CLAY PIGEON

US, 1949, 63 minutes, Black and white.
Bill Williams, Barbara Hale, Richard Quine, Richard Loo, Martha Hyer.
Directed by Richard Fleischer.

Clay Pigeon is a very brief hardboiled thriller, directed by Richard Fleischer when he was establishing his career in Hollywood after making many successful B-budget movies. At this time he made The Narrow Margin. This was to be the beginning of a varied career, perhaps a journeyman director, but very skilful in storytelling and the range of films from biblical (Barabbas), Disney (20,000 Leagues Under the Sea), psychological dramas (Boston Strangler, Compulsion, The Strangler of Rillington Place and action adventure (The Vikings, Conan the Destroyer, Red Sonja).

This film highlights, rather unexpectedly, a scheme of collaboration between American criminals with Japanese, especially concerning counterfeit money made by the Japanese in anticipation of the invasion of California.

The film highlights torture in the prisoner-of-war camps during the war and the deals made afterwards.

Bill Williams isn't the greatest of screen heroes but had a long career. Here he appears with his wife of forty-six years, Barbara Hale, who was making comedies at this time but, of course, came to fame as Della Street in the Perry Mason series and between 1985 and 1995 made thirty of these telemovies. Director Richard Quine (The Notorious Landlady) appears as the expected villain. The film was written by Carl Foreman who was blacklisted in the early 50s but wrote such films as High Noon, The Victors, Young Winston.

1. Brief drama? Characters, issues, action?

2. The Californian settings, the black and white photography? Apartments, the roads, hotels? Trains? Police and navy precincts? Authentic atmosphere? Musical score?

3. The title and the setting up of Jim Fletcher as scapegoat, as clay pigeon?

4. The story of Jim Fletcher, his coming to in the hospital, the coma, the blind sailor attacking him, the hostility of the nurse? His overhearing the information about his court-martial? His escaping from the hospital, the headlines and the torture of Mark Gregory? His making his way to Martha Gregory’s house, intimidating her, tying her up? His trying to get time to think? Getting in touch with Ted, his friend from the concentration camp, advice from him? The decision to go to Los Angeles to find the information, Martha going with him, her wanting to be caught, the roadblock and sounding the horn? The attempt on their lives on the road? Her believing him? His regaining some memories, the collapse, the doctor, his having a week at the beach, recuperating, Martha believing in him? The phone call to Ted, going to Los Angeles? The hotel, the restaurant and his seeing the Weasel from the prisoner-of-war camp? His pursuit, the narrow escape from the killers at the hotel? Ted and his asking Martha to come to his apartment, getting the information? Jim and his going to the company, getting the address of the Japanese – and his being set up, his being pursued, the kindly Japanese woman hiding him? His shrewdness in breaking the baby’s toy and getting the baby to cry and cover his presence? His return, the information about the railway, his going, his being trapped by the Japanese and by Ted? Martha and her going to the apartment, getting the information, the navy intelligence arriving, their believing her, stopping the train, Ted and the clash with Jim, the fight? The arrests? Vindicated – and wedding bells at the end?

5. The situation, the concentration camp, scrounging food, Mark as the leader, his being betrayed by Ted, beaten to death? Jim and his beatings? Ted and his doing the deals, the counterfeit money and its being laundered? The navy pursuit, the arrests?

6. Martha, strength of character – and the very vigorous fight at the beginning (between real-life husband and wife on-screen)? Her trying to get Jim caught, believing in him, working with him, falling in love?

7. Ted, the obvious villain, suave and smooth? The Japanese and his role in the prisoner-of-war camp?

8. A neat action thriller, succinct – and raising issues criticising American society, especially in the post-war years?

JENNIFER: A WOMAN'S STORY

US, 1979, 100 minutes, Colour.
Elizabeth Montgomery, Bradford Dillman, Scott Hyland, James Booth, Kate Mulgrew, Doris Roberts, Arthur Franz.
Directed by Guy Green.

Jennifer: A Woman's Story is a lavish pilot for an intended series which was not made. It was based on a British series of the '70s, The Foundation.

Elizabeth Montgomery, after Bewitched, became a strong star in telemovies such as these. There is a strong supporting cast including Bradford Dillman as her husband, James Booth as the chairman of the board, Kate Mulgrew as Jennifer's husband's mistress.

