SCENES OF A SEXUAL NATURE

UK, 2006, 90 minutes, Colour.
Eileen Atkins, Hugh Bonneville, Tom Hardy, Douglas Hodge, Adrian Lester, Andrew Lincoln, Ewan Mc Gregor, Gina Mc Kee, Sophie Okonedo, Stephen Sampson, Nicholas Sidi, Mark Strong, Catherine Tate, Polly Walker, Benjamin Whitrow.
Directed by Ed Blum.

The tantalising title is more than a touch misleading. A more appropriate title might have been ‘Conversations of a Sexual Nature’.

This is mainly a talk piece, set on a warm and sunny Wednesday afternoon on London’s Hampstead Heath. The director, Ed Blum, had an idea for a film exploring different aspects of sexuality. His friend, Aschlin Ditta, writes comedy for television and came up with several scenarios. And they were lucky to get such a talented British cast, most of whom were able to work for two or three days to complete their roles.

The conversations are always interesting, some expected, others not anticipated. A middle-aged couple have an argument about whether he was ogling a young Frenchwoman who is reading Camus’ The Outsider (and he makes a mess of trying to explain that he was merely looking at her book and botches what it was about). In the meantime a man and woman in their seventies sit on a garden seat to look at the view, exchange memories and find they have a lot more in common than they would have expected. Eileen Atkins and Benjamin Whitrow make this meeting credible.

A young man ditches his rather demanding pregnant girlfriend (Sophie Okenedo) who then is approached by a gormless young make (Tom Hardy) on the make and leaves him stranded. He has even less luck when he comes across the French girl later.

A couple in their early forties (Hugh Bonneville and Gina Mc Kee) meeting for a blind date picnic discuss the desire for children and the effect of this kind of date. A friendly couple (Adrian Lester and Catherine Tate) meet for an outing with their daughter and we discover that they are divorcing and listen to why. A businessman (Mark Strong) pays a woman (Polly Walker) to meet him and plans a trip to the West Indies. Two men (Ewan Mc Gregor and Douglas Hodge) read in the sun in the Men Only section of the heath and discuss the possibility for a gay couple to adopt.

The film runs for only 90 minutes, so there is not a great deal of time to explore all these short stories. The strength of the writing enables us to get a feel for the issues and their repercussions and the performances are so good that they help us to feel for the characters.

1. The title of the film? Expectations? Better title: Conversations of a Sexual Nature? The broad understanding of sexual?

2. The Hampstead Heath locations? The various parts of the park, the paths, the chairs, the lookouts, the buildings? The trees and shrubs? The men-only section? The sunny day, the vistas of the city of London? People’s comments on the value of Hampstead Heath? The musical score?

3. The structure of the film: the introduction to particular characters, the intermingling of the various couples, the cross-cutting of the plot? People passing each other as they would in real life? How effective the pattern of a cinema quilt of different characters and interactions?

4. Molly and her husband? Lying in the park, sunbaking? The discussion about their relationship? The discussion of the magazines they were reading and sexual issues, orgasms? The husband and his looking at the young French girl, her reading, The Outsider by Camus? His wife catching him, his denials, rationalisations about Camus, pretending to know the story? Her going over to the girl, the discussion about the novel and its value? His being shamed? Her walking off, his desperate following – after talking to the girl, accepting her offer to have a closer look? Their being scene exiting the heath? The later scene with the young girl, her reading, Noel and his accosting her and her sending him off?

5. Iris and Jerry, in their seventies, coming to the heath, Iris every Wednesday, Jerry every Thursday? The choice of the seat? The small talk? Looking at London? Each gradually revealing their story? The realisation that each was the young person that they had met fifty years earlier, met twice? Both engaged at the time? Their going for a walk, talking about their lives, realisation of the happiness of their lives? Their decision to walk to the top of the hill? A calm picture of older people, reflecting on the meaning of their lives? A future for them?

6. Brian and Billy, the men’s-only area, the gay men and the swimming, the sunbaking, eyeing off each other? Brian and his reading, Billy and his roving eye, their fifteen years together? Discussions about relationships, one-night stands? Billy and his talk about adoption, the depth of the discussion about adoption, parenting, same-sex parenting? Billy and his desire to have a child? Brian and his hesitation? Billy going off at the end with the swimmer?

