THE UNDERGRADS

US, 1985, 102 minutes, Colour.
Art Carney, Chris Makepeace, Jackie Burroughs.
Directed by Steven Hilliard Stern.

The Undergrads is a pleasing Disney college comedy for younger audiences. However, it is also a star vehicle for Art Carney, older audiences should enjoy it very much. Art Carney is excellent, and had a successful career in film after his Oscar win in Harry and Tonto in 1974. His dryness, his timing, his warmth and common sense all make him a persuasive screen personality. Chris Makepeace is his genial grandson. The film was directed by Steven H. Stern, director of many telemovies.

1. Youth comedy? Themes of ape, Generation gaps, bonds and enmities? Education themes?

2. A Disney production, pleasant, the touch of the cute? Humour? Human resolution?

3. A piece of Americana, the city, homes, college? The musical score, the range of songs, the opening with the Bee Gees' 'Staying Alive'?

4. The introduction to Mel: the 'Staying Alive' strut, people watching? Mel's relating to people, the landlady and the egg, setting fire to the apartment? With his son and daughter-in-law? Love for Jody? The gift of the money? Going to the retirement home, trying to get the men to play cards vigorously? Jody taking him for the walk, decision to leave? Going to see Hobo for the school records? The -interview, the allotment of classes? Telling Jody his life story, the hardships of his family, his marriage, his own son and the distance between them? The roll-call and his hearing aid?
The English class and its telling the story of his father from Hungary? The parties and meeting the students? His poem about the cow? The English teacher and going for coffee, telling the story about his wife? The history class and his answers about the Depression? The bar, the interview for the paper? Jody and his work, illegal names? Jody arrested, freeing him? The relationship with Nancy, speaking truthfully to her and her being hurt? Study and success? Mel being bashed? In bed, Jody waiting on him? The decision to leave? Hobo's death, his grief, the funeral? Jody's searching him out, the decision to return? The applause? The exams, his studies, success and the reconciliation with his son?

5. Jody and his family, Mel's gift to him, taking him away from the home, enrolling at Simpson, telling his parents and their reaction, listening to Mel's story and learning from him, the party, meeting Kim, going for the job? Classes - and Mel and his experience of the Depression? Butch and the job, lecturing Mel about his poor study habits? The arrest? Mel
getting him out? Mel's sickness, the help with Kim, search for him, the funeral, talking? The vindication of his plan? The happy ending?

6. Dennis's parents, being proper, their name for him, Mel's name for him, Jody? Going to college, not what his father wanted? The father sending his own father to the retirement home? Anger about what had happened? The importance of the final sequence, the reconciliation?

7. The college staff, the interviews, the English teacher and Mel's telling the story, the poem? The textbook for the history lecture, the Depression expert - his applauding Mel's return, but still only giving him a D? Nancy, the cup of coffee, telling her the story, the meal? Her being hurt? The final reconciliation - and a pleasant friendship future?

8. Lobo and his friendship, forever tired, the photos, his death and funeral?

9. Butch and the illegal works, Mel and his discovery, the police, the arrest, the bashing of Mel?

10. Genial piece of Americana, the generation gap, old age and youthfulness, education? Reconciliation?

UNDER TEN FLAGS

Italy, 1960, 92 minutes, Black and White.
Van Heflin, Charles Laughton, John Ericson, Mylene Demongeot, Liam Redmond, Alex Nicol, Gregoire Aslan.
Directed by Duillio Coletti.

Under Ten Flags is a different kind of war film presenting a German ship's captain humanely and sympathetically and showing, with admiration, his skill in deceiving and destroying British ships. Van Heflin brings great dignity to this role. Charles Laughton brings his usual crusty style to the British commander trying to outwit and out-manoeuvre the German. While the British win, the audience is made to feel regret. This makes the film a useful one for discussing war issues with balance.

1. The significance of the title and its reference to the German ship's tactics? How successful a war film? Its impact?

2. Audience memories of and response to World War II - 1960 when the film was made, now, differing views of the war?

3. The black and white photography? The British atmosphere, the sea, the nature of the ship and life on board? An authentic atmosphere for a war film?

4. The importance of the structure - intercutting between Germans and British, the techniques of cat and mouse? The nature of suspense?

5. Audience response to the Germans? The interest in and sympathy for the Germans? The film's manipulation of audience response?

6. The importance of the details of the German captain's tactics? Capture of British ships? The importance for the audience to know what happened and how? Audience response to the German tricks and their success? British admiration for the success?

7. The contrast with the British? Their speculation about what the Germans were doing? Their uncertainty as to what was actually happening? The details of their study of the situation? Their skill in interpreting what was happening? Audience emotional response to the British in contrast with the Germans?