The film is set in affluent San Francisco, uses the city locations well. It is a story of big business, jealousies, marriages and infidelity, death and the consequences? The ultimate point is that Jennifer wants to take her place with the men in the running of the company. Familiar ingredients - but nicely done in the lush American style. The director is the British Guy Green whose credits include The Angry Silence.

1. Entertaining telemovie? Prospective pilot for a series? Transferred from British origins?

2. The beauty of San Francisco, the affluent world of homes and business and board meetings? Musical score? The cast?

3. The title and the focus on Jennifer, the subtitle of A Woman's Story and the feminist stances?

4. Elizabeth Montgomery as Jennifer, the loving mother, devoted wife? Going to the dinner with Donald? The tension, his not coming home? Her knowing the truth, discussions with her sister, not wanting to bring up the divorce question? Wanting to share the work with Donald, wanting to go back to work? Her relationship with her children? Donald's illness, his death? Her suspicions about Joan? Her relationship with George and the deals about his being chairman? The relationship with Jack and being executor of the will? Suspicions of Lee? The support of Bob? Her not being told the truth about the relationship with Joan and the intended remarriage? Her decisions about the board, discussions and meal with George, confrontation with Lee about the locked cabinet? Her strategies for the meeting, getting herself elected, her becoming executive vice-president? The collaboration with George - and his threats for next time? Her future? The portrait of the businesswoman of the '70s and '80s?

5. Donald, relationship with Jennifer and the founding of the firm? The estrangement? The foundation and his speeches? Relationship with Joan? The tension at home, always working? His skill with his firm and the boats? The visit to the marina? Reliance on Lee? His attack, Joan, hospital, workaholic, death?

6. Lee, the right-hand man, successful with business, diplomatic, the relationship with Joan? Getting her to London? His ambitions, clash with Jennifer? Taking the material from the file? Not resigning - not wanting to be defeated by a woman? Typical enough executive?

7. George, chairman of the board, sexist attitudes, diplomacy with Jennifer, mutual support, his being outwitted, further determination? The other members of the board, their stances and reasons?

8. Jack, friendship, executor, supporting Jennifer, the manoeuvres at the meeting?

9. Bob, friend, the foundation, family doctor, not knowing the truth about Donald and the drugs? His support of Jennifer? The boy and the cigars, reassuring her that she needed to combine mother and businesswoman if she wanted to?

10. Joan, the mistress, devoted to Donald, ambitious, wanting to marry him? Grief, the deal to go to England? The bequest in the will?

11. Television material - material for a series? Audience interest in this kind of family story, business dealings and intrigues.

JEALOUSY

US, 1984, 95 minutes, Colour.
Angie Dickinson, Paul Michael Glaser, Richard Mulligan, David Carradine, Bo Svenson.
Directed by Jeffrey Bloom.

Jealousy is a telemovie written and directed by Jeffrey Bloom. It is a star vehicle for Angie Dickinson, offering her the opportunity to portray different characters in each of the three stories. In the first she is an intensely jealous woman, jealous of her daughter. In the second there is the comic touch with Richard Mulligan. In the third she is a country and western singer experiencing pressure from a man who wants to marry her, David Carradine.

The film is interesting as a star vehicle for Dickinson. The stories are routine enough - the unexpected ironic touch with the second, the melodrama of the third.

1. Entertaining telemovie? Three stories? Star vehicle for Angie Dickinson?

2. The different locales, American settings? The contrasts?

3. The title, aspects of jealousy explored? The overall effect of the three pictures of jealousy?

4. The first story: the portrait of Georgia, mother, intense, her relationship with Daniel, sensual, real or imagined? Her relationship with Heather? Her dominance of her daughter? Treating her as a child, in the home, shopping? The relationship between Daniel and Heather? The interfering mother and the ugly face of obsession and jealousy?

5. The second story: the newlyweds, Richard Mulligan as Meredith, genial, devoted to his wife, the boat, talking things over with her, talking about family, jealousies, death? Laura and her love for Meredith, the puzzle? Feeling ousted? The humorous touch when Meredith was desperate, asking her bewildered permission - and producing the monkey?

6. The third story: Ginny, country and western singing, rooming with Dixie? Their friendship, advice? The pressures of responding to Bobby, the break-up? Coming into the bar, drinking, the telephone calls? Her growing desperation? Dixie's advice to leave? The stranger from Tennessee in the bar, his attentions to Ginny, her response? Bobby's jealousy, growing desperation? Her leaving, Bobby's pursuit, the gun? His death? The portrait of Ginny, her desperation? Dixie and her friendship? The stranger, the clashes with Bobby? Bobby, age, infatuation with Ginny, the obsession, the phone calls? Continually pleading? In the diner, causing disturbances? The final violence and the gun?