7. Julia and Gerry, the blind date, meeting, awkwardness, conversations, her first time with a date, his having had many? In their early forties? The reflection on their lives, their hopes, Julia wanting to have children? Gerry and his hesitation? Julia and her noticing Louis with his mobile phone? Gerry taking this badly and walking off in a huff? Julia and her puzzle? Her future?

8. Anna and Ludo, Anna and her pregnancy, Ludo and his making a decision, leaving her? Her being amazed? Noel and his approach? His age, wandering in the park, looking for some kind of liaison? Anna and her reactions to him, silent, their talking, sitting down, her wanting him to go off? His persistence? Her decision to lead him on, against the tree, his pants down, her going off and his being stranded? His later meeting the French girl and her telling him to go?

9. Sarah and Pete, Pete and his wanting to go to the toilet, in the men’s area and running away, meeting Sarah, seemingly chance encounter, their talking, the fact that they recognised each other, that they had been married, their love, their love for their daughter, her coming to join them? The emergence that they were divorcing, that they loved each other but could not live with each other, their love for their child? Wandering in the park, his attempts to go to the toilet, final success? Ice creams for their daughter? Their conversation and reflection on what it was that made them get married, their love, their incompatibility, his having the day with his daughter?

10. Louis, alone, the businessman, mobile phone, meeting with Esther, their walking, the company? Her talking about her family and not knowing what she did? His promise of a trip to the West Indies? Their compatibility? The emergence that she was a callgirl, his paying her? His wandering alone in the park?

11. The overall effect of these stories, the way that they were intertwined? The various aspects of sexuality and relationships that they touched on? Insight – through conversation? The beauty of the location, London, a summer’s afternoon?

STICK IT

US, 2006, 104 minutes, Colour.
Jeff Bridges, Missy Peregrym, Vanessa Lengies, Nikki Soohoo, Gia Carides, Jon Gries, Polly Holliday, Lee Garlington.
Directed by Jessica Bendinger.

Not the most elegant or attractive title for a film aimed at teenage girls and their parents, especially since it is about the world of gymnastics and sports finesse. The production notes indicate that, besides the aggressive meaning, ‘stick it’ means that the athletes land on the mat and are able to keep their feet there. And, as explained and seen in the film the girls also put something adhesive on their costumes to keep them from sliding up. Which is probably more information that anyone really needs!

Missy Peregrym, looking like Hilary Swank when she starred in The New Karate Kid, is a sulky and angry tearaway who walked out on a gymnastic competition some years before. After some reckless bike stunts and property damage, she is given the option by the judge to go to an institution or enrol in a gymnasts’ training centre. The centre is run by Jeff Bridges, who says in the production notes that he has three daughters and therefore was able to do this role - but who does not look completely happy.

There are the usual suspects: the snooty girl who is really driven by her mother, the nice and talented girls, slacker boyfriends, rival teams… And you know that it is all going to end well, except that there is something of a plot twist in the last part of the film where the gymnasts rebel against the strict letter-of-the-law criteria for points.

1. A film about athletics? Gymnastics? Motivation? Opportunity for youngsters?

2. The intended audience? A girls’ audience? The boys’ audience? A film for adults?

3. The background of the Olympics? Competition? American sport? The Texas settings? Haley and her background, family, with her friends, the BMX stunts? The courts? The gymnastic academy? The arenas for competition? The quarters for the students? How real? Musical score? Popular songs?

4. The title, the ambiguity of the title? The meaning of to shove it? The technical meaning of doing a perfect landing?

5. The story of Haley, her age, experience, the gradual revelation of the past, her mother and the quarrels, her pulling out of the championship, causing the team to lose? Her riding around on the bikes? Her friends? The breaking of the windows, the arrest? In Juvenile Court? The attitude of the judge? Her options, going to Houston to the academy? Her meeting with Burt Vickerman? His reaction to Haley, her sullen stances, anti-authoritarian behaviour? The background of the competition two years earlier, her costing the team the gold medal?

6. Haley at the gym, her attitudes, trying to undermine Burt? Her relationship with her mother? Her performance? Her clashes with Joanne? Her training by herself? The gradual changing of her attitude? Her gradually joining the team? Her skills? The competition, her being attacked by the former team-mate, Tricia? The revelation that her father was paying the bills for Vickerman to train her? Frank and Poot and their visits, befriending Joanne? The revelation of the truth about her dropping out of the competition, the coach and the affair with her mother?

7. The character of Vickerman, old and crusty, his skill in training gymnasts? His relationship to the girls? Authority, demands on them? His letter to the judge, praising Haley? His giving back the money? Paying her debt? The peaceful agreement? Haley coming back?