8. The British admiral as portrayed by Charles Laughton? Audience interest in him? His capacities for interpreting the situation? His strength of character, impatience, determination? His respect for the Germans, his growing certainty and wanting to prove it?

9. The personality of the German captain as portrayed by Van Heflin? His skill in tactics, running of the ship, the respect of his crew, treatment of prisoners, attitude to the S.S.? How admirable a character doing his job in war?

10. The talk about waging a clean war? Was it possible? The captain's success despite the Nazi supervisor?

11. The significance of the clash with the 11Abdullah"? The captain and his cowardice? His responsibility for the death of the civilians? The passengers' attitude towards the captain? The German captain wanting justice to be done?

12. The presentation of the passengers, the personalities, life on board the ship, the German captain's enabling them to be rescued?

13. The contrast with the British codes? Their skill in trying to trick the Germans? The German's skill in outwitting the British?

14. Response to the final tactics in outwitting the Germans and the sinking of the ship? Did the captain have any alternative but to abandon the ship?

15. What achievement was there in this particular military career? Contribution to the war? The film's dealing with themes of war, life and death, cruelty and humanity? The values that the film best explored?

UNDER FIRE

US, 1983, 122 minutes, Colour.
Nick Nolte, Ed Harris, Gene Hackman, Joanna Cassidy, Jean Louis Trintingnant.
Directed by Roger Spottiswoode.

Under Fire is an interesting action adventure, a picture of journalists at work in the wars of the 1970s and '80s as well as an impassioned taking of a stand for the Sandanista rebels against the Somoza regime in Nicaragua.

The film could be compared with the Nicaraguan-made Alsino and the Condor, a film from the Nicaraguan peasants' point of view, mystified about the wars, suffering under the oppressive military regimes and American military advisers. This film was directed by Roger Spottiswoode, writer of 48 Hours and director of such films as Terror Train and The Pursuit of D. B. Cooper. Using Mexican locations, the film recreates the atmosphere of Nicaragua in 1979 and the taking of Managua by the Sandanistas. There is a prologue showing the work of American journalists and photo-journalists in Africa, in the war in Chad. This serves as a background for the kind of observation and later, involvement in Nicaragua. Nick Nolte is effectively stolid as the photojournalist whose photos go on Time Magazine cover. Joanna Cassidy is a strong heroine and Gene Hackman has an interesting role as the more peaceful journalist. Ed Harris portrays the American adviser-mercenary. The re-creation of the period and the tension is effective indeed.

Comparisons could be made with Costa Gavras' Missing as well as the journalist films Circle of Deceit and The Year of Living Dangerously. While there might be inaccuracies in detail, there is validity in the presentation of the case,

1. Interesting action adventure? The basis in the events of 1979 in Africa and Nicaragua? A perspective on contemporary history? A moral and political stance? The comment on Central America and military regimes and rebellions? The comment on the Carter administration and American aid?

2. The use of African locations, the use of Mexico instead of Nicaragua? An authentic impression of the country: the countryside, the city, wealthy society, the poor, the role of the media, the rebels? The strength of the action sequences? The score - and the use of Central American instruments and melodies for atmosphere?

3. The title and its urgency? The involvement of the journalists in the war? The immediacy of the media bringing the war to world wide audiences - the possibility of audiences experiencing being under fire? The background of 20th. century wars - the world wars, local wars, the wars of independence? The significance of the African prologue and Chad? Similarities to Central America, differences? The same kinds of war for the media observers and reporters? For the American mercenaries?

4. The stance of the writers and director? The observation of the wars in Africa, the fighting, the difficulty to tell the difference between sides, the role of the rebels, mercenaries, the media? The issues in Africa being clearer than those in Central America? The taking of a stance in Central America against the Somoza regime? The possibility of accusations of bias, making issues simplistic? The validity of the answer that events were being dramatised, not presented as documentary.

5. The workings of the media, the function of the media? The role of media personnel? Reporting, presenting the facts, presenting images? The striking images for dramatic purpose? Professional success - e.g. Time Magazine covers? The morality questions - and Russell being asked to alter a photo, use his cameras for propaganda purposes? The role of television in bringing immediate images -and the use of the television for showing Claire Alex's death?

6. The screenplay's establishing the characters and their attitudes in the African context - the opening credits and the countryside and audiences surprised that it could conceal so many soldiers, the elephant stampede. the helicopters, the photos? Oates as a mercenary and his not knowing which side he was with? The three American journalists and their presence., their choices - and the next war?

