UNDER SIEGE

US, 1992, 102 minutes, Colour.
Steven Seagall, Tommy Lee Jones, Elena Eleniak, Gary Busey.
Directed by Andrew Davis.

Under Siege, one of the top American box office movies of 1992, was described as Die Hard on water. The location for the action is the USS Missouri, returning to Pearl Harbor to be decommissioned. The hero of the film is an alleged cook, a disgraced ex-navy SEAL, a Vietnam, Middle East and Panama veteran. He is played by Steven Seagal (Above the Law, Hard to Kill, Marked for Death). The film is a typical Seagal action adventure - although he is given some more humorous lines than usual. His director is Andrew Davis, who has previously directed Seagal and made the fine action thriller, The Package, later moving to bigger budgets with The Fugitive and A Perfect Murder. Seagal has a strong supporting cast with Tommy Lee Jones and Gary Busey as sinister villains, Nick Mancuso as Segal's former officer in charge, Patrick O'Neal as the captain of the Missouri. Erika Eleniak has to appear as a bunny, Miss Playboy 1989, but the screenplay gives her plenty to do in the action as well.

The action is what might be expected of a Seagal film - but it is done with a great deal of panache.

1. The popularity of Steven Seagal action? Die Hard on water?

2. Seagal as the American hero, his war background, the tough action and training of the SEALs, his martial arts abilities? The questions of exercising violence or not? Macho image or not? His single-handed success? Collaboration with others on the ship? The help from Jordan Tate? The strong man - with the touch of wit, and using his wits?

3. The title and expectations? The siege of the Missouri? The defence of the siege, the attack - on water?

4. The basic interest of the situation: the USS Missouri, its place in history, the return to Pearl Harbor, the question of nuclear missiles, the availability of the codes, the role of the Pentagon, international terrorists and nuclear sales?

5. Ryback and his career, disgrace, on the ship as the cook? His work in the kitchen, clashes? The argument with Krill? His being put in the freezer, his escape? Relationship with the captain, finding him dead? Finding Jordan Tate? His ability with satellite communications, in touch with the Pentagon, giving information, getting instructions? The fights, his strategies? Wit? His clash with Strannix? The sprinklers, the weapons systems, the SEALs' experience, the submarine bomb? His being saved by Jordan? The confrontation with Strannix and his death? The missiles? His emerging as hero?

6. The ship, the captain and his administration - and his death? Krill, his background, power? Sadistic behaviour, putting Ryback in the freezer? The relationship with Strannix, helping him, participation in the siege? Drowning?

7. Strannix, his personality, his past? The links with the Pentagon? His control being part of the negotiations and deals? The terrorist background, the missiles, his plan, the helicopter, infiltrating the men, their brutality? The submarine? His knowing Ryback? The final clash and his death?

8. Jordan Tate, her bunny background? Her being involved in the action? Helping and saving Ryback?

9. The picture of the officials at the Pentagon, conference, satellite connections? Their decisions? Breaker and his control of Strannix, the interactions with Ryback?

10. The plausibility of the plot, Mavericks like Strannix, sadists like Krill and their position on the boat, Ryback and his background, his ability to save the day? The role of government and the Pentagon?

11. Popular themes and styles and action heroes of the '90s?

UNCLE BUCK

US, 1989, 100 minutes, Colour.
John Candy, Amy Madigan, Macauley Culkin.
Directed by John Hughes.

Uncle Buck was written and directed by John Hughes. Hughes is best known for his teenage films like Sixteen Candles, The Breakfast Club, as well as his screenplays for Mr Mom and the National Lampoon Vacation films.

John Candy worked with Hughes in Plains, Trains and Automobiles as well as The Great Outdoors and Home Alone. This is a mixture of Mr Mom and the National Lampoon films.

John Candy is at home as the affable large-size and rather gross Uncle Buck. Amy Madigan enjoys herself as his girlfriend. Macauley Culkin appears as the precocious young nephews (and had appeared with Burt Lancaster in Rockets Galore and was the star of Hughes/Chris Columbus's box-office success Home Alone).

The film is very much in the situation comedy vein (and in fact there was a short-lived television series).

1. Entertaining popular comedy? Loud American style? American families?

2. The atmosphere of the Chicago suburbs, the house (and its appliances)? School? Musical score, the songs and the mood?

3. Buck and Chanice - engaged for eight years, jobs, opting out, Chanice's anger, the phone call and Bob and Cindy wanting him to look after the children, the reaction to the children, Tia and her lies? Chanice and her concern, visit, Marcy and Buck dancing? Getting over her suspicions? Helping with the children? The happy ending?

4. John Candy as Uncle Buck: big screen presence, likeable, slob, omitted from the family wedding photo? Bob in desperation for him to come? His room, car, the arrival? Cheques? The mess of the breakfast and the kids' reaction? Tia's nasty reaction to him? Going to school? His concern about her? The boys and their comments, Bug? The rude kids and the interrogation? Giving up his racetrack outing for her? Going to the party? The discovery of Bug? Giving him his comeuppance? Tia and her change of heart? The reaction of the other two children? Mischievous? Play, the laundry etc? The reconciliation and everything sweet when their parents returned?

5. Tia and her adolescent problems, reaction against Buck, her relationship with Bug, sexual attraction, the outing, the deals, the phone call to her mother and accusations of Buck drinking, the lie to Chanice? The party, her defiance, Bug, his betrayal, wandering the streets, the reconciliation with Buck?