8. Joanne, her snobbery, self-confidence? Her mother and her push? Ultimately defying her mother? Her friendship with the boys? Having life as a teenager?

9. The other members of the team? Wei Wei, Mina? The ups and downs of friendship? The training? Attitudes towards Burt?

10. The build-up to the final competition, the gymnasts and their performance, the judges and their attitude towards Vickerman? The performance and the judges marking the girls down? The reaction of the audience? Haley and her decision not to perform properly? Persuading the other girls to do the same? Even Tricia? Their defiance of the judges? The judges and their behaviour?

11. The ultimate success? Haley and Tricia? Winning the gold?

12. The background of families, their pressures, especially mothers? Broken families, affairs? The effect on the teenagers? Burt and his being a role model – even if crusty?

13. The film in the line of the tradition of sport films, gymnastics, and motivational sports films?

UNDER THE YUM YUM TREE

US, 1963, 110 minutes, Colour.
Jack Lemmon, Carol Lynley, Dean Jones, Imogene Coca, Edie Adams, Paul Lynde, Robert Lansing
Directed by David Swift

Under the Yum Yum Tree is a light sex comedy of the early '60s. Jack Lemmon is the star, giving once again his star turn performance as a lecherous landlord. Films he made at this period include The Notorious Landlady, Irma la Douce, Good Neighbour Sam, How to Murder Your Wife and The Great Race.

The film is based on a play, focuses on an earnest young woman, Carol Lynley, and her boyfriend, Dean Jones. They plan to live together without sexual relationship in order to test their compatibility and their character. Given the attitudes of the '50s and early '60s, this was a little daring at the time. In retrospect it seems somewhat quaint in comparison with attitudes and their portrayal in popular entertainment. The supporting cast includes Edie Adams as Irene and Paul Lynde as Murph, the assistant caretaker. The film was directed by David Swift and moves at a brisk and lively pace.

Entertaining in its way, a good Jack Lemmon performance - and a perspective on sexual mores in movies from Hollywood in the early '60s.

1. Entertaining sex comedy? Characters? Situations? Values?

2. The Californian locations, the college, the apartment block? The interiors? Restaurants? The musical score and songs?

3. The title, Hogan's explanation of yum yum - and the apartment block like a yum yum tree? The theme song and its lyrics?

4. Robyn and David, going to college, their age and experience, naivety? Robyn and her love for David, the `modern' proposal to live together? Her going to class, Irene and the class topics about sexuality and relationships? Her friends? Her not wanting her mother to know? Reliance on Irene? Hearing that Irene was moving, going to the apartment, meeting Hogan, not explaining that her roommate was male? Oblivious to his advances? Settling in, with David, the unpacking, the sleeping arrangements? Naivety and rationalisation? Hogan's intrusions and giving advice? Irene and her giving advice? Murph and his wife - and her comments? Robyn avoiding Hogan's advances? David and the arguments, his weariness? Temptation? Her going out with Hogan, her going out for the night, being misunderstood, the happy reconciliation with David?

5. Hogan and his apartments, his wealth, his room and all the equipment? The range of tenants and their glamour? The clash with Irene and her leaving? His accepting Robyn for the apartment, anticipation of the roommate? Murph and his supporting him? His wife's criticism? Robyn's arrival, his advances? The meeting with David and the flowers? The misunderstandings? His eavesdropping, falling into the pool? Manipulation, giving advice to David, helping him with his exercise? Taking Robyn out, the advances? Irene and the clash? The morning after the night before? The truth? - His waving them goodbye - and going back to his old ways?

6. David, love for Robyn? Wariness about the plan? His going along with it, the initial clashes with Hogan? The temptations? The advice about the exercise, his weariness? His fight with Robyn, wanting to move out? The misunderstandings - his setting the scene for the seduction, the drinking, talking, his being honourable? The final reconciliation?

7. Irene, her lectures, love for Robyn, giving her advice? The clash with Hogan and her leaving? Her coming back, foiling Hogan? Protecting Robyn? The happy ending?

8. Murph, sharing Hogan's lechery - but always being called back to reality by his wife?

9. Themes of relationships, getting to know one another, premarital sex, public attitudes in the early '60s? Appearances and reality? Relationships and marriage?