7. Nick Nolte's physical presence and style as Russell? The type. work in Africa, the effectiveness of his photographs - and the stills during the credits sequences? His mere observation in Africa? The encounter with Oates and discussion of the sides? The decision to go to Nicaragua? His skill and his ability to be present in dangerous situations. take the right photographs? The use of black and white stills to indicate the quality of Russell's work in Nicaragua? Socialising? Russell as a loner? Friendship with Alex, friendly banter? Alexis wanting to go back to America whereas Russell wanting action? The friendship with Claire, their falling in love, the beginning of the affair? The effect on each? The effect on Alex - seeming betrayal. Russell's explaining that he began the affair when Claire had left Alex? The experience of Nicaragua - the encounter with Jazy and his mysterious work? Taking photos of Somoza and Miss Panama for him? The world of receptions, hotels, media centres? The religious procession and the military interrupting it in searching for rebels - and the importance of Raffael? The search for Raffael and going out into the countryside? The difficulties of travel, the road blocks? The encounter with Oates - and his execution of so many rebels? The impact of finding Raffael dead? Alex and his trip? His wanting to find Raffael? Their going together, the impact of Alex's being shot? Being under fire, the streets, cars and buses, the shooting, the shelter? The ever-present danger? Russell deciding to take sides?

8. The contrast with Oates - his presence, the shooting, the amoral and uninvolved stances, his wanting good dope, his survival at the end? The condemnation of American mercenaries?

9. Alex and his ambitions, his wanting to return to America, his success as a news announcer, his return, the sense of betrayal, the reconciliation of the three, the search for Raffael, the image of Somoza on the horse - the Mussolini statue altered, his keeping faith with Russell about the changing of Raffael's photo? The suddenness of his death? Claire seeing the TV images of his death? (This incident in the film based on an actual incident in Nicaragua.)

10. Claire and her work, reports. filing? Place in Africa? The strong American heroine - 'the tough broad'? Relationship with Alex, tensions in Africa? Leaving him? Wanting to keep in the field? Her relationship with her daughter - the phone calls? Work in Nicaragua, the importance of her interview with Somoza - and reporting his answers to her public? Her questions about Somoza? Travelling with Russell? Her willingness to change the photo of Raffael? The growing tension, the reaction to Jazy, her search for Russell, her grief thinking he was dead, her being helped by the people in the town, her return and discovering that Russell was alive?

11. Jazy and his presence, the ambiguity of his work, place in society, friendship with Miss Panama, arranging the photographs, Russell's discovery of his room with all the photographs and the people marked for death, the encounter with the rebels,' his death speech and his defiance, his fascist and elitist stances? The ugliness of his death?

12. The portrait of Somoza, the background of his family, the ownership of the land, wealth? His smooth-talking American aide and his ability to cover up and speak to the press? Wealth, women, parties, speeches, condemnation of Raffael? His sensing that the end was at hand - and taking the coffin of his father and brother to Miami? Audience response to the Somoza regime and its downfall?

13. The sketch of the American PR aide? The military and their cruelty - the early procession and the attack, the assassinations, Jazy's circled photos, death in the streets, the young man helping Russell and Oates killing him?

14. The revolutionaries and their spirit, the justice of their cause, the banners, at Somoza's party and her place with the rebels, the guerrillas, the importance of changing Raffael's photo and getting morale for the rebels, the deaths, the execution of those responsible for Raffael's photo, the young rebels and the killing of Jazy? The ending?

15. The involvement of the ordinary people, wondering whether the war was over, the woman who helped Russell and concealed him from the soldiers, the soldier confronting Russell with the gun and going back to say that he was not present?

16. The action sequences, the involvement, the issues, the contemporary questions in central America?

17. The issues of the United States, the Carter administration, financial aid, military advisers?

18. The future of such countries as Nicaragua in terms of self-government, American aid and influence, left-wing influence?

UNCOMMON VALOUR

US, 1983, 100 minutes, Colour.
Gene Hackman, Robert Stack, Fred Ward, Reb Brown, Patrick Swayze.
Directed by Ted Kotcheff.

Uncommon Valour is a film about memories of the Vietnam war. Groups of Americans made headlines in the early '80s in trying to enter Laos or Kampuchea to rescue American soldiers, missing in action, allegedly in camps there since the '70s. This film shows Gene Hackman as a bereaved father, rounding up and re-training veterans from Vietnam for such a mission. (Echoes of The Dirty Dozen.) It is rehearsed; it goes into action.

