UNDERCOVER

Australia, 1984, 100 minutes, Colour.
John Walton, Genevieve Picot, Michael Pare, Sandy Gore, Peter Phelps, Nicholas Eadie, Barry Otto.
Directed by David Stevens.

Undercover is a pleasant piece of Australiana. Producer David Elphick saw it in line with his Newsfront, an opportunity to explore nationalism in the past. Director David Stevens saw it as partly comedy, partly musical, partly spoof - an affectionate look at the past and at nationalism. The film outlines the career of Fred Burley, the industrialist founder of the Berlei empire and women's foundation garments. John Walton is engaging as Burley - a busy man who had a great sense of national spirit in the '20s, taking the Great White Train around Australia advocating 'Australian Made'.

The film focuses on Genevieve Picot as Libby, the young girl from Mudgee, who becomes involved with the work and, in some ways, with Burley. The film, written by Miranda Downes, has a strong feminist tone. There is a good supporting cast, including Sandy Gore as the eccentric Nina. Michael Pare, from The Great American hero and Eddie and the Cruisers, is the Brooklyn Max, the aide to Burley in his advertising. The film, at times, seems rather slight - even inconsequential. Yet it is pleasing entertainment and creates an atmosphere of Australian nationalism.

1. An entertaining piece of Australiana? The impact for Australian audiences? Overseas? For men, for women?

2. The re-creation of the '20s: Mudgee and the style of the slow country town. the contrast with Sydney and big business. the suburbs, the beaches etc.? Flats. offices. shops? The world of '20s fashion? Costumes and decor? The fashion shows, musical shows? Panavision photography. colour and style? The importance of the musical score and its tone, the songs? The lyrics for the final patriotic display? Billy Field and his singing of the title song?

3. The title and its irony and humour? The atmosphere of the credits and the hand turning the leaves of the book - indication of the period?

4. The focus on Libby: her work in Mudgee, the focus on the large woman breathing in for the corsets at the opening? Her relationship with Frank, her decision to leave and go to the big city? The country girl arriving in the city, getting the flat, the remarks of the landlady? The collage of the variety of jobs that she tried e.g. telephone-answering, the restaurant and the men's attentions? The interview with Fred Burley and her being thought a man, her reaction and the huff? Her being employed? The friendship with Alice? Her work. Nina's injunctions? Fred Burley and his push and her joining him? Arthur's suspicions? Her clashes with Max and his ideas and brash Americanism? The encounter with Theo the dates. the sexual encounter, her realising she was not in love with him? Her skill at her work, her developing new lines in underwear, being a designer? Her gratitude towards Fred Burley, the single kiss and the resultant scandal? Her decision to make the speech - her courage in doing so? The train and her returning home, bored, Frank's condescension about her reputation in the city? The comments about the failure of her line in Mudgee? Her brainwaves, return to Sydney? Her energy. the survey and her participation in it? The build-up to the final show? Her future - and the credibility of her reconciliation with Max? Strong character-drawing? A portrait of an Australian woman of the '20s? The feminist touches in her characterisation?

5. Themes of the '20s, Australian industry, opportunities,' local interest? Fred Burley and his wife and their humble origins. their success? Arthur's business acumen? The importing of Max for salesmanship and advertising? Promotion? The personalities on the staff. the changes of fashion in the '20s. the fashion shows and the feminine response? The growing nationalism? The societies, the Great White Train and its effect? The portrayal of Fred Burley within this context - his energy, business acumen, taking risks where Arthur would not? Friendship with Libby? Reliance on Max? The scandal and his possible resignation? Libby's exoneration of him? His relationship with his wife? His response to Libby's return, the enjoyment of the survey. the final show? Burley as a genial Australian man of the '20s?

6. Arthur and his fussiness, money, gradual relenting. participation in the survey - and his final smile?

7. Max - the Brooklyn background. coming to Australia, his reaction to the old-fashioned style, the American making his home in Australia? Ideas, push, the fashion shows? The continued clash with Libby - and his pointing this out to her, her lack of civility, her apologies? The final reconciliation?