UNDER SIEGE 2: DARK TERRITORY

US, 1995, 100 minutes, Colour.
Steven Seagal, Eric Bogosian, Katherine Heigl, Everett Mc Gill, Nick Mancuso.
Directed by Geoff Murphy.

Under Siege 2 is more of the same. The first film, a star vehicle for Steven Seagal at the beginning of the 90s, was tension aboard a ship. It involved espionage, conspiracies as well as a great deal of action. With sequel, the action goes onto a train going across America. This time the action seems rather farfetched and not as engaging as the action on the ship.

The original film was directed by Andrew Davis who had directed a number of Chuck Norris films as well as Seagal's first film, Nico, Above the Law. Davis went on to make interesting films like The Package with Gene Hackman and Tommy Lee Jones, The Fugitive with Harrison Ford and Tommy Lee Jones as well as the remake of Dial M for Murder, A Perfect Murder with Michael Douglas and Gwyneth Paltrow. This film is directed by New Zealander, Geoff Murphy, who made a name with The Quiet Earth and Utu, then went to Hollywood to make popular films like Young Guns 2. By the end of the 90s, Seagal was becoming older and heavier - but this did not prevent him from starring in a great number of action features.

1. The popularity of Under Siege, the films of Steven Seagal in the '90s? Action, adventure, strong hero? This film as a sequel?

2. A train film: the train itself, interiors and exteriors? The journey? Action within the train, on the roof of the train, the train crash? The popularity of the train action genre?

3. The military background? The Pentagon and NASA? Secret spy satellites? Rogue terrorists? The clashes?

4. The city locations, the open spaces of the countryside, the mountains? Musical score?

5. Steven Seagal as action hero? The background of Under Siege? His skills? As cook on the ship? His presence on the train - and his niece? Their clashes? His present? Their getting along? The discovery of the trouble, his going into action, the train official and their collaboration? Telecommunications with the authorities? The confrontations, the shootouts, going off the train, driving, getting back on the train? The explosions? An icon and a symbol of action rather than a character?

6. The niece, memories of her father, clashes with her uncle? Her toughness? Being taken, the confrontation with the terrorists? The hand grenade and the finale?

7. The authorities, computers, the spy satellite? Its being tested? The authorities, their secrecy? The results of the terrorism? The confrontation, the two agents aboard the train and their being tortured? Giving the information? The authorities and their decisions? Deciding to send the bomb? The issue of the hostages?

8. The terrorists, the head and his madness? His staff, computer skills? Spy satellites? Business deals? Hostages, dropping bombs as signs for capitulation? His henchmen and their brutality? The torture? His motives - the final confrontation, his death?

9. Conventional material? Formula style? Popular action of the '90s?

UNDER THE INFLUENCE

US, 1986, 100 minutes, Colour.
Andy Griffith, Season Hubley, Keanu Reeves, Joyce Van Patten.
Directed by Thomas Carter.

Under the Influence is a strong and persuasive telemovie about alcoholism and its effect on a whole family. Andy Griffith is very good as the genial but hopeless alcoholic father. Joyce van Patten is most credible as the good woman who is his wife but who is unable to face reality. The children are well played by Season Hubley, Keanu Reeves, Paul Provenza.

The film shows the expected sequences of alcoholism and family clash. However, there is originality in the screenplay with the framework of the oldest son as a comic out in California entertaining audiences with jokes about alcoholism and family. The audience laughs - but the character and the audience know how deep is the hurt. The film ends with the comic still presenting his patter - but to an empty hall, the television audience, however, still listening. This makes the drama and the flashbacks to the family most effective. A significant contribution to audience awareness about the illness of alcoholism.

1. Impact of the TV movie? Message film? Alcoholism? Al‑Anon?

2. The Ohio settings, the ordinary town, home, school, shop, hospital? Audiences identifying with the setting and characters? Musical score?

3. The title, alcoholism, its reality? A disease? Its effect on the alcoholic father? On each of the children? The ruining of a family? Patterns of addiction and dependence in each generation?

4. The framework of Stephen as a comic, his skill in presenting his jokes, warming up the audience, getting laughs? The irony of his jokes and their insight? Placed throughout the film? The ending and no audience - except the television audience who have experienced his performance as well as the truth?