The film was directed by Ted Kotcheff who has made many action films including Wake In Fright and the first Rambo film, First Blood. This is a tough military film, not pulling its punches in reaction to the war and its aftermath. However, it was not nearly as popular as First Blood. Ultimately the imitations of Uncommon Valour were made - a Chuck Norris action film, Missing in Action and, of course, Rambo First Blood II which resembles this film in its plot. Critics were not always favourable to these films - seeing them as too jingoistic and supportive of exaggerated Right-Wing? military and political attitudes.

1. Entertaining and interesting action adventure? Topical material? American and Vietnam social issues?

2. The American atmosphere of the 80s: memories of Vietnam, attitudes towards the war, towards the veterans, towards those missing in action? The film's use of Thai locations and atmosphere? The contrasts and comparisons of the United States and Asia?

3. The structure of the film: attempts at rescuing the M.I.As, the plane, the recruiting, the training and the rehearsing, the setbacks, the reality, adapting to the situation - and the emotional ending? Audience interest and involvement? In understanding, emotional?

4. The title and its military tone, the war and its re-assessment, the experience of the war, camaraderie, soldiers helping one another, the experience of the imprisonment, the heroism and stands? Families and their anxiety about missing relatives?

5. Gene Hackman as the father, his own experience of war, his beliefs, his long years attempting to interest politicians in the M.I.As, his failures, his reconnaissance of the situations in Vietnam and Laos? The reaction of the American officials? Bugging his phone? The Senator ignoring him? His frustrations, emotional reaction? His relationship with his wife, their common anxiety and grief? The dreams and memories of his son? His plan? Friendship with Hugh McGregor?

6. The recruiting: the glimpse of each in their work - beach boy, tutor, racing expert, hospital administrator etc.? Their experiences, memories? Their keeping in touch with each other or not? The pressure by Jason Rhodes? Their decisions to go? The women and their influence? The background of the prologue, the combat, the rescue, Frank Rhodes staying behind, the helicopters and the take-off, the explosions, the Viet Cong capturing them?

7. Hugh Mc Gregor and his money, the backing, his son? Political connections? Phone-tappings? (The factual background of such attempts being financed in the early '80s?)

8. Rhodes and his relentlessness, the pressure on the veterans, his tough attitudes towards them, his establishing the elaborate replica of the camp, the bases on the reconnaissance photos, the training, live ammunition? Comradeship with the men, his expectations? The details of the rehearsal and training? Scott and his role in training - his severity, the next generation, the revelation of his father being an M.I.A.? The transfer to Thailand? The thwarting of the plans by the administration? The failure, the photos, the deals? The buying of Black Market arms? The trip into Laos? The contact with the drug guide and his daughters? The execution of the plan - his part in the heroics, the timing, the finding of the men, the return - and his standing aside with his wife with the news that his son was dead?

9. Scott and the younger generation: tough, his work with the group, lacking experience in Vietnam, the letter of the law, the clash? His mellowing? His participation on the mission?

10. Wilkes and his statuary, his wife, the loner, motivation, character, his experiences, especially the tunnel memories, his skill with the explosions?

11. Blaster and the bikes, his bonds with the others. his participation in the raid, his death?

12. Charts and his withdrawal, his dark glasses, his wife, participation in the mission, the helicopter, the crash, his being saved?

13. Johnson and his experience in the hospital, the black member, his participation in the raid?

14. Sailor and his skill as a veteran, his being in the asylum, withdrawal, his participation, his giving his life in the explosion?

15. The Laotians and their participation, the drug connections, knowledge of the land, the girl's death, the father and the daughter participating in the mission?

16. The hazards of the mission - timing, the plan, changes, the helicopters in a different place, the empty prison, the dawn attack, the military operation, last-minute decisions, personal crises, the Vietnamese, the knocking out of the guns, the deaths, the achievement? Comparisons with the rehearsal?

17. The return, the emotions, Hugh Mc Gregor and his son? Jason and his wife and their grief?

18. The film and its allegedly Right- Wing views? A re-assessment of the war? The veterans as losers? Rehabilitating themselves by his mission? The failure of the rescue of the Iranian hostages? A film emerging from Reagan's America?

UNCERTAIN GLORY

US, 1944, 102 minutes, Black and white.
Errol Flynn, Paul Lukas, Jean Sullivan, Lucile Watson, Faye Emerson, James Flavin, Douglas Dumbrille, Dennis Hoey.
Directed by Raoul Walsh.

Uncertain Glory is one of several war films made patriotically by Raoul Walsh in the '40s and starring Errol Flynn. The others were Desperate Journey, Northern Pursuit, objective Burma.

