STIR

Australia, 1980, 101 minutes, Colour.
Bryan Brown, Max Phipps, Phil Motherwell, Michael Gow, Paul Sonkilla.
Directed by Stephen Wallace.

One expects prison films to be grim and focus on abuses, power struggle, anger and violence. This film is no exception, is very well made indeed and well acted by an all-male cast led by Bryan Brown and Max Phipps. The screenplay by Bob Jewson is based on his experiences of the riots in and gutting of Bathurst gaol, New South Wales, in 1974 (and echoes of American riots, especially Attica).

The film is partisan in its angry critique of authoritarianism, abuses of power and the hard society which manages only by defiance on both sides. The film holds interest, is depressing in its ugly violence, unrelenting language and man's degrading inhumanity. Direction is by Steven Wallace who made the significant short features Love Letters From Teralba Road and Conman Harry And The Others, both with Bryan Brown.

1. An impressive prison film? The tradition of prison films especially from the United States, Britain? Audience expectations? A violent way of life, a closed system, abuses and oppression, a tough treatment of a controversial area of social justice? The film's presentation of the way of life in a prison and its raw violence? Moral issues? How successful was this film in itself, in comparison with other models?

2. The authentic background of the film? The writer and his experience in prisons? The New South Wales prison system? Bathurst Gaol and its riots? The acknowledgement of the influence on the Attica riots in the United States? The qualifications of the film-makers to present life in the prison, the critique, the crying out for reform? The influence of this kind of film on social consciousness, on authorities?

3. The colour photography, the use of South Australian locations? The atmosphere of the town in the few glimpses seen of it? The prison itself? The audience getting to know the various aspects of the prison and the way that this was used throughout? The skill of the editing, especially for feeling and audience sharing in the experience of the prisoners? The overall cumulative effect of the film – understanding the prisoners, reaction to the guards? The build-up to the riot and violence and its comprehensibility? Nora’s indignation? Now is this kind of material popular entertainment of a social nature?

4. The aspects of realism of the plot? An accurate portrayal of what goes on in prisons? Overstatement? The need for highlighting aspects for the brief duration of the film? What do prisons say about the nature of society, social attitudes towards prisoners, the administration of justice, the administrators of that justice? The history of prisons and their abuses?

5. The emphasis of the prologue – the monochrome in which it was filmed, the lighting, the physical presentation of the beatings, the naked men, the brutality? The prisoners becoming victims? The degradation, the feeling? The warders – the impact of their brutality without knowing the reasons for it? How influential was this prologue for the rest of the film? Information about the characters, knowledge of their potential for violence, a tone for prison reform?

6. The indication of television talkback question sessions and interviews? The effects on the public? The types of questions asked by interviewers? Jackson and his willingness to go on television and tell the truth? The scepticism that he offered about prison reform? The film's showing Jackson watching the interview? The contrast with Norton watching it and his feeling judged, his drinking?

7. The structure of the film: the prologue, the introduction to Jackson and Norton and the development of their interrelationship throughout the film? The re-entry into the prison with Jackson, learning the procedures at the prison, being introduced to the various men, being introduced to the warders, the ineffectual governor, the gradual crises throughout the film, the judgments being made on warders and prisoners at these various stages? The growing oppression, the sadism of the warders? The exercise of authority? Norton and his overtures for peace? The prisoners-looking to Jackson for leadership and his trying to play it quietly? The build-up to the eruption at the end? The prisoners going back? Jackson being brutalised? Norton brutalising himself? The hopelessness of the future – the indication that people and history repeat themselves? The build-up of characters and clashes within this framework?

8. Bryan Brown's interpretation of Jackson? His presence and style? Seeing him first in the cell, being beaten? Humiliated, victim? His television interviews and their repercussions for himself, fellow prisoners, the warders? Reentering the prison with him? The irony of the reasons for his going back to gaol? His reputation, change, disillusionment? His relationships with the other prisoners e.g. Redford? The prisoners' expectations of him, especially for leadership? His caution, wanting to serve his time and get out? His observation of the other prisoners, situations, the warders? The audience sharing his point of view and perspective? Suspicion of Norton, inability to accept his overtures of friendship, apologies? Norton's being hurt by Jackson's behaviour and attitudes? The prisoners being transferred to Grafton, the sweeping of the yard and his being refused his mail? The sadistic enjoyment of oppressing the prisoners by the various warders? His despising of them? The deputation to the governor? The calming down of the militants? The build-up to the riot? His participation in it? His eventually going berserk? The final beating and its brutality? A rounded character portrait? An ordinary citizen – victim of society, paying his debt to society for his wrongs? Society's obligations towards these prisoners?

9. Redford and his humour? Criminal type? His comments about homosexuality and heterosexuality? Seduction of the young prisoners and then his despising them? The friendship with Andrew and Andrew's controlling him? The decision for the sexual relationship and Andrew's conditions? Redford's disappointment and grief at Andrew's death? His taking for granted the system and his being in prison? Support for Jackson during the riots?

10. Aly, his character, relationship to Jackson, his being bashed, put into solitary? His work? Dave and his cheekiness, the treatment when he arrived, his throwing stones at the guard, his attacking at the end with the gun and Andrew being killed because of him? These characters representing aspects of the prisoners' characters, cross-section?

11. The range of prisoners and their attitudes? The old men in the cells, their experience, the fear of going to Grafton? The mateship within the prison, the underdogs? The simmering hatred for the warders?