5. The portrait of the father: getting him out of jail, driving home, cheerful, Helen and her niceness to her husband, Anne not admitting that he was alcoholic, the others and their presence, trying to care for their father? His demanding attitudes towards their success? Not facing reality, not being present at his job, blaming Eddie and putting on a tantrum? The question of Terri, her art, going to the parents' night, embarrassing her, refusing the scholarship? The fight with Ed? The heart attack, going to hospital, illness, desperation, his harshness on Anne in her story about her raise? His desperate needing of a drink? Eddie refusing him? Getting up, going out, drinking and collapsing alone and dying? The unrelenting picture of the alcoholic? The good man who was sick and destructive?

6. Stephen, his escaping from home, not being able to shoot and hunt, his comedy routines, the others taunting him about making jokes? His coming back, talking things out with Anne, with Eddie, with Terri? The tension with Eddie after the funeral? The reconciliation?

7. Anne, trying to be like a man, success in her job, the raise, perfectionist, the warning of her boss? Her relationship with John, not admitting the truth, his trying to help, confronting her, her slap and his saying that she was driving him away? Her hopes from her father, meeting his standards, telling him about the raise, his putting her down, her pill-taking, the suicide attempt? Facing of the truth? Glad that the ordeal was over? Going into therapy? Explaining to her mother the nature of therapy and sharing her experiences? Her future?

8. Terry as the youngest, trying to be a good girl for her father, her skill in her art, the offer of the scholarship, her mother accusing her of selfishness, trying to find the time to talk, her father's refusal of the scholarship, embarrassing her at the school? Knowing the decision had to be her own? Inviting her mother to Boston, offering her mother new possibilities?

9. Ed, work in the shop, the pressures, not fulfilling orders? His drinking, avoiding issues, the clash with his father? Loving him, showing him the new plans in hospital? Refusing him the drink? Blaming himself for his father's death? Steven and the reminiscences about hunting, his seeing himself in his father? Taking the gun, shooting into the grave? Stephen's story about the bogeyman - in the room, fearing it, being stronger than the bogeyman?

10. Helen, memories of her past, bright and singing, the good woman, not being able to hear, excusing her husband? Amazed at her children growing up, not being able to understand them? Her anger with the doctor, refusal to hear that he was alcoholic? Her discussions after the funeral, the possibility of a new life as she visited Terri?

11. John, his relationship with Anne, sequences at home, her dominance, her strength, brittle and snapping? His trying to persuade her about the truth, her slapping him and his going away?

12. The doctor, his help, trying to persuade the family to face the truth? Mention of Al-Anon?

13. The shop, Mark and his trying to manage it, with Ed? His comments about the funeral and his father's popularity in the town?

14. The end of a life? The good man, weak, ill? Respected - but people not facing the truth? The dramatic impact of this kind of film? Alerting audiences? Possibilities for challenging and coping?

UNDERCURRENT

US, 1946, 116 minutes, Black and white.
Katharine Hepburn, Robert Mitchum, Robert Taylor, Edmund Gwenn, Marjorie Main, Jayne Meadows, Clinton Sundberg.
Directed by Vincente Minnelli.

Undercurrent was directed by Vincente Minnelli, director of many acclaimed musicals (Meet Me In St Louis, The Pirate, Gigi, An American in Paris). He also directed a number of melodramas including The Bad and the Beautiful, Two Weeks in Another Town. Here he enjoys a familiar story, the innocent wife marrying for love and finding that her husband is insane (shades of Gaslight). However, Minnelli's direction and the strong cast are better than the familiar material. Katharine Hepburn is vivacious as the wife. Robert Taylor (back from World War Two) is suitably handsome and sinister. It is a surprise to see Robert Mitchum, in an early role, as the sympathetic, more poetic brother. The strong supporting cast includes Edmund Gwenn as Hepburn's father, Marjorie Main as the maid with comments and Jayne Meadows as the rejected woman.

The film also uses a theme from Brahms which gives it a romantic atmosphere. It is very entertaining because of its ingredients rather than the familiarity of the plot (although Robert Taylor being trampled to death by a vicious horse was strong stuff for romantic melodramas of 1946).

1. Popular romantic melodrama of the '40s? Stars? Style?

2. MGM values, black and white photography, locations, stars? Musical score and the variation on the Brahms theme?

3. The title, Alan's behaviour, treacherous? Michael and his explanation of the sea, seemingly calm and beautiful, the deadly undercurrent?