This film resembles other propaganda films of the time like Joan of Paris with Michelle Morgan and Passage to Marseilles with Humphrey Bogart. The Hollywood cast has to portray French nationals and highlight America's support for France in the experiences of World War Two.

Flynn is a French criminal under the guard of Paul Lukas. Escaping from the guillotine at the last moment because of a war raid, Flynn accepts the possibility of substituting himself as a saboteur and being executed by the Germans to save the French. He does so. Flynn gives one of his usual suave performances. Paul Lukas, who had just won an Oscar for watch on the Rhine, is very good as his guard. There is a character supporting cast led by Lucille Watson. The film seems dated now but gives some idea of the popular propaganda film from Hollywood studios in the '40s.

1. An interesting and entertaining war drama? With a difference? The focusing on France and the war effort? The support of a Hollywood studio? Impact in its time? Now?

2. Warner Bros production values: the stars, black and white photography, French location atmosphere in the studios? A rousing musical score? Editing and pace?

3. The title (from Shakespeare's Two Gentlemen of Verona) and highlighting the ironies for Jean Picard? Appropriate for a criminal giving his life for the war effort?

4. Errol Flynn's portrait of Picard - in jail, his reputation as a thief, his condemnation, the guillotine, the air raid and his escape, his going to his gangster friends, the attraction of the gangster's girlfriend, his being betrayed by the gangster, the train trip, the break in the journey, the relationship with his guard (pursuer and pursued becoming allies)? iris encounter with the Resistance group? With Madame Maret? The friendship with Marianne? The situation of sabotage, the Resistance, the Germans wanting the saboteurs? Picard's decision to give himself? The backing of his guard? His heroism - and uncertain glory?

5. The contrast with Paul Lukas as Marcel Bonet? His role as policeman, his family life, the execution of Picard, his escape. his recapture. Bonet having him in custody, suspicions of him, Picard's proposition. the effect on Bonet, with the Resistance groups, his giving his support to Picard?


6. The sketch of the French gangsters - and Picard being betrayed by his friends?

7. The portrait of the French Resistance, the strength of Madame Maret, Marianne as an attractive heroine? The sketches of the Resistance members? The experience of the war, the presence of the Germans. the war effort? Reprisals?

8. Themes of resistance, life and death, loyalties, the experience of war? The heroism of giving life for others?

THE UMBRELLAS OF CHERBOURG

France, 1964, 92 minutes, Colour.
Nino Castelnuovo, Catherine Deneuve, Anne Vernon.
Directed by Jacques Demy.

The Umbrellas of Cherbourg (Les Parapluies de Cherbourg) is unusual in so far as there is no spoken dialogue in the film. Every conversation is sung in French. This does not necessarily appeal to everyone and those who are sure they would not like this are best warned away. For those who take to it, they will find it a simple love story, seen hundreds of times yet having something lighter and more delicate about it because of the singing which lengthens the atmosphere, action and feeling of each scene. The film is meant to be pretty, the predominant colours being pink and blue. As might be expected, the postcard looking romance leads to sadness and growing up.

The two principals act well and are attractive enough to carry the (dubbed) singing. Music is by Michel Legrand. A suggestion is offered that a female audience would appreciate the film far more than a male one.

1. The technique of having singing only? Did you accept this at once or did it take some time to get used to? Why did the screenplay adopt this form for the film? How did it make it different in impact from other love stories?

2. Comment on the use of colour in the film. Pink and blue predominated. What impression did this make?

3. Was the film anything more than a pretty love story?

4. What kind of a man was Guy - his personality, work, military service etc.? Did he really love Genevieve? Note the parting scene and the theme music.

5. What kind of a girl was Genevieve - personally, influenced by her mother, her pregnancy etc.? Did she really love Guy?

6. Comment on the influence of her mother's ambitions and genteel aristocracy on Genevieve.

7. Why did Genevieve marry Roland - for love, for security? Did she love him when she met Guy at the end of the film?

8. Comment on the attractiveness and fidelity of Madeline.

9. What should Guy have done when he came back from military service? How did his Aunt's death affect him? Madeline tells him that he should marry a woman who would stand by him so that they could choose freely to do what they wanted.

10. What happiness did each of them find? What was the importance of the sequence of their meeting at the garage? Genevieve, rich and fashionable had her child; Guy, drab, but with his family.

11. How correct would it be to say the film was 'a musical moral fable'?

THE ULTIMATE WARRIOR

US, 1975, 94 minutes, Colour.
Yul Brynner, Max Von Sydow, Joanna Miles, William Smith, Stephen Mc Hattie.
Directed by Robert Clouse.