6. The characters of the younger children, mischief, enjoying themselves with Buck?

7. Bug, around school, sex, push? The warning, the party, the girl in bed, his fear of Buck, comeuppance?

8. Chanice at work, her job, love for Buck, suspicions, the phone call, the visit, helping out?

9. Marcy as the attractive neighbour, interested in Buck, helping out, caught out, Tia's lies?

10. Buck and his character, money, self-concerned, the kids making demands on him, the racetrack, change of heart?

11. The parents, their desperation, going away, anxious phone calls, the end - and the proverbial happy ending?

DER UBERFALL (HOLD UP)

Austria, 2000, 85 minutes, Colour, M.
Roland Duringer, Josef Harder, Joachim Bissmeier.
Directed by Florian Flicker.

Hold Up is an exercise of a young director, a contrived situation, his showing his cinematic skills in dramatising a hold up and its collapse. Most of the film is a three‑hander, the young criminal wanting to hold up a shop to get money for his son's birthday, the tailor who is unwilling to collaborate, provokes the hold‑up man, and the third person, a client who has come to pay his bill and who suffers from angina and a range of other illnesses.

The film sets up its story with both dream and imagination as well as what happens in real life to Andreas. He takes the gun of his policeman brother‑in‑law, imagines he breaks into a supermarket but in fact breaks into the tailor's office. The tailor has very little money. Andreas spends most of the day with the two men, at times angry, at times conciliatory, sometimes bursting into violence. The tailor goes through a range of moods, finally bashing and kicking Andreas when he gets free. The client, who is afraid and very much the hypochondriac, finally is sympathetic towards Andreas. In a final irony, the client is shot by the police in mistake for Andreas. The tailor identifies him as the criminal. Andreas goes off with his family.

The film seems a cinematic exercise, but as it progresses, one is more interested in the characters and the dramatic psychological and emotional interactions.

1. The impact of the film? Characters, situations, the hold up, violence, the resolution?

2. The city settings, homes, supermarkets, the tailor's shop, the bank? The exteriors and the interiors? Light and darkness, shadow? The musical score? The songs?

3. The title and its literal focus on Andreas and the hold up in the shop? The audience sharing the claustrophobic experience?

4. Andreas, his age, character, appearance? The dream of the gun, his boots, going into the supermarket, the robbery? The reality of staying with his sister, taking his brother‑in‑law's gun? His wife and his love for his son, the promise to pick the son up? The birthday gift? The setting for the hold up?

5. The hold up itself: Andreas, the glasses and nose, the wig? His violence in the shop and not finding money? His anger and upturning everything? The interaction with the tailor, the tailor being provocative, Andreas's anger, tying him up, his mouth? The interactions during the day and the psychological twists? The interaction with the client, being sympathetic to his illness, not understanding it, the inhaler? The clock and the problem about his taking his medicine? The prostitute knocking on the door and the tailor's lies? The client telling the truth? The growing exasperation? The client wanting to go to the toilet, his being locked in, Andreas cutting his hand, the bleeding? The turning of the tables in the domination of the three men? Andreas untying the tailor and the tailor brutally bashing him? The sympathy of the client and his getting the gun, his getting the tailor to back off? His telling the truth about the bankcard?

6. Andreas and the tailor going to the bank, the reaction in the bank, the 5000 marks, the permission of the manager, the atmosphere of the hold up, Andreas running away, the tailor collapsing? His return to the client, their changing coats? Letting him go?

7. Andreas going off with his son and the happy ending? The toy fixed by the client? The client finding the wig, putting it on, being shot dead by the police and the tailor identifying him as the criminal?

8. The portrait of the tailor, his age, the story of his son, his work, stinginess? His wife, the prostitute coming in the middle of the day, his pornographic magazines? His reaction to the tailor (?), his outbursts of violence? Going to the bank and the irony of the ending?

9. The client, living with his mother, his work in the office, his illness, inhaler, tablets? Being sick, needing to go to the toilet? Beginning to assert himself, with the gun? Fixing the toy, the arrangement with Andreas ‑ and the ironic sadness of his death?

10. A contemporary urban story, violence, desperation, employment, unemployment, money, broken family?

DER UBERFALL (HOLD UP)

Austria, 2000, 85 minutes, Colour, M.
Roland Duringer, Josef Harder, Joachim Bissmeier.
Directed by Florian Flicker.

Hold Up is an exercise of a young director, a contrived situation, his showing his cinematic skills in dramatising a hold up and its collapse. Most of the film is a three‑hander, the young criminal wanting to hold up a shop to get money for his son's birthday, the tailor who is unwilling to collaborate, provokes the hold‑up man, and the third person, a client who has come to pay his bill and who suffers from angina and a range of other illnesses.

The film sets up its story with both dream and imagination as well as what happens in real life to Andreas. He takes the gun of his policeman brother‑in‑law, imagines he breaks into a supermarket but in fact breaks into the tailor's office. The tailor has very little money. Andreas spends most of the day with the two men, at times angry, at times conciliatory, sometimes bursting into violence. The tailor goes through a range of moods, finally bashing and kicking Andreas when he gets free. The client, who is afraid and very much the hypochondriac, finally is sympathetic towards Andreas. In a final irony, the client is shot by the police in mistake for Andreas. The tailor identifies him as the criminal. Andreas goes off with his family.