4. The portrait of Anne: Katharine Hepburn's presence and style? Awkward and self-conscious, dowdy? Love for her father? Friendliness with Joe, clashes? Lucy and her pressuring of Anne? At home, the laboratory, the meals for the dog? The visit of Alan, her attraction, self-consciousness? The dinner, talking, angry about the criticisms of him? Joe and the accuracy of his criticisms? Her father supporting her? The wedding, her happiness, leaving home? The bond with her father? Going to Washington, naive and romantic, her married name? The party, her dowdy dress? People and their courtesy, her awkwardness at the party? The change of clothing, her husband buying the model dresses for her? Her transformation? His work, his reputation, her seeing herself in his light? The neighbour and the visit to the farm? George and his friendliness, the stables, the old man? The mystery of Michael, her curiosity - questions and even her falling in love with the idea of Michael? The book of poems? Alan and his angry reactions? Her continued searching, going to San Francisco, the encounter with Sylvia? At the plant, the office and its impersonal style? Going to the ranch, the chance encounter with Michael and not knowing who it was? Feeling at home, the water, the undercurrent? Alan's arrival and his anger? The phone calls, the suspicions? The variations on the truth - especially about the music and the mother's death? Her being suspicious, Alan reacting and angry? Her realisation of what was happening, the visit to Sylvia and the truth? The confrontation of Alan? Realising that he wanted perfection, transforming her (overhearing the women criticising her)? The return home, the suspicions, horse riding with Alan, his attempts to kill her, her escape and his death? Her sending for Michael, the bond between them? The support of her father? Her future?

5. Alan and Robert Taylor's presence and charm? Reputation, skills, visit to her father? The attraction - and her noting that it reminded him of someone? The marriage, going to Washington, his support of her, the dowdy clothes, the party? Transforming her? The visit to the farm, his moods? Filmed in shadow? The memories of Michael and his condemnation, his story? The visit to San Francisco, the plant? His anger at finding her at the ranch? His getting Anne to accompany him? The lies, the confrontation at home, his accusing her of being in love with Michael? His anger, the meeting with Michael, the revelation of the truth, the murder, the credit? The money? The ride and his wanting to kill Anne? His being trampled to death?

6. Michael, absent from the film for so long, the reputation - sensitive, music and poetry? The favourite of his mother? The contrast with his story about his stealing, the war? The meeting at the ranch and his treatment of Anne? The return, the confrontation with Michael in the stable? The truth? His coming at the end - and a future with Anne? Giving the money to the family of the murdered scientist?

7. Sylvia, the relationship with Alan? Anne's suspicions? Visiting her, the truth? About Alan, Michael?

8. Anne's father, the professor, his experiments? Devotion to his daughter? Supporting Alan? Coming at the end for his daughter? Lucy - and Marjorie Main's gruff style, giving advice, criticising Anne?

9. Joe, his devotion to Anne, impressions of Alan?

10. The ranch, the neighbour and her friendliness? George and his helping Anne, trying to cover about Michael?

11. The plant, the workers, the manager, his wariness, his giving Anne the information and the tour of the plant? The workers - and the murdered scientist?

12. Alan and his place in Washington society, the guests at the party - and their snobbery and criticism?

13. The popular ingredients of a psychological thriller, romance?

UNDER COVER

US, 1987, 94 minutes, Colour.
David Neidorf, Jennifer Jason Leigh, Barry Corbin, Kathleen Wilhoite.
Directed by John Stockwell.

Under Cover is a familiar story about undercover police and their infiltrating drug rings in a high school. However, it is efficiently and effectively done - co-written and directed by actor John Stockwell (Christine, Top Gun).

The settings are Baltimore and South Carolina, the ordinariness of the school, the drug rings, police and corruption. There are the expected action sequences - but quite interestingly done.

1. Entertaining police thriller? Drugs amongst American teenagers? High schools? Police corruption?

2. Carolina and Baltimore locations? The atmosphere of the town, school, homes, socialising? Stunt sequences and action? Musical score?

3. The title, the initial focus of the attempt at the bust and its going wrong, the death? Shef and his concern for his friend, going under cover in the school? The training of the group, their work amongst the students? Effective or not?

4. Shef, a loner, his angers? Clash with the commissioner in Baltimore? His going to Carolina, the instructions, the meeting with Tanille? His going to his accommodation, the family setting? Enrolment at school, trying to disguise himself as a student? In class, sport, the locker-rooms? Growing friendships? The challenge and his being saved by Tanille getting his card? The friendship with Lucas? The leads, going to the brothel? Finding out more about the murder of his partner? Reporting to Lee? His suspicions of Lee, talking to Tanille? The search in the locker-room, getting the gun? Friendship with Lucas? Suspicions of Lucas, his going to his home, searching it, finding the gun? His being arrested? The tracking down of the man in the cafe, his cut hands? The tapes? The confrontation with the villain, with Lee, Tanille and her shooting Lee? His getting Lucas released? The end of his mission? Interesting characterisation, portrait of an undercover policeman?