8. The portrait of the people on the staff - Nina and her eccentricities, English background, her theories on 'brilliance'? Her design? Her looking at Libby's flat and her emotional approach? Work, the show going on?

9. Alice ‘as friend, unable to be a designer, becoming a model and her success? Sharing things with Libby? The friendship with Theo, the beach sequence? Her wanting to marry Theo - and her image of marriage, his drinking and her supporting him?

10. Theo and his smooth talking, the outing at the pub, the girls drinking. the beach, his car. the sexual episode with Libby and her rejection of him? His jealousy, talking to Simmo, the repercussions and his going to the pub to punch him? Friendship with Alice. drinking, his arriving on the night of the show? The comparison with Frank in Mudgee - and the image of Australian men?

11. The importance of the detail of background of Sydney life: the beach, the shops, the flats, the pubs, cars and trains?

12. The sense of nationalism and the society. the speeches. the executives in business in Sydney, the train? The emphasis on 'Buy Australian' and the Berlei staff going to the various shops? Australian enterprise and American know-how - with the French touch and image? The details of the train - and the humour of getting the beer to the dignitaries. even on a Sunday?

13. The fashion shows - the style, the music, the women's response, the flattery? The initial shows, the Sydney survey - and the measuring of the women? The satire in the lascivious professor? The build-up to the grand finale in the Regent Theatre and the choreography. costumes, the patriotic songs?

14. The slight tone to the film - the emphasis on delighting rather than serious exploration of themes? How effective for the broad audience?

UNFINISHED BUSINESS

Australia, 1986, 78 minutes, Colour.
Michele Fawdon, John Clayton, Norman Kaye.
Directed by Bob Ellis.

Unfinished Business is a dramatic two hander film star vehicle Michelle Fawdon and John Clayton, veterans of Australian film and television. There is a good supporting role for Norman Kaye (an actor often used by Paul Cox) as well as a momentary but memorable cameo by Ellis himself as an odd-ball tenant in a block of flats. The film deals with middle-age, crisis, broken relationships, the unfinished business of relationships which were unresolved. It also dramatises questions of surrogacy and parenthood.

The film spends most of its time showing Michelle Fawdon and John Clayton interacting, intimacy, sexuality, honesty, lies, their using one another. The actors work naturally and even though the film is quite stylised and often very wordy, they nevertheless bring off the interaction quite well. Bob Ellis is a caustic writer and critic. He assisted Paul Cox with a number of his films in sharpening dialogue. He also contributed to such films as Newsfront as well as his autobiographical film, The Nostradamus Kid. He directed and wrote the thriller Warm Nights on a Slow Moving Train.

1. Work of Bob Ellis, his reputation? Writer, critic? His critical perceptions of Australian society, men and women, relationships?

2. The Australian flavour of the film, yet its universal appeal? Portrait of men and women? Middle-aged, crisis? Parenting and children?

3. the title - whose unfinished business? Why?

4. The strength of the film as a two hander, the quality of the screenplay and the dialogue, plausible and realistic, stylised? The drawing of the characters, the strength of the cast, their working with each other, sexual intimacy, tensions.

5. The accidental meeting at the railway station, the differing reactions? Their being glad to meet each other? The 15 years and its emptiness? The filling in of the story: Geoff as a young journalists, the invitation to London, his wanting to go, the love for Maureen, yet his not wanting to remain in Australia? Her coming from England, not wanting to go there, love for Geoff, the pregnancy, the abortion, her wanting Geoff to say he loved her?

6. John Clayton's portrait of Geoff: Age, appearance, weight, manner of speaking, his imitating the cartoon voice, sense of humour? The background of his relationship with Maureen, his marriage, life in America, star journalist? The home movies with his wife and children? The divorce? Living alone, the posters for the daily mirror and the tabloid headings? Devoted to his work, his hopes, restlessness?

7. Maureen and the fifteen years, working with polls and peoples opinion, interviewing people, getting to know how they lived? Marrying her boss, her declaration of her love for George? His age, the attempts to have children, wanting to have children?