12. The portrait of Norton – as contrast to Jackson? His presence at the initial bashing, his place in the hierarchy of the wardens? His attempts to be decent, his mention of family and their attitudes? Now strong a man, weak? His watching the television, drinking, nerves? His attempts to help the prisoners e.g. Alby in the solitary? His apology to Jackson and its not being accepted, his anger? His being despised by his fellow officers e.g. Mackintosh? The hopelessness of the situation, A man with strengths and weaknesses trying to do a job, pressurised by the system? Mackintosh and the challenge to fight afterwards? The build-up to the riot, his warnings and apprehensions? The taunts and his finally going berserk? The force of his savagery especially on Jackson? The importance of this portrait of a man as warder, victim also of the system?

13. The sketch of Partridge – his authority, bashings, his being in charge, pompous manner and presence, sadistic enjoyment of the exercise of authority? Mackintosh and his status, clashes with Norton, clashes with Charmers? The clash with the prisoners and his oppression of them? The minor warders and their attitudes e.g. restricting the mail? Charmers as an ordinary man, weak but trying to keep order? His role in the riot? The eagerness of Partridge and Mackintosh to shoot and quell the riot? The final bashings?

14. The governor and his ineffectiveness? The visit to him in his office, his not having any idea of what was going on? His arrival at the riot in his bowling gear? Charmers and his final insulting of him – and the audience agreeing? An atmosphere of mutual distrust between authority and prisoners?

15. The film's attention to detail in the prison and the way of life: the cells and their set-up, the groups of men in the cells, the entry procedure and the haircuts etc., work systems, laundry, meals, the yard and sport, recreation? The film show? How did this help to foster the atmosphere of the prison for the audience?

16. Themes of injustice, small injustices and their cumulative effect? The planners for the riot, their being gulled, their final defiance and eruption? Charmers and his attempt to control? The bargaining, the violence? The shooting, the deaths? The injuries? The attitudes of the warders, of prisoners?

17. The ugliness of the return to the cells and the bashing especially of Jackson? The culmination of the film?

18. Themes of rage, fear, hatred? Who controlled whom in the prison – warders or prisoners?

19. The overall experience for the audience of being immersed in the prison situation, the visual, the violent, the incessant language? The experience of the system? The individuals? The crying need for reform?

STORM BOY

Australia, 1976, 87 minutes, Colour.
Peter Cummins, Greg Rowe, David Gulpilil.
Directed Henri Safran.

There were no dissenting voices on the quality, beauty and humanity of this South Australian-made children's story. With fresh simplicity of plot, the quietly telling touching on themes of racism, ecology, commercialism and the beauty of the coastal photography. Greg Rowe's performance is a blend of photogenic cuteness and ruggedness; he sustains the many sequences with the pelicans well. Peter Cummins and David Gulpilil are assuredly fine as father and aboriginal friend. Satisfying family entertainment, award-winning. Demonstrating the quality of local talent. Blue Fin, from the same team, was not so commercially successful.

1. The prestige of this film? Australian acclaim? International acclaim?

2. For what audience was it made? Age group? The appeal to children, family? Boys, adults? The Australian appeal? Universal appeal?

3. The colour photography, the capturing of the natural beauty of South Aust ralia? The land, the sea, the coast? The beauty of the birds of the area? The way the natural beauty was integrated into the plot? A background for this kind of story? The musical score and its moods?

4. The picturing of South Australia: the remote coast, primitive beauty, is olation, the small town, the fishing hut? This area as a means for escape from civilisation? The father's not wanting to be in contact with people, his arguments against having radios?

5. The Australian themes – especially the interrelationship of black and white Australians? The white man and his rationality, order? The contrast with the aborigine at home in the land? Power over nature? The mythic background? Fingerbone and his story of the killing of the pelican and a storm rising? His telling of the pelican myth and the visuals behind the story? His dance? The edited contrast of the modern Australian world with the primitive stories? Fingerbone singing? His shooting of the snake? The mutual learning for black and for white?

6. Mike as Storm Boy? Alone with his father? His father's hard approach? The telling of the truth? Mike and his going to the reserve? The initial encounter with Fingerbone and his fear? Their gradual friendship? Finger bone teaching him? The discovery of the birds? Mike nurturing them? Naming them? Playing with them – the humour and the beauty of the scenes of Mike with the pelicans on the shore? His growing up and learning through nature? Fingerbone's contribution? The fact that he couldn't read, made grammatical errors – his father and Fingerbone helping him? His reaction to the vandals smashing the hut? His trying to protect Fingerbone because of the rifle shot? Hearing his father discuss his mother with Fingerbone and his being hurt? The prospect of school: the visit of the teacher to the hut, his going to the school and his shyness, his talking to the teacher, his presence in the classroom? His reluctance to return? His father and Fingerbone persuading him? The truth about his mother? His participation in the rescue? Mr Percival's taking the line? The men and their gratitude and offering him financial opportunity? His grief at the death of Mr Perc ival? The discussions about going away to boarding school, Fingerbone tak ing him to the grave? The new young chicks and Fingerbone saying that Mr Percival would have a new life? The theme of the change from childhood to adulthood, facing the realities of death and change?