The film seems a cinematic exercise, but as it progresses, one is more interested in the characters and the dramatic psychological and emotional interactions.

1. The impact of the film? Characters, situations, the hold up, violence, the resolution?

2. The city settings, homes, supermarkets, the tailor's shop, the bank? The exteriors and the interiors? Light and darkness, shadow? The musical score? The songs?

3. The title and its literal focus on Andreas and the hold up in the shop? The audience sharing the claustrophobic experience?

4. Andreas, his age, character, appearance? The dream of the gun, his boots, going into the supermarket, the robbery? The reality of staying with his sister, taking his brother‑in‑law's gun? His wife and his love for his son, the promise to pick the son up? The birthday gift? The setting for the hold up?

5. The hold up itself: Andreas, the glasses and nose, the wig? His violence in the shop and not finding money? His anger and upturning everything? The interaction with the tailor, the tailor being provocative, Andreas's anger, tying him up, his mouth? The interactions during the day and the psychological twists? The interaction with the client, being sympathetic to his illness, not understanding it, the inhaler? The clock and the problem about his taking his medicine? The prostitute knocking on the door and the tailor's lies? The client telling the truth? The growing exasperation? The client wanting to go to the toilet, his being locked in, Andreas cutting his hand, the bleeding? The turning of the tables in the domination of the three men? Andreas untying the tailor and the tailor brutally bashing him? The sympathy of the client and his getting the gun, his getting the tailor to back off? His telling the truth about the bankcard?

6. Andreas and the tailor going to the bank, the reaction in the bank, the 5000 marks, the permission of the manager, the atmosphere of the hold up, Andreas running away, the tailor collapsing? His return to the client, their changing coats? Letting him go?

7. Andreas going off with his son and the happy ending? The toy fixed by the client? The client finding the wig, putting it on, being shot dead by the police and the tailor identifying him as the criminal?

8. The portrait of the tailor, his age, the story of his son, his work, stinginess? His wife, the prostitute coming in the middle of the day, his pornographic magazines? His reaction to the tailor (?), his outbursts of violence? Going to the bank and the irony of the ending?

9. The client, living with his mother, his work in the office, his illness, inhaler, tablets? Being sick, needing to go to the toilet? Beginning to assert himself, with the gun? Fixing the toy, the arrangement with Andreas ‑ and the ironic sadness of his death?

10. A contemporary urban story, violence, desperation, employment, unemployment, money, broken family?

THE UNBELIEVABLE TRUTH

US, 1990, 90 minutes, Colour.
Adrienne Shelley, Robert Burke.
Directed by Hal Hartley.

The Unbelievable Truth is an interesting and entertaining first feature written and directed by Hal Hartley. The budget was allegedly $200,000. Filming time was said to be ten days. However, the film has the look of greater production values and care.

Hartley has a sardonic view of people and an ability to write what is almost deadpan ironic language (American Harold Pinter style) and reveal characters and tension in situations accordingly. This was used to great effect in his second film, Trust.

The film has a Long Island setting, focuses on a young woman played by Adrienne Shelley (who starred in Trust) as well as an ex-convict played by Robert Burke (after this to be Robocop 3). There is an odd range of characters in the town and they are well portrayed, with the touch of caricature and irony, yet having the truth of their type.

The episodes are sometimes melodramatic, sometimes low-key and domestic, always ironically amusing.

The title itself is ironic - and it is difficult to know what really happened to the characters and their crises (with echoes of Kurosawa's famous Rashomon and the many films that have portrayed similar events with differing perspectives and morality).

Hartley went on to celebrity with such independent features as Trust, Simple Men, Amateur, Flirt, Henry Fool.

1. First feature, quality? Offbeat portrait of human nature? Comedy?

2. Long Island and the atmosphere of the town, New York suburbia, countryside? The New York sequences? Musical score?

3. Small budget, ten days' production time? The impact?

4. The title, reference to the characters, the central situation of Josh and the deaths? Ironies?

5. Josh, on the road, hitch-hiking, young man of mystery? The cars, the drivers, his fixing the cars, his being dumped when it was found out he was in prison? The man whose car he fixed - and later seeing him as a derelict on the streets of New York? Dressed in black, mistaken for a priest? His answer that he was a mechanic?

6. Audrey, young, at home, her relationship with her parents, the atmosphere of her life, interests? Home discussions about college, getting entry into Harvard? Her group, her preoccupation with nuclear war? Love of literature - in preference to communications? The pressures on her to go to college? The question of money, her father's concern? Ambitions? Her relationship with Emmett, walking and talking, two conversations at odds? His not listening, his ambitions - and her breaking it off, to his mystification?

7. Pearl, the encounter with Josh, her fainting, his carrying her into the bar? The reaction of the woman at the bar? The various rumours about Josh? Vic and Mike telling stories, people in the bar - all the details contradictory? The irony of the unbelievable truth? Josh and his encounter with Audrey, the mechanic, her giving her father's address?

8. Vic, at home, his relationship with his wife, with his daughter? His exasperation with Mike and his incompetence? Fixing the cars, allowing Josh to work? Impressed? Giving him the job? Good friendship?

9. Audrey and Josh, talking, the interest in George Washington, lending the book? Friendship, falling in love?

10. Vic and his discussions with Emmett and the break-off? Emmett and his behaviour at the dance - and his picking fights? Todd and his chatting up the women, the photographer's model? The discussions about portfolios and his success? His talking with Vic, with Audrey? The possibility of her modelling, the bargaining about the cost of the portfolio?