8. Seeing George through Maureen's eyes? An agreeable elderly gentleman, going to the U.S., his phone calls to Maureen, his delight at the end with the baby - and audiences wondering whether he knew whether he knew if the baby was his or not?

9. Bob Ellis's cameo appearance as the eccentric tenant, his comments to Geoff, the phone call?

10. The afternoon together, the effect on each, sexuality, the possibility of love, the bringing up of memories? The puzzles about the past? Why the unfinished business?

11. The phone call, the meeting with Maureen, her proposal and deal? Her genuine interest - for George, for herself, as a way of saying sorry about the affair and the abortion to Geoff? The effect on him, feeling that he was being used? the details of the plan, her clinical approach? Going away together?

12. The five days at the holiday house, the setting, the house, their being comfortable together, the ordinary things? Their discussions, memories, shared interest, getting to know each other? Her clinical looking at her temperature and finding the right time? The attempts for her to be pregnant? The collage of their intimate scenes together - in the house, chatting, walking on the beach? The background of the classical songs sung by Peter Dawson to give a mood? The tension, the change of moods, up and down, like and dislike? Love and hate? Maureen and the sense of life within her? Geoff responding to it? The possibility of their marrying?

13. Geoff failing the test of his love for Maureen? Unable to settle down? Her love for George, her going away pregnant?

14. The year later, Geoff's visit, Maureen and George with the baby, the happy family picture, Geoff uneasy - yet holding the baby, playing with it?

15. What would happen in the future - as regards relationship with the child, Maureen and Geoff, George and his reaction to the truth? Audience surmises?

THE USUAL

US, 1992, 80 minutes, Black and white.
John Crozier, Stephen Epp, Dominique Serrand, Lisa Todd.
Directed by Eric Tretbar.

The Usual is a small budget American film, from Minneapolis. Eric Tretbar is the writer, director and editor.

Filmed in black and white, the film shows us a portrait of Claire, a waitress at a grill, her relationship with former boyfriend Aldo and with current boyfriend Spike. We see the boss of the diner as well as Claire's mother. The film shows the usual in terms of characters, relationships, problems and resolving problems.

Filmed in black and white, the film has a vivid impression of suburban Minneapolis and its characters within that context.

1. An American perspective on relationships and characters? Minneapolis?

2. Black and white photography, the authentic atmosphere of the city, local atmosphere? Musical score?

3. The title, ordinary people, their questions, interactions?

4. Claire's perspective, on herself, her ambitions, on the two men in her life, on relationships and love?

5. The portrait of Claire, in herself, her background, her hopes? Family, her relationship with her mother, her mother's visit? The relationship with Aldo, the intimacy, the quality of love, shared experiences? His going away? Her work, the interviews? Relationship with Spike, the happy times, an affair or a commitment? The detail of their time together? Aldo's return, her response to him, Spike and his demands? Her decisions - where to go? With whom?

6. Aldo, in himself, his meeting with Claire, infatuation, falling in love, the relationship and its quality? Intimacy? His decision to leave? The return, the encounter with Claire, his attitude towards Spike? Conflict and resolution?

7. The contrast with Spike, at work, not good at his work, but efficient? The boss? Falling in love with Claire, at home with her, intimacy and friendship? The detail of their daily life? His attitude towards Aldo, Aldo's return? His future with Claire?

8. Themes of love, intimacy, affairs, commitment? The effect on Claire?

9. The background of Claire's mother, her visit? Her leaving Claire to talk things over with Spike?

10. The world of the diner, the boss, his attitudes, customers?

11. The title, the usual themes of men and women, relationships? American perspectives and insight?

UP IN THE CELLAR

US, 1970, 94 minutes, Colour.
Wes Stern, Joan Collins, Larry Hagman, Judy Pace.
Directed by Theodore J. Flicker.

Up in the Cellar is a film of the late '60s, early '70s: the Vietnam War, student protests, the hippie movement, freedom of expression and protest, violence on the university campuses of the United States. The film was written and directed by Theodore J. Flicker, writer and director of satiric films like The President's Analyst.