Robert Clouse has directed many action films, including the striking 'Enter the Dragon'. He now uses this flair in a futuristic fable reminiscent of 1Soylent Green'. Early next century, New York is a ruin inhabited by pockets of people, some gangs, some more civilised groups living feudally under such leaders as The Baron (Max von Sydow). All are starving. Primitive instincts of hate and violence prevail. Strong men (like the hero, Yul Brynner) are in demand as protectors. The screenplay portrays a pessimistic vision and a critique of the present which is to be devastated by war and plague, and presents a grim picture of human nature. A worthwhile fable.

1. Expectations from the title? Battles and wars? Ultimate and the end of the world? The appeal of science fiction, the anticipation of the future, the interpretation of the present? Pessimism concerning the future? The moral for the present?

2. Colour photography and imaginative presentation of the future? The sets, decor, New York and ruins? The musical score?

3. The anticipation of New York in the year 2012? The credits, the visuals, the squalor, isolation, terror? The grim future of the cities? Devastation, depopulation, plagues and famines, the struggle for survival?

4. The way this was illustrated with the opening and the group clashes, the killings, the lynching? The purpose of survival - fear, fighting? Food? Madness, ill health? The survival of the human race?

5. The violence of Carrot and his gang? Their style, personalities, the bonds together? Their motivation? The villains of the piece? Their being painted in black?

6. The Baron and the survival of the past? His character and personality, his leadership of the group? His assistance? The traitor and the repercussions for the group and survival and peace? His daughter Melinda, her pregnancy and hope for the future? Cal and his horticultural work? The need to make the air fresh, to destroy the poisons? A microcosm of a primitive society and the hope for growth with the links of the past?

7. The importance of the theme of horticulture, vegetables, growth and health? A treasure for this kind of world?

8. The presentation of pestilence and plagues, the lack of food, the repercussions on human stamina? On the mind and its evil?

9. Yul Brynner as Carson? Strength, stances? His appearance? His background? The Baron's daring in approaching the warrior? His proposition for protection? Carson and his strong-man help? The healthy strong man within this society?

10. The character of Carson - his background, story? The experience of death, the island, visions? His desire for help?

11. The Baron and his moral decisions about survival? His goodness yet allowing deaths? His plan for the future and his family? His disappointments? Reliance on Carson, clashes with Carrot? Provisions for his daughter and Cal? The repercussions of Cal's death? His own death for the survival of the future?

12. Carrot and the ugly evil - his killing the couple, the child, the clashes with the warrior, the fights, the attempts to lure the warrior into battle, his raids especially on the vegetables?

13. Melinda and Cal and the hope for the family of the future? Cal's death? Melinda and her pregnancy - the mother of the living?

14. The final action - the Baron's death, his sacrifice, Carson and his leading the mother and child to the future? The death of Carrot in the duel? The seeds taken for the growth of the future?

15. The success of the film on the popular action level with the overtones of martial arts action?

UNLAWFUL ENTRY

US, 1992, 106 minutes, Colour.
Kurt Russell, Madeleine Stowe, Ray Liotta, Roger E.Mosley.
Directed by Jonathan Kaplan.

Unlawful Entry is one of several films dealing with urban terror in the early 90s (like Barbet Schroeder’s Single White Female) in New York. This is familiar material but is quite effectively as a violent thriller, questioning standards of right and wrong, good and evil and who has the right to administer justice. Kurt Russell and Madeleine Stowe are affluent Los Angeles citizens whose house is burglared But the earnest cop who investigates the burglary becomes obsessed with them and almost destroys them. The cop is played by Ray Liotta, more than credibly manic, as he was in such films as Something Wild and Goodfellas. (A more genial Liotta can be seen in Dominic and Eugene.)

City audiences can identify with the harassed couple - and the tensions builds in them as in the audience. This is an effective thriller made out of an ugly experience and was directed by Jonathan Kaplan, whose thrillers include White Line Fever and the Accused and who is made genial films as Mr Billion, Heart Like a Wheel and Immediate Family.

1. Quality thriller? Invasion of homes and privacy? Fatal sexual attractions? Jealousy and violence? The role of the law, justice and violence?

2. The title and its references to burglary as well as to Pete's invasion of Michael and Karen's life and privacy? The real and symbolic unlawful entry?

3. The wide screen photography, Los Angeles wealthy homes, streets? The police precincts? The ugly world of the Los Angeles criminals? The contrast between the worlds - and Pete taking mike on a tour of this world? The musical score?

4. Middle America and its affluence? The urban tension of the 90s and riots in cities like Los Angeles? Michael and Karen, their life style, their marriage, relationship, their wealthy home, jobs? Tensions?