7. How well did the three stories work together? For Angie Dickinson? For insights into jealousy?

JACKIE CHAN'S FIRST STRIKE

US, 1996, 87 minutes, Colour.
Jackie Chan, Bill Tung.
Directed by Stanley Tong.

Jackie Chan's First Strike is an entertaining action comedy drama. James Bond is referred to several times - and Jackie Chan seems to want to be the eastern/Asian/Pacific James Bond.

Jackie Chan is getting older - however, his excellently choreographed fight sequences are still as vigorous as ever (even though in the post-film credits sequences we see a lot of the bloopers). He plays a Hong Kong policeman assigned to follow an agent to the Ukraine. While there are some external sequences in the Ukraine and Russia, the snow sequences were all filmed at Falls Creek, Victoria. The action then moves to the Sunshine Coast with some additional scenes, especially at a funeral and a battle in Brisbane.

The characters tend to be stereotypes of good and evil (with former KGB officers now heading the Russian Mafia - as in so many American films of the '90s). The film is colourful, exciting - and, ultimately, forgettable.

1. Jackie Chan's popularity on screen - in Hong Kong and Asia, his attempts at popularity in America in the '70s and '80s, his success in the '90s? Playing for Asian audiences, Hong Kong audiences - and, especially, for western audiences?

2. Jackie Chan's comic presence, the literal little man, his ability as an agent, his alertness, his physical fitness, his ingenuity with the choreographed fights, heroic, a touch romantic? Good versus evil? His not taking himself too seriously (especially with the scene on the Sunshine Coast and the tourist looking at him without his clothes)?

3. The title and the focus on Jackie Chan? On action?

4. The familiarity of the plot? The '90s and the selling of nuclear missiles? The rogue KGB officers? Mafia action in the former Soviet Union? The links with Hong Kong? The buying off of CIA officers? The CIA in pursuit? The addition of Australia on the international terrorist scene? The confrontation between good and evil?

5. Jackie, his work in Hong Kong, his chief, on the plane, in the Ukraine, the tourist, his alertness, following Natasha, his being cold, the telephone connections with the CIA, his pursuit, the house, the battle, the snow and skiing sequences, the frozen lake, the helicopter blowing up? In hospital in the Ukraine and his being taken over by the KGB officer? His being assigned to Australia? The luxury of Australia, his relaxing, the koala? The koala underpants? His contact with Anna, underwater world? The humour with the sharks - and the later seriousness of the underwater fights? The hospital, the dying father, the missing brother, his confrontation with Jackie? Finding out the truth? The toughs and their huge size, the fights in the hotel? The murder of the old man? The pursuit of Jackie, the fight and the funeral centre? Jackie Chan on stilts and his skills, rescuing Anna, the fight in Brisbane? The happy ending?

6. The Russians and the KGB, the background, ruthless, terrorism, deals, the henchmen? The pursuits in the Ukraine? The snow fights, the helicopters? Their all coming to Australia, the pursuits, the battles in the hotel, in Underwater World, the echoes of Thunderball with the fights? The sharks? The fight at the funeral? The overcoming of the villains?

7. Tsuie, his relationship with Natasha, the terrorism, the double-dealing? In Australia, his father? His vindicating Jackie? The truth, his sister blaming him, the reconciliation, his appearing at the funeral, his final arrest?

8. The father and his status in Brisbane, his illness, the funeral? His sons?

9. Anna, her work at Underwater World? Attraction to Jackie, blaming him, her brother? The participation in the action?

10. The presentation of the Australians - and their broad accents? Genial at the Sunshine Coast, the hotels, the police, Underwater World? The Australian jokes?

11. The use of Hong Kong scenery to open the film, the Ukraine and winter, the Australian locations? An entertaining package?

JASSY

UK, 1947, 102 minutes, Colour.
Margaret Lockwood, Patricia Roc, Dennis Price, Basil Sydney, Dermot Walsh, Nora Swinburne, Linden Travers, Ernest Thesiger, Cathleen Nesbitt?, John Laurie, Clive Morton.
Directed by Bernard Knowles.