11. Vic, his deal with Audrey? Going to college, giving the donation? The money for the portfolio? Audrey and her going off - and the parents seeing her in the advertisement? Their reaction?

12. Audrey and Todd, their going off together, in New York? Josh wanting to see her, Vic paying him to go to New York and take her out, show her a good time? His seeing her with Todd - and throwing the George Washington book in the window?

13. The believable or unbelievable truth about Josh? His relationship with the girl, his drinking (and so later abstaining)? The apology to her father and his death? The irony of Pearl, telling the truth - and his years in prison, his reaction?

14. His throwing the book, Audrey's seeing this, Todd going off? The converging of everybody on Josh's place? Pearl and Josh, Audrey? Mike? The suspicions, the truth?

15. Vic, his wife - family, loving, demands, expectations, quarrels? The mother and the cigarette - and her confiding talks with her daughter? Mike, his love for Pearl, work around the shop, clashes with Josh? Reconciliation?

16. The happy ending - but the ominous sounds of war? Audrey and her fears of nuclear war?

17. The range of characters, the quality of the acting? The ironic and laconic dialogue? Timing in performance?

18. Insight into human nature, strengths and weaknesses, insight into quirks of character and relationships? Justice and the unbelievable truth?

THE UMBRELLA WOMAN

Australia, 1987, 95 minutes, Colour.
Rachel Ward, Bryan Brown, Sam Neill, Steven Vidler.
Directed by Ken Cameron.

The Umbrella Woman (also known as The Good Wife) is set in central New South Wales in 1939. It is a portrait of a repressed wife who becomes obsessed with the attractive stranger who works at the hotel.

Rachel Ward is quite effective as the repressed and bewildered wife, driven on by her obsession. Bryan Brown gives a sympathetic performance as her husband. Steven Vidler is his naive young brother. Sam Neill is particularly effective as the self-opinionated Lothario. There is a good supporting cast re-creating the atmosphere of the town of the period.

The film makes comments on Australian country life, standards and external behaviour, the realities under the surface. The film was directed by Ken Cameron (Fast Talking, Monkey Grip, Bangkok Hilton, Brides of Christ).

1. Interesting drama? Rural New South Wales? The country community? Marriage, relationships? Universal themes?

2. The 1939 settings, the town and its life, the forest and the work, the rural setting? The background score?

3. The two titles and their reference to and description of Marge?

4. The frame of the film with Marge watching out her window? Windows throughout the film, Marge looking out, observing? Interiors and outside scenes? Her world? The good wife, her relationship with Sonny? Its lack of imagination? Subdued passion? Her work in the house and its detail? Love for Sonny, care for Sugar? Her yearnings? Her visit to her mother and her mother's reputation? The interactions and the effect on her? Her own background? Sonny and his love, her longings, going to the town, her dress, the umbrellas? The initial encounter with Neville, the dropping of the umbrella? His attractive words? The beginning of the infatuation? Her watching, the meal in the hotel? Her visits, misinterpretation? Her life at home, with Sonny, the card games, Sugar and the proposition about her sleeping with him? The lack of a definite decision? The experience and its effect? Shattering her values? Her pursuit of Neville, rejection of propriety? Her being hurt, going away, the clashes with Mrs Jackson, her taking Sugar's flat? Creating scenes, drinking in the hotel, the encounter with her mother? Mrs Gibson's kindly help? Observing from the window? Warning Neville about Mr Fielding coming? Being ousted from the room by Sonny, packing and going to the train, the encounter with Neville, his disillusioning words, literally throwing her out? Sonny's taking her home, her being ashamed, receiving Sonny's love? Her final looking out the window - content, ashamed, yearning? Marge as a realistic figure? Symbolic?

5. Sonny as an average Australian man? Sympathetic, masculine, tender? His work, relationship with the men, the logging? The rural setting? His relationship with his brother, protectiveness? Getting Sugar out of difficulties? At home, domestic detail? Love for Marge? Joking, the evenings? The question of Sugar and his wanting to sleep with her, the non-decision and the action, the effect? Disturbed about Marge? The meals, the hotel? Having to cope, his disappointment, bewilderment? Her going away and his searching for her? Getting Mrs Gibson to help? The final fight with Sonny and not wanting to see him again? Her return? `Who else is there to give my love to?'

6. Sugar, young, naive, his presumption, work and recklessness, the dangers, his sexual yearnings? Attracted to Marge? At home, the proposition, the night with her, the effect? His going to town? About the town, discussions with Neville, advice? Eyeing the girls? Bewilderment? Neville putting him down? Warning Fielding and trying to orchestrate behaviour, to get rid of Neville? Misfire? Wanting his room back, the final fight with Sonny, his being sent away?

7. Neville and his smooth style, appearance, reputation? Arrival, eyeing the women, at work in the hotel, attractive? The encounter with Marge and flirting with her? Mrs Jackson and the rules of the hotel? Attraction to Mrs Fielding? Marge, her visit, the talk, misinterpretation? His irritation with her? Talking with Sugar, his theories of seduction? The philosophy of the right woman coming along? Sneering at Marge and her spying? Caught with Mrs Fielding, warned by Marge? His going, encountering her on the train, disillusioning her, throwing her off? His future?