The film seems very passe from the standpoint of later decades. However, it is an interesting example of how Hollywood film-makers saw the period at the time. Larry Hagman is unctuous as the hypocritical dean of the university. Wes Stern is the poet, excluded from his scholarship, wanting to commit suicide but surviving and deciding to ruin the dean's life by the seduction of his wife and daughter. Joan Collins appears as the dean's wife.

The film is satirical, spoofing university life at the times as well as the movements of the period. However, it reminds us of the contradictions of the '60s. (The film is also called Three in the Cellar because American International had a great success with its Three in the Attic some time before. Other university films of the period include Richard Rush's Getting Straight and Stanley Kramer's RPM.)

1. Interesting satirical American comedy? Spoof of the period? A viewpoint of the '60s and early '70s?

2. The university campus, the style of the late '60s, the Vietnam War, protests, hippiedom, permissiveness...? The campus and the people on the campus? The musical score?

3. The title - and the young student plotting his revenge, working with the university underground?

4. The focus on the young man and his scholarship, the poet? Earnest? The interview with the dean and his treatment? The loss of the scholarship? His protests? Suicidal? His meeting with the underground group, their using him? The planned suicide stunt with the media - and his survival? Its impact, his decisions? The encounter with the daughter, seductive, falling in love with her? Her rebellion against her father? The encounter with his wife, her interest in astrology, the affair? His being exploited by the students? The transformation, the genuine love, being caught with the mother? The filming and the expose? His running away with the dean's daughter (echoes of The Graduate)? How typical a young man and his attitude? Attitudes of the period?

5. The portrait of the dean, interested in bureaucracy and reputation? His double dealings with his family and his black mistress (and the student discovering this, the encounter with the mistress and their being found out)? Public utterances, going for public office, media campaigns? Speeches and interviews? His treatment of his daughter? His attitude towards his wife? His being exposed - and exploiting situations like rescuing the young man from the tower? Getting rid of his wife? Despising his daughter? His final comeuppance?

6. The daughter, prim and proper, the demands of her father, helping in his campaign? The encounter with the student, her letting her hair down, the affair, rebellion against her father? Her disappointment with his behaviour with her mother? Forgiving him - and running off?

7. The picture of the mother, glamorous, relationship with her husband? Her eccentricities with superstitions and astrology? The affair with the student? Turning against her husband?

8. The mistress, black, black-white relationships? Her being attracted to the student? The clash with the dean?

9. The presentation of the university staff, their attitudes? The changing face of universities in America in the '60s? Expectations of protest? Violence on the campuses? Learning and the obstruction of learning?

10. Exaggerated characters, farcical situations? Education, politics? Relationships, racism, sexuality? The confusions of the late '60s?

UP FROM THE BEACH

US, 1965, 98 minutes, Black and white.
Cliff Robertson, Red Buttons, Francoise Rosay, Marius Goring, Irina Demick, Broderick Crawford, James Robertson Justice, Slim Pickens.
Directed by Robert Parrish.

Up From The Beach is a story of D Day Plus One, 7 June 1944. It shows part of the group that landed on D-Day? on the Normandy beaches, a small group who encounter 21 French hostages and release them from the Germans. In the confusion of orders, the sergeant has to take the people back down to the beach and then back to their village. And then orders are changed because of the different circumstances of each day.

Though the story is slight, the film was made in Panavision. It is a kind of follow-up to 20th Century-Fox's The Longest Day. Cliff Robertson is genial as the sergeant. Red Buttons shows humour as Harry, the Jewish boy from Brooklyn who has to guard the German officer. The German officer is played with dignity (and final humanity revealed) by Marius Goring. French actress Francoise Rosay leads the supporting cast which includes Irina Demick and Broderick Crawford and Slim Pickens in guest roles. Direction is by Robert Parrish.

1. Interesting and entertaining war film? Small scope?
D Day plus one?

2. Black and white photography, location photography, the Normandy beaches, the French village? Panavision? Musical score?

3. The title, the focus on the beaches of Normandy, the Allies and their advance, the irony of taking the French back down to the beach?

4. The establishing of the beach-head, the invasion of the Allies, progress from the beach? Into the French town? The hostages, the Germans, the attack on the house, the Allies' victory? The introduction to the characters, the French?