7. The character of Fingerbone: his sudden presence, his calling Mike Storm Boy and his reasons for it, his stories about the pelican and the death of the pelican and storms? His singing, dancing? The man of the Australian land? His helping Mike, teaching him? The sequences of his reading the English history book and its ironic comment about Australians? The story of his own expulsion from the tribe? His wandering alone around the coast? His comments on aboriginal law and justice, his belonging to the land, his sense of tribe and exile?

8. The portrait of the father: tough, alone, hard-working, strict about the truth? The hut and the way of life? His attitude towards the birds? His taking them away for them to be free? His pleasure that Mr Percival came back? The encounters with Fingerbone and his gratitude towards him? Fingerbone's help with the vandals? The discussions about family, tribe? Dad and Fingerbone persuading Mike to return home? Dad and his discussions with his son about education? Their reconciliation at the end?

9. Themes of education: the school, Mike's need to go to school, his right, the opportunity, correspondence? The visit of Miss Walker? Mike's Visit to the school, the discussion about pelicans? His being unable to read? Fingerbone and his education, his ability to read? Fingerbone's wisdom about nature and his teaching this to Mike?

10. The parallels between Fingerbone and Mike – the two sons of Australia? The parallels, the contrasts? Their experience of their parents? Relationship with father, absent mother? Fingerbone having driven cattle, Nike's father having had the petrol station? Their both going walkabout?

11. The focus on the pelicans, the nest, their growing up, being fed, Mike training them? Their need to be freed and go back to the wilderness? Mr Percival and his coming back, Mike's joy, his playing with Nr. Percival on the shore? Mr Percival and the rescue of the boat? His being shot? An attractive presentation of animals, pelicans? A pet?

12. The vandals and their intrusion into nature, spoiling nature? Breaking the home? Vandals, hunters and their shooting, the men in the boat littering? The storm coming against them? The need to be rescued?

13. The vividness of the rescue sequence, the sudden storm, Fingerbone's call for help, the line taken be Mr Percival, the boat coming in and their being saved? The gratitude of the men?

14. The background of the town, the Ranger and his investigations, the school, the shops, people buying fish etc.? The way of life of a small Australian coastal town?

15. The Australian flavour of the film? A man's world and the absent women? Resourcefulness, strength, isolation, the wilderness? The white man making his way in the country? Family, relationships between father and son? The role of the aborigines? Their heritage? Their place with the white man in the 20th century?

SENSO

Italy, 1954, 116 minutes, Colour.
Alida Valli, Farley Granger, Massimo Girotti, Heinz Moog, Rina Morelli, Christian Marquand.
Directed by Lucchino Visconti.

Senso is a lavish work by Luchino Visconti. Visconti had begun making films during World War Two with Ossessione (a version of James M. Cain’s The Postman Always Rings Twice). In 1948 he made La Terra Trema but it was only in the early 50s with Bellissima that he began to achieve success on a grand scale. Senso was made in 1954 and White Nights in 1957. However, the 60s were to be his decade, beginning with Rocco and His Brothers in 1960 and his masterpiece The Leopard in 1963. He made a version of Camus’ The Stranger in 1967 and then moved to The Damned in 1969 and Death in Venice in 1971.

This is a film about the Austro Hungarian empire’s occupation of Venice. The film is beautifully shot and designed. Alida Valli is a local countess who falls in love with an Austrian officer, played by Farley Granger. (It was said that Visconti had hoped to have Ingrid Bergman and Marlon Brando in these roles.) There is a strong supporting cast of Italian character actors.

While the countess is antagonistic towards the officer, she begins to fall in love with him and becomes his mistress. This leads to betrayal of her country.

The film illustrates Visconti’s interest in Italian history which he was to continue – and the beginnings of a different kind of film-making from the neo-realism so popular in Visconti’s earliest films as well as works of Roberto Rossellini and Vittorio de Sica after World War Two.

1. Interest in the film as the work of Visconti? His work in the '50s? His place in the Italian industry? Its place within Visconti's canon? Its not being immediately popular? The critical reception? The cuts and the dubbing of dialogue? Later decades and the restoration of the film for audiences and for critical comment?

2. Visconti’s interest in opera and staging of opera and his operatic treatment of his theme? The colour photography? The atmosphere of 19th century Venice? The atmosphere of the army - the focus on the colour of the army, uniforms, style? The dramatising of the siege? The transition to Verona? The social atmosphere and upheaval - the operatic staging of war? Romance, passion, infidelity and betrayal in this context? The importance and impact of the colour?

3. Visconti's knowledge and appreciation of music and its use in the film? The opera settings, the backgrounds, the orchestrated music and the use of Bruckner's Symphony? Music in love and war?

4. The opening in the opera house: the setting of the stage, inviting the audience to a response to opera? The parallelling of his characters and their heightened dramatic plight with opera? How well does this work on screen? Italian style?

5. Visconti's observations of Italy in the 19th century? The Italian states, the move towards unity? The united and divided Italy? The nature of patriotism? The hostility towards Austria? Betrayal, treaties? The impact of defeats? The background of espionage and loyalty? Visconti's attitude towards the history of Italy, the social upheavals and revolution, the need for change?

6. The title and the emphasis on experience and passion? The indication of themes? As related to Countess Livia, to Lieutenant Mahler?

7. The dramatic situation of war and its insight into the dramatic war of the romantic lovers? Expectations of loyalty and patriotism - and their comment on loyalty and fidelity in love?