8. Mrs Jackson and her attraction, warning Marge, the rules of the hotel? Arriving with Mr Fielding, ousting Neville?

9. Fielding, his work at the bank, at the hotel, his wife, her attraction towards Neville, the seduction, going to his room, being caught, her spurning of her husband?

10. Mrs Gibson, her kindliness, helping Sonny, giving advice to Marge, cups of tea, etc?

11. The presentation of the town, shops, the hotel, its style, people drinking, service, maids?

12. The world of the loggers, their hard work? The aboriginal presence?

13. Marge's mother, her experience and background, advice to Marge, influence, the visit, the drinking?

14. The manners and morals of the town? Repression, code of behaviour, drinking, sexuality and relationships? Repression and obsession? Breaking out?

8 mm

US, 1999, 119 minutes, Colour.
Nicholas Cage, Joachim Phoenix, James Gandolfini, Peter Stormare, Catherine Keener.
Directed by Joel Schumacher.

8 mm had mixed reception on its release. The main problem was its subject of the pornography industry in New York. It paints a grim picture of the underworld of Los Angeles, the people involved in the industry, the victims who are led to believe that they will be on a star career path but who are exploited – and, in this film, become part of a snuff movie.

The film is basically a private detective search for a missing person film. However, the girl missing appears in a snuff movie. The widow of a rich industrialist wants to investigate the case, understand the husband she has loved for forty-five years, ensure that the girl was not harmed.

Nicholas Cage, in very serious mode, is effective as the detective who becomes caught up in the world of pornography. In this way, just like other films about undercover agents, especially Al Pacino in Cruising and in such films as Deep Cover and In Too Deep. Joachim Phoenix portrays a young man with musical ambitions who has found himself caught up selling pornography in Los Angeles. James Gandolfini and Peter Stormare have no difficulty in creating persuasive and frightening villains. Catherine Keener gives more strength to the role of Cage’s wife.

The film was directed by Joel Schumacher, often the subject of criticism because of the range of his films and their bright visual flair – which is not the case in this film. His films range from the Grisham adaptations The Client and A Time to Kill to Batman Forever and Batman and Robin and other striking films like Falling Down and Phone Booth, Veronica Guerin. He also filmed The Phantom of the Opera.

Other films which portray pornographers in a more sympathetic light include Boogie Nights and The People vs Larry Flint.

1. Audience response to the film, in favour, because of its subject, questions and treatment, against because it runs the danger of being prurient and voyeuristic? Critical condemnation? The film as a challenge?

2. The pornography industry, its reality, the personnel involved, production, filming, mass-producing the videos and distributing, the clients and the sex addicts? The brutality leading to sexual violence? The critique?

3. The attitude of the writer and director, the frank presentation of the issues, the discreet introduction of pornographic material? Audiences responding to the narrative, detection, involvement of the central character, the human dimensions, especially of family, the inhuman dimensions of brutality? An emotional response? Judgment?

4. The film’s action taking place across the United States from Florida, Pennsylvania, California, Carolina, New York? The vistas of the cities, the streets, the sleazy streets, especially of Los Angeles, hotels and studios, empty warehouses, sex shops? The contrast with the quiet and gentility of the countryside, the family home, the mansions of the rich, the world of Carolina and poor people and workplaces and homes?

5. The musical score, the high orchestration for tension, the soft piano and single note for family and emotion, the background of choral music?

6. The title, the measurement of film, film as real, film as fantasy, images and their effect, the senses, emotions? The involvement in film, the voyeur aspect of film? The use of special effects, editing? The sexual content, extreme, beyond…? The excerpts, the videos, the snuff action? The audience watching an edited and created realistic snuff movie in a discussion about its reality and fantasy?

7. The personnel involved, the companies, Eddie and his way of life, auditions, the filming, his New York connections? The New York director, the discussions about his art, his clients, critical response – yet pornography? Machine, sadomasochism, his mask? His killing on-screen? The financial deals, greed? The crooked lawyer and his connections? The rich and anonymous clients? The factories for mass production, the sex shops, the people in the cast, performance? The ingenuous young people coming to California? The characters, like Max, on the fringe?

8. The theme of dancing with the Devil and the Devil not changing but the Devil changing people? Tom’s final plea to his wife, “Save me”?

9. The introduction to Tom, Florida, his detective work, flying home, being paid by the senator, his reputation? His office, phone calls, new jobs? (And the issue of smoking and his wife’s criticism, his lies, her seeing the cigarette butts in the ashtray?)

10. Amy and Cindy, the tender moments of the film, Tom and his going home, a haven for him, love, the cigarettes? His love for the baby, getting up at night? Amy, her strength of character, as wife, mother? The effect of Tom being away? Getting money for Cindy’s education? The phone calls, his forgetting? The cumulative effect, her wondering whether she should stay?

11. The new case, the widow, her wealthy industrialist husband, the story of the safe, Longdale as the lawyer? The discovery of the film, Tom and his watching it and his reaction? The inquiry, whether the girl died or not? The discussions about snuff movies as urban legend? Payment, the phone calls, dealing with the widow, her support? The discovery of the truth, her wanting to know, her learning the truth, her reaction, looking at her husband’s picture? The information that she had killed herself? The payment of the fee, the bequest to the family of the girl?

12. The theme of needing to know, searching, photos, interrogations, the mother and her dilemma about wanting to know the exact truth or not, no matter what? Tom’s phone call, her reaction, the final letter?