Jassy is one of the many colourful Gainsborough period melodramas from the mid and late '40s. Stars like Margaret Lockwood and Patricia Roc appeared in many of these films - like The Man in Grey, Fanny By Gaslight, Madonna of the Seven Moons, Blanche Fury.

This is a star vehicle for Margaret Lockwood. She portrays the daughter of a gypsy who eventually rises to be the owner of the country estate. There is a good supporting cast including a foppish Dennis Price and a villainous Basil Sydney.

The 19th century provided many of these stories of high living, romance, violence and intrigue.

1. Enjoyable period melodrama? The British film industry of the '40s? Popularity of melodramas?

2. Re-creation of period, costumes and decor, atmosphere, colour? Musical score?

3. The situation: the gentry, their gambling, whims, losses - even of property? Loss of dignity? Landlords and peasants, uprisings, exploitation? The world of finishing schools? The world of romantic novels?

4. Jassy as the woman of two worlds? Her mother the gypsy and her departure, her father the upright man who loved her? Her visions? Premonitions of death? Her rescue by Barney? Going to work, in the house, her skills? Being transferred after the death of her father? The finishing school, friendship with Dilys? Her return with Dilys? The relationship between Barney and Dilys? Nick and the household, imposing her will, organising the house, marrying him with the bargain about the property? Her care for him? His death? Her premonition? Her kindness towards Lindy? The trial, her dignity, motivation? Lindy's confession? Heroine? Reconciliation with Barney?

5. Barney as the stolid hero, his family in the mansion, work, experience? His caring for Jassy? His love for Dilys? His father's loss of the house? Moving out with his mother, betrayal? The servants? His love for Dilys? Her marrying into the wealthy family? The trial, reconciliation with Jassy? The return to the house?

6. Nick, the drinking, his gambling and winning, slovenly, his wife and her lover and his ousting her, his disregard of his daughter, the servants, carrying on with the maid? Jassy's arrival with Dilys? Chess, organising the household, his proposal, her condition? His accident, illness, his being saved from death? Lindy and the murder? Type, against the peasants, the uprising and the shooting of Woodruff?

7. Dilys, her mother, the mother and the lover and her being ousted? Dilys and her wealth, going to school, being jilted, the return, friendship with Jassy? Playing with Barney, the engagement to Steven, turning on Jassy?

8. The finishing school, the teachers and their conduct, the soldier and the elopement?

9. Lindy, at home, the beatings she got, mute? Her devotion to Jassy? Her fear for her, watching, administering the poison in the brandy? Her talking at the trial, collapsing and dying?

10. The world of the peasants, exploitation, the uprising?

11. The popularity of this kind of melodrama? Traditional values? Class systems? Melodramatic intrigue?

JAILBIRDS

US, 1991, 94 minutes, Colour.
Dyan Cannon, Phyllicia Rashad.
Directed by Burt Brinckerhoff.

Jailbirds is a pleasant telemovie: it is a variation on the classic The Defiant Ones, with black and white convicts handcuffed to each other. However, this is given a comic and a lightly feminist tone in the early '90s with Felicia Rashad (from The Cosby Show) as an upmarket sales representative stranded in the South and put into jail along with Dyan Cannon as a local troublemaker. There are the usual racist bully boys and good old boys who attack the women, who are covering up for drug dealing and murder.

It is all done with the light touch, generally predictable, relying on the strength of the two actresses and their interaction to keep audiences interested and entertained.

1. Entertaining comedy? Drama? The background of The Defiant Ones, the black and white convicts together, their antagonism, bonding? Helping each other?

2. The Californian settings, the open road and highway, the southern towns, the rivers and marshes? The contrast between the two worlds? The musical score?

3. The title, expectations? Justice and injustice? The criminals - alleged? The law enforcers? Criminals?

4. The race themes, black and white? The South? Feminist themes? The victimising of the two women? The stance that they take, self assertion?