8. The portrait of soldiers and soldiering? The taken for granted attitudes? The occupation of Venice? The Venetians rebelling against the occupying Austrians? The dominance of the Austrians? The expectations? The transfer to Verona? The portrait of 19th century militarism?

9. The focus on Livia? The presence of Alida Val! in the role? The values that she stood for, her loyalties, Venice, her place in society as aristocracy, as a woman? Her marriage? The attraction towards Lieutenant Mahler, the growing infatuation, falling in love? The psychological change? The threats to her loyalty? The sensuality of her love and passion? Her giving up everything for Mahler? The betrayal and the taking of the money? The repercussions and the discovery of the truth about him? Her being abandoned - tragedy in love?

10. Farley Granger's presence as Franz? An ordinary man, an ordinary soldier, a cavalier and attractive young man? His place amongst many? His lies, way of life? The encounter with Livia? The infatuation? His falling in love? His response to her passion and possessiveness? The move to Verona? His sense of freedom? His collapse? The money, the drinking? The greater disillusionment? His inability to match Livia's passion?

11. Marquis Orsoni and his arrest., the demonstration at the theatre? The money? The irony of the sequence concerning loyalty? The Italian aristocracy and patriotism?

12. The melodramatic build-up to Livia’s torment, decisions and dilemmas? Her preparation for the journey., the suffering of the journey? Lost in Verona? The battles?

13. The build-up to the confrontation between the two? Franz and his betrayal and squalor? His cowardice? His relying on her wealth? His previous denunciation of Orsoni?

14. Livia's compulsive letter and her passionate hatred in denouncing Franz?

15. Death and witness? Franz’s execution? Livia running through the streets, her distraction, calling out the name of her lover?

16. Themes of human passion, betrayal, honesty, hatred and revenge?

17. The portrait of Italian society and its relationship to the personal themes? The decadence of the respective worlds of Livia and Franz and the basis for the revolution for a different 20th century world and Italian society?

SAVE THE LAST DANCE

US, 2000, 107 minutes, Colour.
Julia Styles, Sean Patrick Thomas, Kerry Washington, Freddro Star, Terry Kinney.
Directed by Thomas Carter.

Teenage dance films have had regular success at the box-office: Saturday Night Fever, Grease, Flashdance, Footloose, Dirty Dancing and sundry salsa and lambada movies. This one has a familiar enough story: young girl obsessed with ballet gives it up when her mother dies in a car accident on her way to an audition, relocates to Chicago and finds herself in an almost all-black high school. At the school she initially clashes with a confident student who eventually teaches her hip-hop style dancing and... the rest is pleasantly predictable. However, the tone of the film is much more serious than might first be thought. Julia Styles is a serious actress rather than just a teenage starlet and so she gives her character a bit more depth than usual. Sean Patrick Thomas is a black actor. This means inter-racial romance and bit of exploration of prejudice. While there are images of black urban gangs and violence, most of the students are more interested in their study, their work and the more ordinary things of life.

It's a bit long for those older audiences who might not be empathising immediately with the characters. With younger audiences it has been very popular.

1. The popularity of the film? Music? Dance? Romance? The Romeo and Juliet style story?

2. The Chicago settings, the ghetto, the suburbs, the poor apartments, the school, the streets? The contrast with the theatres, auditions? The club and the night sequences?

3. The title, Save the Last Dance for Me? The range of songs? The ballet music, the ballet sequences? The hip-hop music? The hip-hop dancing? The songs and their lyrics, accompanying the themes?

4. The introduction to Sarah, the train, her grief, memories of her ballet training, the build-up to the audition, the demands on her mother, her mother being busy with the flowers, the delivery, the car crash and her death? Sarah falling during her audition? Her anger with herself after being angry with her mother? Blaming herself for the death of her mother?

5. Her arrival in Chicago, the tension with her father? Moving into the apartment, its not being finished? Her father, his character, not wanting to ruin the marriage, his neglect of wife and child? A good jazz musician? Separating from the family, living in Chicago? His playing in clubs? Concern for Sarah, her going out and his not knowing, his waiting up for her? His fixing the house, her audition, his love for her, her letting him come to the audition?

6. School, the principal, classes, the discussion about Truman Capote, the initial debate with Derek? The friendship with Channille? Classes, the dining room, the blacks together, the whites together? Channille and her welcome? Nikki and her antagonism? Classes, gymnastics, her doing her ballet movements? The reaction of the other girls?

7. The friendship with Channille, inviting her to the club? Finding that Channille had the baby, her grandmother? Derek as her brother, wanting to go to Georgetown to study medicine? The letter of his acceptance? The rejoicing? Time at the club, the dances, Derek inviting her to the modern dance, her trying?

8. The friendship with Derek, his character, his abilities? His story about Malakai and the police, Malakai taking the police towards him and going to prison, Derek being free, his debts to Malakai? The friendship with Sarah, finding the place to rehearse the dance steps, her learning, friendship, doing things together, the sexual encounter?

9. Channille, the father of the baby, the clashes at the club, her succumbing to his charm, dancing with him? Her angers, his coming to the apartment, her anger and taking it out on Sarah, talking about the impression that she and Derek were making? Black and white?

10. The clash with Derek, his not understanding it, his leaving? Her practising for the audition, her needing Derek, her confusion? The build-up to the audition, Malakai asking Derek to come on the job, his agreement, feeling in debt, having hit Malakai because of Sarah? His decision not to go?