5. The impact of the burglary and its atmosphere? The intruder and the knife to Karen? Michael's reaction? Calling the police and the escape of the burglar?

6. The role of the Los Angeles police? Pete Davis and his partner, helpful, concerned, discussing alarms and security? Coming around - and the growing friendship of Pete with Michael and Karen?

7. Michael and the friendship with Pete, the invitation to go on the police round? Michael's motivations - violence, the law? Going down town, seeing his wife's attacker? Pete's brutality - the invitation from Mike to be violent and his refusal? Mike's reaction to Pete? Karen and her not understanding, wary of Michael? Attracted by Pete? Apologies to Pete for Mike's behaviour?

8. Pete and the growing sense of menace? In himself, unbalanced, evil? Karen and his obsession, prying, sexual attraction? Mike and the party, Michael with the monied people, the plans for the building? Pete's intrusion and Mike ousting him? His being asked to leave, Karen's reaction?

9. Pete and the growing control over Mike and Karen, using police tools, the credit cards and their being stopped, Mike's experience of the refusal of credit? His bewilderment? His car clamped? The alarm going off in the night and the police coming? Mike's reaction, wanting to buy Pete off? Desperation for Pete's partner?

10. Pete and his anti-social behaviour, with the women, prostitutes, sex and violence?

11. Col and his work as Pete's partner, going to the stakeout, the drama of the police work - and Peter murdering him in cold blood and framing it?

12. The cocaine planted in the household? Karen and her disillusionment with Pete, the gun, Peter's attempted rape? Mike and the final confrontation? Legitimate violence or not?

13. A portrait of the ills of society, violence and guns, the law and abuse of the law, human nature, corruption, self assertion and protection?

UNTIL THEY SAIL

US, 1957, 95 minutes, Black and white.
Jean Simmons, Joan Fontaine, Paul Newman, Piper Laurie, Charles Drake, Sandra Dee.
Directed by Robert Wise.

Until They Sail is an enjoyable melodramatic romance. It was an early film with Paul Newman. However, the feminine leads are very strong, especially Jean Simmons and Piper Laurie pulling out all the stops. Joan Fontaine has the most interesting role as the complex and reserved older sister. The film has a New Zealand setting with a background of wartime romances with American soldiers. The screen play is based on a novel by James A. Michener. Direction is by Robert Wise, who made a substantial number of entertaining films in the '50s before moving to wider scope with West Side Story, The Sound Of Music and The Sand Pebbles in the '60s. Interesting as a glimpse of how life was during World War Two in Australian and New Zealand.

1. The meaning of the title in context, the indications of themes via this title, the implicit irony? (The song and its lyrics for the theme?)

2. A film of the '50s, black and white photography, New Zealand atmosphere, the use of sentiment and audience involvement? Message through sentiment and feeling?

3. The importance of the structure: the flashback and the trial, some suspense about the issues concerning Delia, the anticipation of the happy ending for Barbara? How did this govern audience response to the total film?

4. The importance of themes of war: the sudden effects on people's lives, changing direction of lives, the nature of sorrow? How was this illustrated in the New Zealand atmosphere, the hostility of New Zealanders towards Americans? The role of New Zealand men going to war, women waiting, receiving news of death, becoming involved with Americans? The court case as an indication of public opinion on this them?

5. The film's exploration of the emotions of war: deaths, marriages, loneliness, the investigation of New Zealand wives, the Bates family searching for their daughter-in-law and granddaughter etc.?

6. How was the Leslie family a symbol for these issues? The variety of emotional involvement and the sharing of this involvement? Their learning through their feelings and the truth about themselves? The significance of the four at the parade at the beginning and the parade at the end?

7. Barbara as the strong character: Jean Simmons' performance? Her memory of Mark, using her head to organise the family, her practical and balanced nature? Her supervision of Eve, her wanting Anne to broaden her outlook, her sympathy for Delia and the visit to Wellington? Her encounter with Jack and sympathy for him? Her courtesy towards Bates and the promotion of the marriage? Her awareness of Delia's lack of love for China? The sequence of learning of Mark's death? The effect of time on her sorrow? A new growing in love? The disappointment of the trial and its effect on her? The happy ending, the significance of the hesitation outside the room?

8. How was Anne a contrast with Barbara? Her emphasis on decency, hostility towards the Americans, censorious towards Eve and Delia? The shop scene as important for showing her primness? Her letter to the paper? Her change with the arrival of Bates? Growing in love and its effect on her? Her pregnancy and her sympathy for Delia? The phone call to Delia? Coping with her predicament? The happiness with the child and going to America? The optimism in this characterisation?