5. Tanille, her place in the town, relationship with Lee? Ex-junkie? Successful under cover? Lucas seeing through her? Helping in the search of the car? Disbelief about Lee? Persuaded, the tapes, the final shoot-out?

6. Lee and his role in the town, the program for getting the high school students? His cover-ups? Smooth manner, giving himself away about the gun? His contact at the restaurant? The final confrontation, his death? The man at the restaurant, the cover for importing the drugs? Distributing them amongst the students?

7. The teachers, the students at school? The drug moves, talking amongst one another? The brutal student and the taunting in the locker-room? Connection with the brothel? The arrests?

8. The picture of drugs in the U.S? Police combating them? Police corruption?

UNDER THE CHERRY MOON

US, 1986, 100 minutes, Black and White.
Prince, Jerome Benton, Francesca Annis, Kristin Scott Thomas.
Directed by Prince.

Under the Cherry Moon is a Prince vehicle, designed for himself and starring himself. Not only is he the star, he composed and sang the music as well as directed the film. His previous film was the variation on A Star Is Born, Purple Rain. There was also, in the late '80s, a filmed concert, Signs of the Times.

Prince is a screen presence rather than an actor. However, he has associated some top British stage and screen talent with him: Francesca Annas, Steven Berkoff, Victor Spinetti, as well as introducing Kristin Scott Thomas,

The film was photographed with Technicolor stock in black and white. Photography was by German expert Michael Ballhaus. The film is striking to look at - compensating, perhaps, for the thinness of plot and characterisations. Prince is a pianist gigolo on the French Riviera, wanting to make a fortune, gatecrashing a party and falling in love with heiress Mary Sharon, falling foul of her father and his mistress. There are some songs, some romance, some violence - with Prince dying at the end as some kind of smouldering screen hero.

1. A film for fans of Prince? For wider audiences? Plot, characters, locations? Music?

2. The quality of the black and white photography? Giving a tone to the film? The French Riviera and affluent settings? The range of songs and performance?

3. The title and its romantic overtones?

4. Christopher Tracy, Prince's style, the pianist, playing in the hotel, the encounters with rich middle-aged women? With Mrs Wellington, the money? Katie and the rent? His friendship with Trickey? Gatecrashing the party, Mary's behaviour, hoping to get rich from her? Mary's attraction, ordering them out? Mary visiting Christopher, the insults, the dance? Going to Mrs Wellington's villa, Mr Sharon's car and his having the affair? Mary involving Christopher in embarrassing her father? The party, Sharon removing Christopher and Trickey? Christopher breaking into the house, the wrong room, making love with Mrs Sharon? Christopher and Mary together? Trickey's betrayal? The attempt by Sharon to buy them off? Christopher at the airport - and the melodramatic romantic sequence? The pursuit by Sharon? Christopher escaping - but deciding not to leave, his death? Looking down from on high!? A believable character or not?

5. Trickey, friendship with Christopher, playing in the nightclub? The rent, the relationship with Katie? The birthday party, behaviour, thrown out? Trickey and his helping Christopher after the party? The break-in? Trickey and his telling Mary the truth about Christopher and money? His change of heart, the pursuit of Katie and Trickey by Sharon's men? Miami - and the letter from Mary? Trickey as the landlord of the apartment complex?

6. Mary, wealthy, spoilt? Her behaviour at her party? Flaunting herself? The clash with Christopher? Attracted, visiting him, setting him up - especially against her father? The clashes with her parents, interactions with her mother, the dominance of her father, the planned marriage? Her going to the party - but her father taking over? The night with Christopher? Trickey's phone call, her decision to go to America, the airport sequence? Her letter to Trickey - and her memories of Christopher?

7. Mrs Wellington, the wealthy middle-aged woman on the Riviera? Using men? Her affair with Sharon? Mrs Sharon?, her concern, the interlude with Christopher? Sharon, wealth, his goons? The interaction with Christopher, dominance of Mary?

8. Katie, landlady, the rent? Her relationship with Trickey? Pursued by Sharon's men?

9. Romantic melodrama? The stock material of popular novels? Prince's perception of these conventions and dramatising them? Seeing himself and his screen image in this context?