11. The audition, its being intercut with Malakai, the shootings, the police, deaths, Malakai’s arrest? Channille talking to Derek, his getting the train, hurrying to the audition? The modern piece, Sarah’s hesitation, her fall – Derek supporting her, her success? Acceptance to Juilliard?

12. The Romeo and Juliet story of teenagers in the modern city, the ghettos, black and white, the message of the film that there were no barriers between anyone, all equal? The message about opportunity, especially for African Americans in American society?

SUMMER OF SAM

US, 1999, 142 minutes, Colour.
John Leguizamo, Adrien Brody, Mira Sorvino, Jennifer Esposito, Michael Rispoli, Bebe Neuwirth, Patti Lu Pone, Mike Starr, Anthony La Paglia, Ben Gazzara.
Directed by Spike Lee.

By the time Summer of Sam was released in the summer of 1999, Spike Lee had created a very strong career and reputation in the United States and beyond. With his She’s Gotta Have it in 1986 followed by Do the Right Thing in 1989, he made a number of significant films during the 1990s including Jungle Fever and Malcolm X. His career during the first decade of the 21st century was erratic, doing a number of commercials, television concerts, television films and documentaries. However, he made several feature films including The 25th Hour, She Hate Me and, his most popular, Inside Man. He then won awards with a television miniseries documentary about the aftermath of Hurricane Katrina, When the Levees Broke: A Requiem in Four Acts.

With Summer of Sam, Lee is interested in its portrait of New York rather than an exploration of the psychology of a serial killer. However, he does present the serial killer and an exploration of his motivations.

The film really focuses on what New York was like, in the South Bronx, in 1977. It was the disco era. It was the era of the Mafia. It was the era of drugs and permissiveness. All this is presented, sometimes quite graphically. John Leguizamo is the central character – who can be seen in some ways as parallel in character to the Son of Sam killer. Adrien Brody (at the time that he made The Thin Red Line and before his Oscar-winning performance in The Pianist) is a friend but is also a suspect of being the killer. Mira Sorvino is Leguizamo’s wife.

There is a very strong cast of supporting actors including Ben Gazzara as a Mafia chief, Anthony La Paglia as a detective.

Lee knows the South Bronx of New York very well and evokes an atmosphere, a location and a neighbourhood, evokes the feelings of the people at this time, especially the paranoia associated with fear of a serial killer.

1. American cinema and the tradition of films about serial killers? Case studies? The American psyche? The New York psyche?

2. The work of Spike Lee, his knowledge of Brooklyn and the South Bronx? The media? Lee’s perceptions of black and white Americans? His standing back from his usual African American themes? A picture of the white New York community?

3. The portrait of New York, the detail of the neighbourhoods, the Bronx? Brooklyn? The Bowery? Water in the summer, on the streets? Club 54 and disco? The hardness of the people? The Mafia types? The authentic look?

4. 1977 and the cinematic style, the camerawork, grainy? The period, the clothes, the dance, the disco, the punk and the change – the range of songs? From the period? Groups like The Who? The dances to accompany the music?

5. 1977 and the title, the effect of the Son of Sam on New York City, in fear, behaviour, paranoia, suspicions? The killer as a scapegoat? The vigilante sense? The atmosphere of heat, power and the loss of power?

6. David Berkowitz as the Son of Sam? In himself? Not seen? The killings? The agony and the screams? Saliva, the dog, the room? Stalking and shooting? The notes and the letters? The interviews with columnist Jimmy Breslin? The open and close of the film? The shooting of the dog? Madness? Defiance and escape? The ticket? The arrest? Enjoying celebrity? Information about him? American madness, compared with other serial killers? The serial killer theme not so emphasised – rather the context of New York City?

7. The emphasis on the city, people’s reaction, the heat of the city? The victims, their families? The police and their efforts? The Mafiosi types and their power? The groups, vigilante sense? The influence of the media? Brooklyn, the arrest and the crowds?

8. The portrait of the Mafia, their activities, restaurants? Police and protection? Codes, help, the party and the blackout? The assistance to the vigilantes and gangs?

9. The police, the personnel, the detectives? Handling of the media? The arrest and interrogation?

10. Vinnie and Dionna as the focus? The irresponsibility of the Son of Sam? A catalyst for irresponsibility for others? Vinnie and Dionna being married for two years? The disco, the betrayal of the cousin, promises, the sex relationship, sexual behaviour, relationships? Seeing the bodies? Issues of God, church, fear? Dionna and sexuality, natural? The form? Dionna and love, suspicion? The killings? Forgiveness? The attempts for sex, her reactions? The restaurant, fear? The father and the wig? Going to the flat for Richie, Club 54, the orgy sequence, the fight, the surfacing of all the shadow aspects of character? Going to her father? With Gloria? Leaving, the final fight? Her future?

11. Vinnie, the gang, an individual, but peer pressure, ignorant, yet self-aware, self-ignorance? The talk of fear, fear of being killed? Richie and defending him? Ruby? The help in the past, the relationship with Dionna? Richie ousted from the diner? The pressure on him concerning Richie, the truth? At home? Luring Richie, yet running? Witness and disillusionment? His future?

12. Joey T: the divorce, drugs, the standards, leadership, lazy, macho, homophobic, conservative, paranoid? With his friends? In the streets, the cafés? Luigi and the vigilante approach? The lists, the scapegoat? Bobby? Information? July, the taxi, the priest, the confrontation with Richie, the end?