5. Janice, her competence, work for the firm? Meetings? Travelling the roads? The accident? The town, friendship and hostility? The car dealer? The desperation, buying the car, being arrested for a stolen car? Her encounters with Rosie in the cafe? In jail? The clashes with Rosie and Rosie's reaction to her snobbiness? Her trying to send messages to Larry? Their not getting through? The sheriff and his antagonism? Baxter and his investigations? The other police? The jailbreak, handcuffs? Her ignorance of the locations, her fears? With Rosie, clashing? The encounter with Beetle and his brutal attack? Rosie urging her on to pretend so that they could get away? The success? Her growing admiration for Rosie? The visit to her family, the hostility of the father? Rosie's skill in designing dresses? The change of clothes for Janice? The separation, the pursuits? Her wanting to help Rosie? Speeding towards the state border? The encounter with the two black men, leading them on? Their comeuppance? The happy ending, the resolution of the murder - after the confrontation with the sheriff and his violence? Going to New York - and inviting Rosie to come along?

6. Rosie, in the town, work? Jimmy Lee and his two-timing her? Loretta? Her anger? The murders? Her being put in jail, her reactions? Not liking Janice, her rough and ready ways? Clash with the sheriff? Baxter? The escape, knowing the terrain, avoiding the dogs? Beetle and playing up to him and getting away? Her family, her father's hostility? The support of her mother? Her skill with dressmaking and design? On the road again, speeding in the car for the state border? The separation? Each trying to help the other in the town, especially with the arrival of the sheriff? The confrontation and working out who did the killing? The happy ending - and her decision to go to New York to be a designer?

7. The sheriff, redneck racist? His putting down his men? Clashes with Baxter? The arrest of Janice? Treatment? Arresting Rosie, despising her? The pursuit, the investigation? The irony of the truth about the car, the dead body? His drug dealing? The violence - and his being outwitted by the women? Baxter and his ingenuous style, yet his ingenuity? Working out what happened?

8. Beetle, the brutal redneck, sexual advances? The women turning the tables on him?

9. Larry, affluent, his relationship - and missing out on Janice's messages?

10. The black boys, Janice's style in leading them on, sexual attitudes, their being outwitted?

11. Popular ingredients for an entertaining comedy escapade - with serious American undertones?

JAILHOUSE ROCK

US, 1957, 96 minutes, Black and white.
Elvis Presley, Judy Tyler, Mickey Shaughnessy, Vaughn Taylor, Dean Jones.
Directed by Richard Thorpe.

Jailhouse Rock is one of Elvis Presley's earliest films, made when he was 22. Its plot is very familiar - and echoes something of Presley's own career.

It shows a boy from the backwoods, the manslaughter incident, his time in prison and the discovery of his talent, his leaving prison determined to make a name for himself, his friendship with an agent yet his harshness with her, his going on to be a success, interested only in money, finding success in records and television - and then finally having to face the truth about the unpleasant and ambitious side of himself.

The film has a number of popular songs - and has imaginative staging of `Jailhouse Rock'. The supporting cast includes Mickey Shaughnessy (who has the chance to sing twice) as the associate in prison who wants to promote him and then finally brings him to his senses. Dean Jones appears briefly as a disc jockey. Direction is by Richard Thorpe, veteran director of thrillers and many MGM musicals and pageants (Knights of the Round Table, Quentin Durward).

1. Enjoyable Elvis Presley movie? Familiar plot? The personality of the star, his character? The songs?

2. Black and white photography, Cinemascope? The prison sequences? The city, recording studios, offices? Television background?

3. The selection of songs? Staging? Style? Choreography?

4. The focus on Vince: his being a boy from the backwoods, pay, at the bar, his temper, the fight and the manslaughter? His sentence? In jail, the meeting with Honk? Honk and his singing, teaching Vince the chords? The television show and his singing? Not getting the mail? The contract with Honk? Getting out, ambition, reading the letters? The meeting with Peggy? Recording, people not interested? The stealing of his record and its release? His anger? His treatment of Peggy - loving her, humiliating her? The visit to her parents and his rudeness with the guests? The decision to form his own company, persuading the bank manager? Following his own style? The success of the record, the disc jockey promoting it (after playing it underneath the commercial)? Signing the records? The company, profits? The continued clashes with Peggy? His relationship with the girls, on tour? Honk and his release, wanting his help? Honk and the television show - the success of `Jailhouse Rock', the cutting of Honk's song? His serving Vince? The final confrontation, the fight? The operation and the danger of Vince losing his voice? Peggy and her angers? The company? The finale - and his not having lost his voice, having regained his character - and on the road to success again?

5. Peggy, promoting records, fascination with Vince? Hearing him sing - and his tantrum in the cafe, breaking his guitar? Her wanting to promote him, singing, cutting the record? The visit to her parents and his rudeness? The continued clashes? His kissing her and her antagonism? The company, success, going to Hollywood? Keeping away from him? The return - and the reconciliation?