5. Sergeant Baxter, his role in the invasion, the siege of the house, following Lily? The French, the discussions, the decisions, the orders to take them to the beach, the trek from the village, getting to know the characters? The German commandant and Harry in charge of him? Back at the beach, the various officials rejecting them, ordering them away? The command to go back to the village? The action going on around them? Back to the village, hunger, water? The American officials trying to get the civilians out of danger? The changing circumstances and their being allowed to stay? Baxter, his American background, getting to know the people well, talking to the old Frenchwoman, friendship with Lily, the mayor and his memories of World War One and his death, with the German commandant and his death? His achievement?
6. Harry from Brooklyn, in charge of the commandant, their talking together, about things Jewish, about Nazism, sharing friendship, the drink, getting to know one another better? Harry and his sense of achievement?

7. The German commander, his place in the town, the Frenchwoman's story about his being there, the passing of the years, just? The hostages and his opening the door of the church? His helping Sergeant Baxter and his death?

8. The townspeople, Lily and the Resistance, her relationship with the old woman, the Resistance man's death? Her friendship with Baxter? The old woman, her dignity, memories, comment on the war? The mayor? The old Frenchman and the memories of World War One? The boy in the gun tower, almost killed, wanting the helmet? Looking for his dog?

9. A glimpse of the day after the invasion, the French citizens and their experience, the Allies and their work, those in charge and the confusion of orders? A cross-section of war?

UNLOVED

Japan, 2001, 117 minutes, colour.
Directed by Kunitoshi Manda.

Unloved is a moral fable about three people, their social interactions, their emotional interactions. The first is a young woman in her early 30s, working for the government in Tokyo. She lives by herself, in an ordinary set of apartments, is satisfied with her ordinary lot and likes it. The second person is one of her bosses, a 38-year-old divorced man who is impressed by her work and attracted by her. He invites her out. She accepts. He buys her fashionable dresses, takes her to a fashionable restaurant. However, she prefers her ordinary life and they break up. The third character is her neighbour, who works carrying boxes and goods in a moving company. He is 28, basically educated, not very wealthy. In her encounter with him, the woman finds love and satisfaction. However, just as the boss tried to shape her, she tries to shape the young man. Ultimately there is a long confrontation between all characters, a very long conversation between the young worker and the woman, and they resolve their difficulties - with some hope.

Inaugural winner of the Ecumenical Future Talent award for Critics Week, Cannes, 2001.

1. Japanese production, the city of Tokyo, apartments, ordinary and wealthy, restaurants and office blocks, supermarkets? An air of authenticity for the film and its characters? The musical score?

2. The title and its reference to each of the characters, unloved - and unlovable?

3. The young woman, her background, her work, the reprimand of her boss for not excelling? Competent work, the praise of the young man? At home and her ordinariness, feeling comfortable in her apartment? Accepting the offer to go out, the dress, the restaurant, her going to eat noodles by herself, the affair? Her wanting to break it off, not wanting him to shape her life? Her inability to move into his?

4. The young boss and his divorce, his work, competence? His meal with his mother and her advice? Attracted to the young woman, taking her out, buying her clothes, the restaurant and his business deals? The affair? His wanting her to be happy in his way? The holiday together, the facing of the truth, the young woman breaking it off? His dissatisfaction - his return, his encounter with the young man from downstairs? The young man seeking him, the brutality of his interrogation, leading him on, giving him books, promising him an interview - and then saying that he was lying and to keep the books as a souvenir?

5. The young man, his background, living downstairs, his work in the moving company, competence and incompetence? Delivering the plants? The young woman borrowing the money, returning it, his awkwardness? Offering her the club tickets? Eating together, shopping together? Their affair, her happiness? Her tendency to tell him what to do, make him neat, eat at home, doing what she wanted? His wanting some independence? The effect on each other? The encounter with the boss, the humiliation of the young man? The strong conversation and his insight into their relationship? The sun coming up, his return to her, the promise of hope?

AN UNREMARKABLE LIFE

US, 1989, 97 minutes, Colour.
Shelley Winters, Patricia Neal, Mako, Charles S. Dutton.
Directed by Amin Q. Chaudhri.