9. The contrast with Delia: always a flirt, bored and marrying, her lack of happiness at the marriage. her later irritation with China? The decision to have a good time in Wellington? The visualising of this? The divorce and the melodramatics of her death?

10. The contrast with Eve: the young girl, enthusiastic, easily falling in love, growing up through these experiences?

11. Jack - was he a credible character? Paul Newman's style? His explanation of his life and his work? His involvement with the Leslie family? His love for Barbara? The happy ending?

12. The presentation of Americans abroad? What comment was being made?

13. The trial sequence as a summary of the war scenes?

14. What value has a film like this? Its portrayal of human values, strengths and weaknesses? The impact today, so long after the war?

UNCIVILISED

Australia, 1936, 82 minutes, Black and white.
Dennis Hoey, Margot Rhys.
Directed by Charles Chauvel.

Uncivilised is the work of Charles Chauvel and his wife Elsa. It was based on a novel by E.V. Timms, a popular author at the time. The Chauvels had made significant films about Australian history like Heritage and were to make such films as The 40,000 Horsemen, Rats of Tobruk and, of course, Jedda.

This film, however, is rather more like a Tarzan adventure, so popular from Hollywood during the 30s. British singer and actor Dennis Hoey was brought to Australia for the central role (and two songs added to the screenplay because of this talent). The film is set in a vague Australian setting, with rather contrived Aboriginal characters, a glamorous heroine played by Margot Rhys. The film was popular enough in its time - but looks decidedly contrived from hindsight and at times, it touches on the ridiculous. However, it actually opens up insights into attitudes of Australians towards Aboriginal people during the 30s, on the eve of the 150th anniversary of the white settlement of Australia.

1. An action adventure of the '30s? The Australian flavour of the film? Its aiming at the international market, especially American? The blend of the local and the exotic? The blend of action adventure, Tarzan and operetta? A likely blend? A satisfying blend?

2. The work of Charles Chauvel? This film in his canon of features? His interest in Australian nationalism and pioneering? His being influenced by the expectations of the American market? How satisfactorily did he meet these? The importing of a British actor?

3. Black and white photography, the musical score ~ and the operatic songs? Atmosphere of Sydney in the '30s, the business world, the world of book-editing and production and the contrast with the North? The maps of the North, the coast and the smuggling-boats, the deserts and the camels, the exotic rivers and waterfalls and forests, the aboriginal camps? The corroborees? Special effects?

4. The contrived plot: the antipodean Tarzan? The novelettish aspects of his background, adventures, drug-smuggling? Credible? Escapism?

5. The world of publishers, authors? Contacts, search for exotic stories, expeditions? Responsibilities for the safety of authors etc.? The world of editing compared with that of the North?

6. The North, police, aboriginal killers, smugglers, undercover agents?

7. Beatrice and her style? Her reputation - and the rival waiting to go on the expedition and her decision? The trip and its dangers? The camel-rides in the desert? The Afghan guide? Her being abducted? The difficulties of travel, the antagonism with the Afghan? The meeting with Mara and expectations of him? Her encountering the aboriginal world? Civilisation and her makeup and composure, her inability to eat aboriginal food etc? Her learning aboriginal ways? The corroboree? Her explanation of love? The exotic touch with her swimming - and becoming 'native'? Sondra, the drug-dealers? The killer and the attack on the aboriginal camp? The truth and her realisation that she had fallen in love with Mara? The return? A novelette's intrepid heroine?

8. Mara and his credibility? His origins, missionary parents, ruling the aboriginal tribe? The rules about his white wife? Sondra and her presence in the camp, the search for the rubies? His Tarzan style of dress, activity, use of English? His bursting into song? The explanation of love? The background of Afghans, drugs, jewels? Corroborees? The battle against the aboriginal killer and his men? The happy ending? The '30s cinema hero?

9. The Afghan and his 'sliminess'? The villain, the abduction of Beatrice, his behaviour. the drugs, Sondra. the elegant drug-smuggler and the treachery, the caricature of the Afghan - and the revelation that he was the undercover agent?

10. The world of smugglers in the North: the two smugglers killed by the aborigines, the suave leader, his crew, Sondra, the murders? The arrest?

11. The Palm Island aborigines performing in the film? How much insight into the aborigines' way of life? White contact with aborigines in the 19th. century? By 1935? The aborigines and their dress. paint? Hats? Food? 'Primitive'? Religion and myths? The world of the aboriginal killer being hunted by the mounted police? Mara and his leadership of the tribe?

12. The expected resolution - satisfying for entertainment's sake? Successful popular entertainment of the '30s?