage? The child spoiling the marriage? Her devotion to her daughter? Her patience and impatience? Hard work, need for relaxation? Attraction towards Paul, having him in the home? In love with him? Wanting to marry him? The right for her to marry? Asking her daughter's permission? Paul in himself, pleasant, his smiles, relaxed? Helping Barbara relax? Sensitive to Sarah? Her dislike of him? The comparison with her father and the meal?

9. The portrait of the kindly grandfather? His receiving his grand daughter, a companion for her, the bird-watching, the shared cooking and washing-up, the jigsaw puzzle, talking? Sarah relaxing, sharing her life? His being a father figure to her?

10. Sarah on holidays – quiet, shy, the jigsaw, drawing, art class, the walks, the box with the ballet dancer, her thinking to herself, her not being liked etc.?

11. The teenagers on the beach, the binoculars, laughing, fighting? Glimpses of the various characters? Typical teenage behaviour? Their attitudes towards Sarah? harshness and cruelty? Simone and her mother visiting? The begrudging invitation to the party? Sarah wearing the blue dress and looking out of place? Being laughed at? David dancing with her? Her being happy? meeting David? The clash on the beach with Simone? Going out with David, talking, sharing, hopes, the car, the carnival? The kiss? The apology? her liking for David? Her mother's advice?

12. David as pleasant, popular, on the beach, the party, his dancing with Sarah, talking and telling his story, the outing in the car, the carnival, Simone and drugs? David and his friends, the beer and the fight? The apology?

13. The ordinary world of youth: holidays, the beach, jobs, outings? Growing up, cruelty, sympathy, changing? Sarah as not being part of this world? The background of the girls being cruel to her in class?

14. The leisurely pace of the film: the atmosphere with the piano and the ballet? The pace of the film from Sarah's point of view? The delicacy of the pace? The final drama and Barbara confronting her daughter? Sarah's realisation – and the possibilities for a future?