UNDERSTANDING BLISS

Canada, 1990, 70 minutes, Colour.
Catherine Grant, Bryan Hennessy, Rosemary House.
Directed by William D. Mac Gillivray.

Understanding Bliss is a Canadian feature written and directed by William D. Mac Gillivray. Previous features included Stations and Life Classes. Understanding Bliss is more experimental than Life Classes. Shot on video, a short running time, it is a focus on two people, one involved in literature, the other in video and performing drama. They have a relationship, however, the demands of work and career interfere with the relationship, causing tension. Slow moving, focusing for long periods and intently on the central characters, using the text of Bliss, a short story by Katharine Mansfield, the film explores contemporary relationships and the break-up of relationships with a middle-aged couple.

1. The work of Mac Gillivray, people, intensity, relationships? Art and media? The Canadian background and perspective?

2. The city, the streets and buildings, hotels? Performance areas? The university? Interiors, hotel rooms, classrooms? The musical score?

3. Colour photography, the use of video? Editing and pacing? Time?

4. The title, the story by Katharine Mansfield? The voice-over? The story and the characters, their experience? The story as read by Elizabeth? Videoed and listened to? The parallel of her experience with that of the character in Bliss?

5. Elizabeth and the background of her life, her work, art, interest in Katharine Mansfield? Performance? Meeting with Peter, the relationship? Its intensity for her? Coming to Newfoundland to meet him? Her work, her speaking of the story - the chairperson, the small audience? The video? Her visit to Peter, the enthusiasm for his own performance, the students? The tension in the relationship? The past, the hotel room? Intimacy? His preoccupation with his art? Break-up?

6. Peter and his background, meeting Elizabeth, the affair? His enthusiasm with his students, the acting, the video? Performance? The clash of interests? The hotel room, his passing interest in her performance, the video?

7. Themes of intimacy, love and commitment? Personal agendas? Background and age? Cultures and art? Careers?

8. The overall effect for audiences of getting to know these characters, staying with them, forced to share their experience? Insights into men and women, relationships?

UNCLE SILAS

UK, 1947, 103 minutes, Black and white.
Jean Simmons, Derek de Marney, Katina Paxinou, Derek Bond, Esmond Knight, Sophie Stewart, Marjorie Rhodes.
Directed by Charles Frend.

Uncle Silas is an old-fashioned British Gothic thriller. The screenplay was written by playwright Ben Travers and adapted from a novel from Sheridan Le Fanu, author of the vampire novel, Camilla.

The film is an early star vehicle for Jean Simmons who plays a young woman going as a ward to live with her old Uncle Silas, played by Derrick de Marney. He lives, of course, in an old mansion which is full of creaks and groans. With this kind of atmosphere, superb black and white photography and a supporting performance by Katina Paxinou (who won an Oscar for best supporting actress in For Whom the Bell Tolls), the film is one of those shuddery thrillers - which invite audiences to suspend disbelief and enjoy for its British chills and thrills.

1. A British period film of the '40s? The dramas of the period and the re-creation of the 19th century? Melodramas?

2. Black and white photography, studio processes?

3. The title, the focus on Uncle Silas - and the perspective of Caroline?

4. Caroline, Jean Simmons' screen presence, her age, 16, her father? The maids, her lifestyle? Her fascination with Silas? The desire for a reconciliation between him and her father? Her father's death? The governess, the clash, ousted?

5. Her going to Silas? His genteel appearance, pleasant manner? His son? The signature? The contrast with Richard and his family, background? The ball? Illness and recovery? The trip and the collage? The rooms - and the governess, her relationship with Silas, with his son? The confrontation and fights? The rescue? Her future?

6. Silas and his hypocrisy, his relationship with his brother, gambler, a villain? Smooth appearance? His relationship with his son, promoting his son? His illness and cantankerousness? The governess and their relationship? The final confrontation and his death?

7. The portrait of the son, like his father, his evil, approaches to Caroline? Their trapping Caroline, the signatures, the forgeries, her money?

8. The contrast with Richard, Caroline's perceptions of Richard? His rescuing her?

9. The governess, her background, sinister appearance, her control over Caroline, her being ousted, in plotting with Silas, their relationship?

10. Tom, his father?

11. The doctor, the friendship?

12. A melodramatic drama, the atmosphere of the early Victorian period?