13. The gang, their activities, Bobby’s role?

14. Richie, the punk, his past, suspicions about him, reactions, his accent? His mother and Eddie? Moving to the garage, a mother’s boy? With Ruby? His sexual advance? The speech about double life? The gig? Lured and bashed? Victim?

15. Ruby, the way that she was treated, the gang? With Richie, Dionna? Asked about sex, Vinnie? The gigs, love? The ending?

16. Eddie and his mother, Richie, privacy, the cards and money? The end and the gun?

17. The disco clubs and their place in New York, disco consciousness, music? The gigs, the male stripper and the clients, pornography? 54 and its symbolism?

18. Issues of sex, promiscuity? The contrast with religion? Bewilderment?

19. The place of drugs, dealing, taking?

20. The media, Spike Lee’s approach to the media, the police, types?

21. The psychological themes, the Jekyll and Hyde in each character, the shadow side of character, repression, religion,?

22. The bookending with Jimmy Breslin and The Naked City.

SNIPER 2

US, 2002, 91 minutes, Colour.
Tom Berenger, Bokeem Woodbine, Erika Marozsan, Tamas Puskas, Dan Butler.
Directed by Craig R. Baxley.

Sniper was a popular action film of the early 1990s, a star vehicle for Tom Berenger. He was supported by Billy Zane. The film was set in the Panama jungles (though filmed in north Queensland around Cairns). The film proved popular and eight years later there was a sequel. The first film was directed by Peruvian Luis Lossa (also director of Anaconda) and the second film was directed by Craig R. Baxley, an action director for many years including Action Jackson as well as the apocalyptic Left Behind 3. The sequel is set in Serbia, echoes of the Balkan war. The plot is virtually the same as the first film. Berenger is enticed out of retirement aged fifty, is given a partner, this time Bokeem Woodbine.

As in the first film, there is the search for drug lords in Panama and their elimination, so there is a search for a Serbian who is conducting ethnic cleansing. However, there is also a twist with a subplot, the assistant trying to get someone out of a Serbian prison.

The film was popular enough – especially on DVD and for television – that there was a third Sniper film with Berenger reprising his character. This time the film was directed by P.J. Pesce. The setting was more contemporary in Vietnam and Indochina.

The film is generally slam-bang action, skills for snipers, making audiences worry about American military authorities and the CIA and their covert operations in eliminating enemies. The films generally climax in a slam-bang shootout.

1. The popularity of the Sniper franchise? Recycling the basic plot in a new location?

2. The American settings, Beckett and his guiding hunters? Official offices, the transition to Serbia (and the fact that Hungarian locations were used – and Hungarian language spoken by the cast instead of Serbian)? The musical score?

3. Beckett, retirement, his criticism of the hunters? Eckles and Mc Kenna and their recruiting him? His decision to go back into action? Their offering him anything he wanted – and his knowing that this was a kind of suicide mission? His agreement? The discussions, the introduction to Cole? The discussions – and the rules of the mission?

4. The mission, the elimination of the Serbian officer, the reason given that he was ordering ethnic cleansing? Their going in, the sniper attack, getting out, the help of the Underground? The irony that Cole had a different mission – to help Beckett, to get arrested, to get arrested, to get into prison, to free Pavel and get him to the Americans? Beckett and his discovery of the alternate mission?

5. Beckett’s character, taciturn, skills, ageing, difficulty with his eyes? Protective of Cole? The shooting? The escape? The melodrama of driving the tram through the cars? Cole being arrested? The contact with Sophia and the Underground, her brothers? The set-up for rescuing Cole and Pavel? The escape from the town, trying to find the rendezvous? The helicopter? Their being pursued, the dangers?

6. Cole, in prison, his reading, knowledgeable? His attitude towards Beckett? Talking about the cathedral? Landing, in the church with Sophia? The assassination? The escape, the danger? His being arrested, tortured? The escape? With Pavel, talking, telling his story, the killings? His being wounded – the rescue and his death?

7. The Underground, Sophia as the contact, her brothers, in action, the ambush, the rescue of Cole and Pavel? The escape – the tanks, the brothers’ deaths?

8. Pavel, his importance, the escape? His story?

9. The action sequences, excitement? The body count? The final shootout? The escape?

10. The picture of American covert operations? Responsibilities? Loyalty and the carrying out of missions?

SNIPER

US, 1993, 98 minutes, Colour.
Tom Berenger, Billy Zane, J.T. Walsh, Aden Young, Ken Radley.
Directed by Luis Llosa.

Sniper was a popular action film of the early 1990s, a star vehicle for Tom Berenger. He was supported by Billy Zane. The film was set in the Panama jungles (though filmed in north Queensland around Cairns). The film proved popular and eight years later there was a sequel. The first film was directed by Peruvian Luis Lossa (also director of Anaconda) and the second film was directed by Craig R. Baxley, an action director for many years including Action Jackson as well as the apocalyptic Left Behind 3. The sequel is set in Serbia, echoes of the Balkan war. The plot is virtually the same as the first film. Berenger is enticed out of retirement aged fifty, is given a partner, this time Bokeem Woodbine.

As in the first film, there is the search for drug lords in Panama and their elimination, so there is a search for a Serbian who is conducting ethnic cleansing. However, there is also a twist with a subplot, the assistant trying to get someone out of a Serbian prison.