An Unremarkable Life, like The Whales of August, is a story of two ageing sisters, their love, their clashes. The films are also vehicles for older stars, in this case Patricia Neal and Shelley Winters. Patricia Neal gives a forceful performance as the elderly schoolteacher who has had very little opportunity for relationships and has been dominated by her married sister, Shelley Winters. The two actresses play well together.

The setting is autumn in Pennsylvania, a symbol for the lives of the two women - hopes and disappointments. Mako is very good as the genial widower who falls in love with Patricia Neal.

The film has many familiar sequences - but the strength of the two actresses makes them more realistic and gives them impact.

1. Themes of age, change, relationships?

2. Pennsylvania settings, the autumn? Town, homes? The flashbacks for the aerial sequences? Musical score?

3. The title and Frances's reference to her own life as unremarkable? How true? The point being made by the title?

4. The initial meeting with Frances and Evelyn, in the house, as sisters, working together, the Charleston? Preparation for the meal? Gardening? The prejudices of the two sisters?

5. The past: Evelyn and her marriage, leaving home, bringing up her family, a widow, the relationship with her children? Dominating Frances? Returning home? Frances and her staying at home, close to the family, going into the air force and her ability as a pilot, having to return to look after her father? Her teaching, the passing of 40 years, allowing herself to be dominated?

6. The neighbours and their arrival, the happy image of marriage, each of the sisters watching? The adoption of the Asian child? Evelyn and her prejudice, memories of her husband in the prisoner of war camp? Themes of civilisation and barbarism? Frances and her charm, open-minded? Babysitting? The tour of the house, the couple buying it? The happiness of the two sisters for the house being bought?

7. Evelyn and her dominance, her going to church meetings, the tribute by the priest? Her friends? Inviting her family to the meal and some of them opting out? Her relationship with her daughter, criticising her granddaughter's marriage and divorce? Arguments? Her jealousy of Frances? Complaining, feeling she was being ousted? Critical, waiting for Frances to come home? Her rudeness to Max at the meal? The arguments between the two sisters and the points being made? Going to the bus station, being brought back? Facing up to change, learning? More friendly with the neighbours? Frances and Max in Greece? An American type, middle-class, prejudices, change?

8. Frances's story, a good woman, reading to the children? The cat and the car crash? Meeting Max, no charge? Going out, sharing with him, enjoying his company? Meals, walking, playing Monopoly? Talking, the bonds? Frances forgetting Evelyn? Arriving home late? The dinner and Evelyn's rudeness? Separating from Max? The emergency, Evelyn running away? Accepting Max's offer, going to Greece, happiness? The letters home? Love, opportunity?

9. The truth-telling between the two sisters, the relationship, family, parents, the house? Love and hurt?

10. Max as a genial man, widower, his semi-retirement, working? Meeting Frances, going out, talking, playing Monopoly, the dates, Evelyn's rudeness and his being hurt? Frances's separation? The happy acceptance? Going to Greece?

11. Evelyn's daughter and the relationship, the meal, tensions? Her not being able to take her mother into her home? The granddaughter and the changes?

12. The glimpse of the town, Max's partner at the service station? The restaurants, the school?

13. Themes of individuality, relationships, opportunity, love, regrets?

UNION DEPOT

US, 1932, 68 minutes, Black and white.
Douglas Fairbanks Jnr, Joan Blondell, Alan Hale, Frank Mc Hugh, George Rosener, Guy Kibbee, David Landau.
Directed by Alfred E. Green.

Union Depot is a very brief First National 1932 slice of life with a touch of thriller. Based on a play, it emulates the Grand Hotel style of film-making: a central place, a variety of characters and interactions. Douglas Fairbanks and Joan Blondell enjoy themselves in the central roles. The film is a fairly primitive sound film - and was directed by Alfred E. Green (the Jolson films during the '40s).

1. Popular entertainment of 1932? Brief film? Entertainment?

2. Black and white photography, the station, based on a play, the fluidity of the camera movement for life at the station?