13. The use of computers, enlarging film, the data? The issue of the film stock? Accounts for excessive payments for such a film? The widow and her discovery of the accounts, the role of the lawyer, his taking the money?

14. Los Angeles, its look, the contacts, Tom going to the nuns and the shelter, getting Mary Anne Matthew’s bag, the phone number? Tracking down Eddie, the confrontation in his office, setting up the surveillance, listening to his phone calls, challenging him anonymously, the phone call to New York, Tom following him?

15. Meeting Max, his reading Truman Capote, discussions about reading, his work, his musical ambitions? Wanting to sell sex objects? Going outside, the talk, Tom offering him the job? The contacts, going to the factories, trying to make a deal, the inherent violence and their being ousted? Their buying the videos, the price, Beyond…, Extreme…? Their watching the films, realising that some of the films had the same actresses, therefore not snuff? Max and his continued advice, about the Devil? Wanting to go to New York?

16. The New York director, Max and his contact, their bargaining at the door and offering money? Max helping Tom discuss the director’s films? The commission, the deposit, the plan with the widow, Tom sending Max back to Los Angeles, his being abducted, brought in, hanging – and Machine killing him?

17. The build-up to the showdown, the director, the lawyer arriving with Eddie? The truth, the deal? The fights, Tom going to his car to get the film, the discussions with Longdale? The confrontation, Tom using the issue of the money to provoke them, Longdale and the gun, shooting the director (who did not want to die that way)? The death of Longdale?

18. People like Longdale, his motivation, his employer as a client, making the contacts, stealing the money? Answering the question about why he made the film and watched it, “because he could”?

19. The struggle, Tom being wounded, reaching for the gun, Eddie and his leaving, Machine and the stabbing? His going home wounded, phoning Amy and telling her to go to the holiday house, arrival, the argument, her threats? Talking with the widow on the phone, explaining everything, going to the house, discovering she had taken her life? His sense of mission to avenge the widow and Mary- Anne Matthews?

20. The phone call to request permission for vengeance from the mother? Los Angeles, the confrontation with Eddie, Eddie taunting him, giving him the detail of what happened, his inability to shoot Eddie? His going outside, thinking, vengeance, going back, bashing him, burning the house?

21. Burning the hospital, the phone calls, getting Machine’s address, his mother going on the Christian Fellowship bus, the fight with Machine, Machine’s explanation, no physical or mental abuse, his just liking what he did? His death?

22. Tom returning home, the baby, Amy still there, his asking her to save him? His character, his life and work, needing to know, a man of principle, the emotional effect on him, watching the material, the issue of turning on or not turning on and being involved? The ugly world and its fascination? Becoming partly voyeur, obsessive? Becoming violent, destroying people?

23. The end, his working in the garden, Janet, his meeting her and searching the house, the meal and the drink, finding Mary-Anne’s? diary and leaving it for her mother to see, interviewing the young man in prison? His final phone call, telling her the truth? Her letter, giving him some grace and the possibility of continuing his life?

A KISS BEFORE DYING

US, 1991, 94 minutes, Colour.
Matt Dillon, Sean Young, Max von Sydow, Diane Ladd, James Russo.
Directed by James Dearden.

A Kiss Before Dying is based on a novel by Ira Levin (Rosemary’s Baby, The Boys from Brazil). It was filmed in 1956 with Robert Wagner as the chilling young psychopath and his victims including Virginia Leith and Joanne Woodward. Mary Astor played his mother and George Macready the tycoon father of the two women.

This 1991 version was written and directed by James Dearden, son of British director Basil Dearden. Dearden had directed only a few films including The Cold Room, Pascali’s Island and the film about the trading scandal in Singapore, Rogue Trader.

Matt Dillon is somewhat neutral in the central role – a rather bland performance rather than a nuanced psychopath. Sean Young portrays twin sisters. There is good support from Max von Sydow as the tycoon father and Diane Ladd as Matt Dillon’s mother.

The film is the standard one of the ambitious psychopath, resenting his poverty, looking at trains going past bearing the sign of a wealthy industrial empire. He courts one of the daughters of this empire and kills her when she is pregnant. He then aims to marry – and succeeds – the other daughter. However, reality conspires to unmask him and there is a quick melodramatic finale.

Reviewers and the public were quite critical of this film, comparing it with Ira Levin’s book unfavourably as well as the 1950s version.

1. The popularity of this kind of story? Romance? Thriller? Murder mystery?

2. The settings, the 80s, the American cities, wealthy homes, the across-the-tracks homes? The world of universities? Industry? Authentic? The musical score?

3. The title, indication of themes, of Jonathan’s personality? Ambitions?

4. The opening, the young boy looking out the window? The explanation of his background, his father, his father’s antagonism towards his mother? The mother and her love for her son? Pressurising him, nagging him, his negative reactions? Saying that he would make her proud? Faking his own death and leaving her in grief? The vision out his window of the Carlsson Industry trains going past? The irony of Ellen looking out the window at the end, Jonathan’s appearance, the chase, his being killed by the train?

5. Jonathan, his charm with Dorothy, her buying the shoes, the lecture, her rushing to meet Jonathan? Going up to the roof, his pushing her over, his blaming her for her own death? The fact that she was pregnant?