The film was popular enough – especially on DVD and for television – that there was a third Sniper film with Berenger reprising his character. This time the film was directed by P.J. Pesce. The setting was more contemporary in Vietnam and Indochina.

The film is generally slam-bang action, skills for snipers, making audiences worry about American military authorities and the CIA and their covert operations in eliminating enemies. The films generally climax in a slam-bang shootout.

1. The popularity of this kind of action film? Its target audience? For video and DVD?

2. The Panama settings? The jungle? Remoteness? The contrast with Washington and American official offices? The musical score?

3. The plausibility of the plot, covert action? The role of the sniper? Obeying orders? The assistant, skills, needing protection? Precipitating crises? Rescue operations?

4. The situation in Panama: the delineation of the drug lords, their families, connections, lifestyle? The American mercenaries who helped them? The meetings, the set-ups? The decision to eliminate the drug lords? The carrying out of the mission? Beckett and his abilities? Richard Miller, The dangers, Beckett using him as bait?

5. The officials, Chester van Damme, the commission for the mission? The authorities behind the scenes? Their control?

6. Doug Papich, the lookout, his work with Beckett? His being killed? Beckett and his revenge?

7. The action sequences, the intricacy of the stalking, the sniping?

8. The build-up in reaction, the drug troops coming in? The battle and shootout sequences?

9. The realism in this kind of story? Or heightened for the purpose of entertainment?

SHUTTER

US, 2008, 87 minutes, Colour.
Joshua Jackson, Rachael Taylor.
Directed by Masayuki Ochiai.

Yet another remake of an Asian ghost story, this time from Thailand in 2004. It belongs to that group of remakes of horror films that are watchable by most audiences, like One Missed Call and The Eye recently, The Grudge and The Ring films some years ago. They are not slasher horrors.

Wisely, the adaptation, while it begins and ends in New York, takes the action to Japan where this kind of ghost story has more traditions and credibility. The subject is ‘spirit photography’ where either a white blur or the figure of a dead person registers when a film with a negative is taken. When newlyweds, Ben and Jane (Joshua Jackson and Rachael Taylor) arrive for their honeymoon in Japan where Ben had previously worked, they have a car accident on a lonely road where Jane runs into a young woman. Search reveals that there is no trace of the woman. Ben is on a special assignment from his two American friends – but the white blurs appear and spoil his fashion photoshoot. Who is the ghost? Why is she following Ben and Jane?

While the film is spooky, it is not too spooky and the screenplay plays fair in the last half hour giving a reasonable (if not rational) explanation of all that has happened. It is one of those ‘sins of the past finding you out’ moral scary fables.

It reminds moviegoers of Lost In Translation because the husband is a photographer and the wife is on her own. This gives the film opportunities to show a great deal of local Tokyo colour and activities. The trouble is that the wife encounters a ghost rather than Bill Murray. Joshua Jackson acts distressed and Rachael Taylor is a strong heroine with whom the audience can identify and perceive what is going on.

1. Asian horror films? The tradition from Japan, developed in Korea? The original a Thai variation? The adaptation to an American film and the world market? How well did the film translate to the US and Japan?

2. The New York opening and closing? The Japanese locations? Tokyo? The road? The country towns? Mt Fuji? Authentic and realistic atmosphere? The contrast with the supernatural? The ghosts and appearances?

3. The plausibility of the plot? Ben and Jane, the wedding, the photos, going to Tokyo, meeting their friends, the initial talk? The drive, the accident? The ghost, the police search for the girl? The effect on Jane and the white in the photos of her, the consequences for Ben, the elaborate fashion photo shoot, seeing the ghost amongst the people he photographed? Jane and her nightmares? The friend and her advice about the magazine and spirit photography? the information about ghosts and the collection of photos? Their friends? The meal together? Ben and his past in Japan? The decision to search for the body, the body found in the house? Her body, the issue of the cremation? The shift in credibility with the appearances of the ghost, the light in the photos? The persecution of Ben, his accidents? The shift after the cremation? The growing sense of menace? The deaths of the two friends, the eye and the camera, the other friend leaping to his death, his seeing the ghost? Jane and the New York photos, seeing the ghost go into her picture? The attack on Ben after Jane left him? The finale in the cell – and the nurse going in to Ben and the ghost crouched on his shoulder?

4. The American friends, Japanese friends, work? The deaths? The final revelation about the rape and their involvement?

5. Ben, photographer? Relationship with Jane? His past relationship with the girl? The drive, Jane and the accident? The consequences, seeing the ghost in the groups for photography? The information, the search about ghosts? The body? The visit to the mother? His seeing the girl, the flashbacks and the story, her obsession, her various appearances? His fears, his shoulder, going to the doctor? The cremation? Everything seeming all right, Jane and her finding the photos, his revelation of the truth? The ghost and her confronting him, in the hospital, going mad? her continued presence with him?

6. Jane, with the group, her time in Tokyo and sightseeing, the accident and its effect on her, sense of responsibility? Sharing the search with Ben? The photos? The body, the cremation? Her concern about Ben? The photos in New York and her realizing that the ghost was warning her about Ben? The photos, discovery of the rape scene, the explanation? Her decision to leave Ben?

7. The young woman, translator, her loving Tun, the rape, his taking the photos, victim? Her attempts at killing herself? As a ghost, her appearance, her manner of stalking Ben, climbing, on his shoulders …?
8. A satisfying ghost story – in the Asian tradition of spirits, their appearing to their friends, their enemies, vengeance?