3. The workings of the railway station, people coming and going, the shops, the officials, the police? Trains, guards, passengers? Information?

4. Chick and his being released from jail, his buddy, stealing the uniform, as the information clerk, encountering the girl and repelled by her at the bar? His meeting Ruth, falling for her, taking her home, promising the money, the meal together, listening to her story, the pawn ticket and the fiddle, finding the money, buying the dresses and the ticket? His arrest, suspicions, his story, going to get the money, the clash with the criminal, the arrest? The solution?

5. Ruth, the doctor chasing her, her needs, going to Salt Lake City, the encounter with Chick, going with him, the meal, the money and the dress, being arrested, the final resolution?

6. The criminal and his disguise, the counterfeit money in the fiddle, losing the pawn ticket, pretending to the police, exposure?

7. The picture of the police, the officials, their work at the station, arrests, interrogations?

8. Chick's buddy, in jail, the food, minding the money? The various characters at the station?

9. Tough dialogue, street-smart, entertainment of the '30s?

UNHOLY MATRIMONY

US, 1988, 100 minutes, Colour.
Charles Durning, Michael O' Keefe, Patrick Duffy, Lisa Blount.
Directed by Jerrold Freedman.

Unholy Matrimony is an entertaining thriller based on a true story. It focuses on conmen, their plan to get money by faking accidents as well as by the murder of a former prostitute. However, the police investigation unmasks them and justice is seen to be done.

Charles Durning enjoys himself as a sleazy allegedly reverend gentleman who runs brothels in Phoenix and is mastermind of the plans. Michael O' Keefe is also effective as his stooge - a pathological liar, serious but prepared to testify against his boss. Patrick Duffy is the police investigator.

The film is designed for television - popular presentation of a crime, delineation of characters, the trial.

1. Entertaining and interesting telemovie? American crime? Based on a true story?

2. The Texas and Arizona settings? The towns, the highways? Hotels, sleazy locations? Musical score?

3. The title and its suggestions? Sader and his marrying Trish? Corey performing it? The dire consequences?

4. Bill Sader, his background, personality? The faking of the accident and the deal with Corey? Watching Trish with the client? His courting her, the happy sequences together, the marriage? The honeymoon and his tantrum about the car, with her in the hotel, her leaving, the reconciliation? The staged accident and his tripping her under the car? His own girlfriend, the alternate life? His conman repertoire and range of degrees? Encounters with the police, being followed, interrogated? Lying? The police chase? His agreement to do the deal and testify against Corey? His performance in the court? Adequate sentence?

5. Corey, his role in the cities, owning the brothels and clubs? His lifestyle? Fake accidents? Setting Sader up? Performing the wedding? Seen in flashbacks and his relationship with Sader, happy about Trish's death? His smooth answers? The interrogations, explanations of himself? In court, freed, rearrested, testimony on the stand, his seeming to get off, the decision of the judge to admit evidence? Condemned?

6. Trish, her family background, their concern, in the brothel, afraid, courted by Sader and falling in love with him, communicating with her family? The honeymoon, the misunderstandings, in the hotel with the dog? The happy walk in the town - and her death?

7. John and the police investigations, the superiors? John and his angers about rapists being let off? His family life, son, wife? His violent outbursts? Investigating Sader, discovering the truth, the evidence of the cars, demanding the stripping of the cars? Pursuing Sader? Officers and the threats to his family, supervision? Discussions with the lawyers? Deals? His sitting in his office and working out the connections? The frustration in the court, the judge upholding the evidence, success?

8. The police investigations, police routines and work, the law courts, the role of the judge, defence attorneys and their clients?

9. An interesting combination of melodrama and true story?

THE UNHOLY

US, 1987, 102 minutes, Colour.
Ben Cross, Ned Beatty, William Russ, Hal Holbrook, Trevor Howard, Peter Frechette.
Directed by Camillo Vilo.

The Unholy is a film of 1987. However, in theme and treatment it seems a film of the '70s - in the aftermath of The Exorcist and such `gate of Hell' films as The Sentinel. It is also reminiscent of the Italian versions of The Exorcist: highly melodramatic, special effects, no-holds-barred treatment of various religious and satanic themes.