6. Jonathan, his personality, with his mother, with his university friends, with his job in the diner? His being revealed as courting Ellen? His playing up the part, assuming the identity of the young man that he killed, telling his story about his dead parents in the plane crash? Ingratiating himself with Ellen’s father, the discussions about fishing? With Ellen, the proposal? In the background, with Tommy, his murdering Tommy? The phone call from Patricia Farren and his making an appointment, killing her, her body in the suitcase and disposing of it in the river? The later police investigations and his denials? The wedding, the happiness? Ellen happy?

7. Ellen, a different personality from Dorothy? Her father’s disdain of Dorothy? Her suspicions, the commissioner, the police and the investigator? Her working in the shelter, her friend and their discussions? Her meeting with Jonathan, the relationship? The outings, dancing, happiness? The wedding? Her father buying the apartment? Jonathan and his reactions to her suspicions, the investigation about Patricia Farren’s death, his outbursts, her changing her hair to blonde? Her continued worries, the chance meeting in the bar with the former student? Her looking up the school annual, her going to the investigator, her finding Jonathan’s mother, the discussion with his mother, seeing his room? Jonathan’s arrival, the confrontation, the chase, his death?

8. Thor Carlsson, his attitude towards his daughters, migrant, building up an industry, Jonathan and his friendship with him, the fishing? His grief about his wife, his daughters?

9. Tommy, his breakdown, going to identify Jonathan, Jonathan killing him? Patricia and her identification, her death?

10. The police, the investigator, Ellen and her mission to discover the murderer?

11. How significant the performances, the dramatic situations, the crimes?

KING ARTHUR

US, 2004, 126 minutes, Colour.
Clive Owen, Ioan Gruffud, Keira Knightley, Stephen Delane, Stellan Skarsgaard, Til Schweiger, Ray Winston, Joel Edgerton, Hugh Dancey.
Directed by Antoine Fuqua.

High hopes that this would one of the holiday spectaculars. It was not. This is not surprising as it is a very dark and dour film, not the kind of derring-do hijinks that one would want for a holiday break.

The screenplay was written by David Franzoni who wrote Gladiator. That was a rather literate epic, centring on the philosopher emperor, Marcus Aurelius, and the military statesman, Maximus. There are a number of literary allusions in King Arthur. Especially surprising are the several references to the monk, Pelagius (the theological enemy of St Augustine) and his teachings on human self-sufficiency over God’s grace. There are also references to the Pope and Rome and one of the main protagonists is a bishop.

But that might not have been noticed by those wanting what older audiences used to call ‘a good stoush’. They would have been looking for the battles. And, in that, they would not be disappointed. There is a particularly effective battle on the ice, between Arthur and five knights and Guinevere who is now a champion archer. (Many of the critics were quick to point out that Eisenstein, once upon a time, did this more effectively in Alexander Nevsky. But those who did not recognise Pelagius would not have made the Eisenstein connection either and not been bothered one way or the other. While on comparisons, some of the battles were Braveheart-like and I would guess that many of the audience would have made that connection.)

This is pre-Camelot Britain, so there is no trace of any singing or wondering what the simple folk do. Rather, Arthur and his knights are political hostages from Asia, forced by the Roman empire to fight for them for fifteen years. Arthur and his fellows have been fighting the local Britons, the Woads, so called because of their painting their faces for battle. Merlin is one of their leaders. When their time of service has expired, the knights are asked to go on one more mission. On their return, they encounter the marauding Saxons and join with the Woads to defeat them – thus giving Arthur a united kingdom.

This means that we are dealing with pre-imagination, pre-legend Arthur, a dark Arthur, one whom audiences would find it hard to warm to, little sympathy let alone empathy. The choice of the never-prone-to smile Clive Owen for Arthur reinforces the theme but it is his darkness and dourness that cloud the film. (He does have the trace of a smile at the end.) Ioann Gryffudd is Lancelot but there is nothing much of a triangle between Arthur and Guinevere and himself. Guinevere is the young and athletic Keira Knightly. The one who does make an impression, especially since he is indeed from Scandinavia, is Stellan Skarsgaard as the leader of the Saxons, a rough and tumble, violent lot.

Once one gets used to what King Arthur is as a film rather than what advertising and hopes led one to believe what it would be, it seems to improve.

1. A mediaeval spectacular? The reputation of the film? The negative criticism? An action adventure? Portrait of Arthur?

2. Audience expectations from previous films, the legends, Camelot, the Knights of the Round Table, the relationship between Guinevere and Lancelot? These expectations not fulfilled? This King Arthur a different film?

3. The pre-Camelot Britain, dark, dour and grim?

4. The prologue, the Roman Empire and its decline? The domination of Asia? The taking the young men from the tribes? Their indenture for fifteen years’ service? The promise of going home after this service? Arthur and the others as part of this arrangement? Their serving in Britain? Their fights for the empire over the fifteen years? Coming to the end of the service? Their hopes to return home? This background for Arthur and the knights? The visualising of their home, the taking of Lancelot, the grief of the parents and families? The ruthlessness of the Romans?

5. The background to Britain at this period, the extent of the Roman Empire and their rule, the role of the church, bishops, military bishops? The role of the pope? The background of theology, heresy, Pelagius and his Theology of Grace and Freedom and Arthur quoting this? The Woads as barbarians on the frontiers of empire? The attacks? Merlin as leader of the Woads? Guinevere as a warrior amongst them?