SHUTTER

Thailand, 2004, 93 minutes, Colour.
Ananda Everingham, Natthaweeranuch Thongmee.
Directed by Banjong Pisanthanakun and Parkpoom Wongpoom.

Another Asian ghost story, this time from Thailand. It was remade in 2007 with Joshua Jackson and Rachael Taylor and set in New York and Tokyo with a Japanese director, Masayuki Ochiaia.

The film is adapted for Thai audiences with many local references. It is a Japanese style story (where this kind of ghost story has more traditions and credibility). The subject is ‘spirit photography’ where either a white blur or the figure of a dead person registers when a film with a negative is taken. A young couple Tun and Jane have a car accident on a lonely road where Jane runs into a young woman. Search reveals that there is no trace of the woman. white blurs appear and spoil his photoshoot. Who is the ghost? Why is she following Tun and Jane?

While the film is spooky, it is not too spooky and the screenplay plays fair in the last half hour giving a reasonable (if not rational) explanation of all that has happened. It is one of those ‘sins of the past finding you out’ moral scary fables.

1. Asian horror films? The tradition from Japan, developed in Korea? A Thai variation?

2. The Bangkok locations? The road? The country towns? Authentic and realistic atmosphere? The contrast with the supernatural? The ghosts and appearances?

3. The plausibility of the plot? Tun and Jane, their friends, the initial talk? The drive, the accident? The fleeing the accident? The consequences for Tun, seeing the ghost amongst the people he photographed? Jane and her nightmares? The search in the newspaper, the information about ghosts? Their friends and their suicides? The decision to search for the body, no body found? Going to Natre, Natre’s home, her mother? Her body, the issue of the cremation? The shift in credibility with the appearances of the ghost, the light in the photos? The persecution of Tun, his accidents? The shift after the cremation? The growing sense of menace? Tun and his falling out the building, his seeing the ghost? The finale in the cell – and Jane going in to Tun and the ghost?

4. The students, their drinking, talking, studies? Emphasis on sex? Their later suicides? The final revelation about the rape and their involvement?

5. Tun, student, photographer? Relationship with Jane? His past relationship with Natre? The drive, his not wanting to stop after the hit-run? The consequences, seeing the ghost in the groups for photography? The information, the search out about ghosts? The body? The visit to the mother? His seeing Natre, her various appearances? His fears, on the side of the wall, his fall? The cremation? Everything seeming all right, Jane and her finding the photos, his revelation of the truth? Natre and her confronting him, falling from the building, in the hospital, going mad? Natre and her continued presence with him?

6. Jane, with the group, her studies, the drive and the chatter, the accident? Her driving off at Tun’s insistence? Sharing the search with Tun? The photos? The body, the cremation? Her concern about Tun? The holiday together, the photos, discovery of the rape scene, the explanation? Her final visit to Tun?

7. Natre, loving Tun, the rape, his taking the photos, victim? Her attempts at killing herself? As a ghost, her appearance, her manner of stalking Tun, climbing, on his shoulders …?

8. A satisfying ghost story – with the Asian tradition of spirits, their appearing to their friends, their enemies, vengeance?

SHADOW OF A DOUBT

US, 1995, 92 minutes, Colour.
Brian Dennehy, Bonnie Bedelia, Fairuza Balk, Mike Nussbaum, Joe Grifasi, Kevin Dunn, Ken Pogue, Bruce Mc Gill.
Directed by Brian Dennehy.

Shadow of a Doubt is a courtroom drama, Brian Dennehy portraying a has-been lawyer, alcoholic, who is asked by a former love, played by Bonnie Bedelia, to defend her daughter against a murder charge of killing her father. The daughter is played by Fairuza Balk.

The film is interesting in that it seems that Dennehy’s character has no hope of winning his case, his opponents setting up a campaign against him and blackening his name. However, this is a star vehicle for Dennehy who wrote and directed the film (as he did with some of the series of Jack Reed, the former priest detective in Chicago).

The film has familiar material – but this kind of story and development of characters always works on television.

1. An entertaining telemovie? The case? The law? Courts? Deception?

2. The title, the ironies and how they applied to the case and characters?

3. The work of Brian Dennehy, writing and directing, starring?

4. The prologue, the death? The arrest of Angel, the various possibilities? Clues?

5. Brian Dennehy as Charlie Sloan? At the funeral? His attending AA meetings? People with holds on him? Plans?

6. The case, Robin and the come-on, Angel and her desperation? His needs? The arguments? The video confession – coerced or not? The evidence of Angel with the clothes and the bloodstains? The role of the prosecutor, the hearing and the performance? The effect? Sidney Sherman and his help, the psychiatrist, the records? Sexual issues? Angel and the advance? Robin and the advance? The complexities, the abortion and mental state?

7. The court, the implication of Robin? The incrimination by the judge? The prosecutor?

8. The character of Angel, her advances, girlish, honest, on the stand, admitting the truth? The issue of being who you are? The verdict?

9. The psychiatrist, sex behaviour? The end – and the ‘told you so’ attitude?

10. Charlie Sloan and the law, the attacks, the police and the drinking, proving the case, his achievement? The disillusionment? The final visit?

11. The portrayal of the court scenes, the jury, the prosecutor, the judge? Justice, the law and the truth? The film as a moral fable?