The film is set in New Orleans with its atmosphere of Catholicism, Satanism and voodoo. Ben Cross (Chariots of Fire) is Father John Michael (Michael the Archangel) who seems to be destined to confront the Devil and become the sentinel at the gate of Hell. The film has a very strong cast including Hal Holbrook as the archbishop, Trevor Howard (looking wizened in one of his last roles) as the blind sentinel, Ned Beatty as a policeman.

The film is rather over the top in its belief in its plot and in its style - especially in playing with priests, relationship with the Devil, celibacy and temptations. It finally has a literal diabolical monster and a confrontation in church.

The film was made in Miami studios - and a credit is given to the archdiocese of Miami for advice. On the whole, the archdiocese gave very sound and detailed advice in matters Catholic, not usual in a film of this kind.

It is a film for those who enjoy these confrontations between good and evil, between the Devil and the powers of good - although many might be put off by some of the treatment of the theme as well as the diabolical monster and its behaviour at the end.

1. The popularity of this kind of confrontation between good and evil? Satanism? Post-Exorcist? movie-making?

2. New Orleans settings? The church? The city? The atmosphere of New Orleans? Traditions of French religion? Satanism? Voodoo? The musical score?

3. The title and its reference to the Devil? The texts read about Lucifer? His taking the form of the beautiful women? Of the would-be suicide? The graffiti on the wall with "Suicides have sex with the Devil"? The final materialisation of the monster and its diabolical behaviour? Descending into Hell?

4. The focus on Father John Michael and the significance of his name? The initial introduction to him, at the site of the accident? Establishing him as a priest? Modern style priest - and his scepticism about the Devil and the powers of evil? His being called to the suicide, talking to him, being thrown out the window and not being injured? In hospital, the concern of the archbishop? His being appointed to St Agnes? The story of Father Dennis at St Agnes - and the audience having seen Father Dennis praying, tempted by the diabolical woman and being murdered on his sanctuary? The closing of the church? Father Michael opening it up? Friendship with Teresa? Millie and her presence, the clue to Father Dennis's death? His going to the nightclub, the Threshold and its satanic acts? Luke and his show business? The conflict between Luke and Father Michael, his visits and discussions? Millie and her rebelling, change of heart, leaving? The archbishop and Father Silva and their concern about Father Michael and his confrontation with the Devil? Millie and her fears, reading the book, the attempted seduction? Good Friday ceremonies, Holy Saturday - the archbishop and the information about the vigil? The death of Luke and his being put on the cross? The appearance of the diabolical woman, the temptation, taking Millie's form? Father Michael being crucified to the altar, the diabolical minions? The materialisation of the Devil, the fight, Millie coming into the church? His vanquishing and faith? The Devil going down into Hell? His becoming blind - and becoming the custodian of the archdiocese?

5. The archbishop, his administration, with Father Silva, the visit to the hospital? Talking with Father Michael? Faith? The parish, explanation of his mission?

6. Father Silva, his blindness, knowledge of demonology, explaining the situation? Father Michael as his successor?

7. Luke and the Threshold? The satanic performances? Making money? Relationship with Millie? His fears, asking Father Michael to keep vigil, the destruction of his room? His appearance in the church, his death?

8. Millie, running away from home, entangled with the Threshold, with Luke, with Father Dennis? Spurning Father Michael, changing her mind and coming to the rectory? The attempted seduction and her fears? Leading him away at the end?

9. The detective, his presence at the would-be suicide, the investigations, the clues? Calling in at the presbytery? Discussions with the archbishop?

10. Teresa, custodian of the church?

11. Luke and his visit to the old woman, her diabolical powers? Her fears?

12. Claude and his attempted suicide, the Devil embodied in him and his attempt to kill Father Michael? His reappearance in the church, his diabolical death?

13. How realistic this kind of film? How seriously treated? How much tongue-in-cheek? Knowledge of religious traditions? Catholic practices? Demonology and its lore? The influence of The Exorcist for special diabolical effects? Monster films? How well did all these ingredients combine?