6. The completion of Arthur’s work, escorting the military bishop, the attack by the Woads, the death of the substitute? The bishop asking Arthur and the knights to go on a final rescue mission? The documents of freedom? The pressure, the bonds between the knights, the Pledge of the Round Table? Their decision to go? The travel, seeing the family, the boy to be brought back, his position in the empire, the antagonism of his father, the betrayal? The hardships of the journey? The Woads and their attack? Merlin and his discussion with Arthur? The attack by the Saxons? The merging of the two groups? Guinevere and her joining Arthur’s band?

7. The picture of the Saxons, barbarians, their plans for the domination of the Woads, of conquering Britain? Cerdic and his son Cyneric? The barbarians, their appearance, warriors? The Viking atmosphere? Their strategies, the pursuit, the father’s pressure on his son and his disregard of him? The pursuit, the confrontation on the ice, the archers, the pressure, the strategy of pushing the soldiers together and cracking the ice, Gawain and his self-sacrifice on the ice? The archers and their deadly aim? The continued pursuit, the camps, the build-up to the confrontation between Arthur and Cerdic, their meeting each other, the pledges? The battle, the death of the knights, Cyneric and his death? The fight between Arthur and Cerdic, Arthur conquering?

8. Guinevere and her place among the Woads, young, stubborn, the antagonism towards Arthur, disrupting the group? The attraction, Arthur, serious but attracted towards her? Observed by Lancelot? Her skill as an archer, in the battle on the ice? Fighting in the other battles? On the cliff, the bond between Arthur and Guinevere? The ending and their marriage?

9. Lancelot, his age, the fifteen years of service, fighting, loyal, his being prepared to die, death in battle?

10. The other knights, Gawain and his self-sacrifice, Bors, wanting to go home, rough and ready, his family, the children, his woman? Bluff, loyal? Galahad and the other knights? The round table, their loyalty? Getting their certificates of freedom, rejecting them?

11. The united Britain, Merlin and his role, Arthur? The history of the Britons at this period – and the transition to the legend of Camelot? Audience interest in this character and themes – or not?

JUST BETWEEN FRIENDS

US, 1986, 108 minutes, Colour.
Mary Tyler Moore, Christine Lahti, Salome Jens, Ted Danson, Sam Waterston.
Directed by Alan Burns.

Just Between Friends is what used to be called in the old days “a woman’s picture”.

The film stars two veterans of the small screen as well as the big screen, Mary Tyler Moore and Christine Lahti. The two leading men also had strong television careers as well as in feature films, Ted Danson in Cheers, Sam Waterston in Law and Order.

The writer-director, Alan Burns, was involved with Mary Tyler Moore in her Mary Tyler Moore Show. He also worked on Rhoda and Lou Grant, the series connected with the Mary Tyler Moore Show.

The film is the familiar story – with the touch of the soap opera – of two women who become friends only to find that one of them is having an affair with the other’s husband. They find out, clash, but need each other and their friendship prevails. The complication is that the husband dies and the mistress is pregnant.

Familiar material – but given strength by the presence of the stars.

1. A piece of Americana? A woman’s picture? Portrait of human nature?

2. The LA settings, the family life, the world of the media, the world of aerobics of the 80s? Audiences identifying with the characters? The impact of the stars?

3. How well did the film treat the themes of friendship, love, marriage and fidelity, commitment and betrayal, mistakes, forgiveness?

4. Mary Tyler Moore as Holly? Her screen presence and style? Working in aerobics, fitness? Helga, the job and teaching, home and the children? Tidy, beautiful, disciplined? Chip and his work? Care for him? Her meeting Sandy? The towels, sharing – eating together? Talking freely and the effect? The developing friendship? Chip and Holly’s love for him, the children? The dinner party and the effect? The job, Sandy and Chip’s death? Her mother, friends, being exhausted? Her fears, her work, encouraged by Sandy? Buying out Helga, succeeding, clearing the room? The discovery of the truth? The clash with Sandy? Issues of money? The children? Her hard response? Harry and his devotion? The discussions, Heather? The baby, the confrontation? Helping – continuing to talk freely – leading to forgiveness? The video, the reality of marriage? Dependent, boring? Saving it after the death? The strength of friendship?

5. The character of Sandy, her TV world, contrasting with Carla? The aerobics with Holly? The development of the friendship, Sandy and her toughness, smoking, swearing? The discussion about the man, the baby? Her visit, early, on edge and coping? The next day? The reality of the truth, its effect, facing up to it? Tom from Washington? With George? The job and the tape? The news of the death, helping, the family? The job, the gym? Caught, the clash? The reality of the pregnancy? The need for money? The fight with Holly? Talking with Harry, the baby, the reconciliation? As mother, friend?

6. The portrait of Chip, work, ordinary, with his son, the children, his love for Holly? On the phone to Sandy? Meeting her? The dinner? His being sorry? The aftermath, the next day? Harry and his support? His death? The consequences? His being caddish?

7. Harry, gawky, nice, friendly, his love, the dinner, tennis? At the funeral? The video of the marriage? Looking after Holly? The truth, with each of the women, helping with the baby? The video at the end?

8. The professor, seismic, the TV? The satire of George and Carla? Competition?

9. Domestic detail, ordinariness, the kids? Superficiality of life? Needs and love? The background of the nuclear family?

10. Themes of marriage, values, fidelity and infidelity, mistakes and the truth? The lasting reality of friendship?