6. Honk, the singer, in prison, robbing the bank? Teaching Vince the chords? His performance in the TV show? His decision not to give him the mail? The 50-50 contract? His reappearance, demanding the contract - and Vince knowing the truth? The opportunity on the TV show but being cut? As Vince's flunkey, walking the dogs? His anger over Peggy, fighting him? His being sorry about the punch to the throat?

7. The record companies, the cutting of the discs, the manager who stole the record? His being hit by Vince? The bank manager and his faith in Vince? The world of records and promotion? The public, the disc jockey? The girls and the autographs?

8. The world of Hollywood, contracts, his escorting the starlet all around Hollywood and enjoying it - and she bored? The film and his performance?

9. The parallels with Presley's own career? And his future?

JACK'S BACK

US, 1987, 97 minutes, Colour.
James Spader, Cynthia Gibb.
Directed by Rowdy Herrington.

Jack's Back is a thriller about a serial killer in Los Angeles. It is the centenary of the murders by Jack the Ripper and they seem to be being repeated in the United States.

The film offers a dual role for James Spader - who is murdered off early in the proceedings (in the Psycho vein) but then reappears as a twin brother.

Cindy Gibb is the leading lady. There are the expected murders, the investigations, the confrontation - and the revelation of the murderer. Conventional enough, done with a touch of excitement. The film was directed by Rowdy Herrington, who went on to make Roadhouse with Patrick Swayze.

1. Entertaining thriller? Investigation? Serial killer? The Jack the Ripper theme?

2. The American city, social problems, police investigations, ordinary citizens? Violence erupting? Stunts and effects? Musical score?

3. The centenary of Jack the Ripper, the imitation murders? Parallels between the 19th and the 20th centuries?

4. John and his work, social concern, Sidney and Jack? His friendship, Chris? His stances? Concern about people, the television interview? His death? The dramatic impact of his death?

5. The prostitute, Jack and the question of the abortion? The hanging? The Jack the Ripper details? The importance of hypnosis? Sidney and Jack? Richard, his dream, the twin brother, the ambulance, the police, the interrogation? Suspicions? The importance of the hypnosis? The angers, visiting the police? Sidney, Chris?

6. Chris, her role with John, with Richard? Charity? Anti-Sidney? The decision to help Richard? Talking things over with him, the sequences at home, being threatened?

7. The nightmare sequences, hypnosis? His seeing Sidney as the murderer?

8. The build-up to the climax, the threats to Chris, Richard and his aggression, Sidney - and the meaning of Sidney as the murderer, the arrangements, covering for him?

9. The popularity of this kind of thriller? Plausibility? Theme of twins, ESP? The Jack the Ripper parallels?

JOHN WOO'S ONCE A THIEF

US, 1996, 95 minutes, Colour.
Sandrine Holt, Ivan Sergei.
Directed by John Woo.

John Woo's Once a Thief is a pilot telemovie for a successful television series. It has a Hong Kong background but moves to North America, especially Vancouver.

John Woo had had a celebrated career in the Hong Kong film industry, not only with martial arts films, but especially with police thrillers, for example The Killer. He transferred to the United States in the early '90s, making Hard Target with Jean Claude van Damme. He then made this telemovie but went on to cinema success with Broken Arrow and Face/Off. He then moved to direct Mission Impossible 2.

Sandrine Holt appeared in Bruce Beresford's Black Robe. Ivan Sergei had a quite different role in Don Roos's The Opposite of Sex.

The film is formulaic material, a presentation of the power of the triads, their influence in North America. It is also very much a conventional police thriller.

1. Entertainment value of the film? Pilot for a television series? The appeal of the Hong Kong background, the triads, police thriller?

2. The Hong Kong locations? Vancouver locations? Special effects, fights, car chases? Musical score?

3. The title and its reference to Mack and Leanne?

4. The Hong Kong story: the opening with the gala event, Mack and his disrupting it, the stealing of the computer disk? The techniques for the heist? Michael and his father? Dominating, Michael wanting to meet up to his father's expectations? His father and his liking for Mack and Leanne as his daughter? The promise of the Rembrandt picture to Mack? The setting up of the factory, the gun-running and Mack to supervise?

5. The romantic elements: Mack and Leanne? Michael and his jealousy, the arranged marriage with Leanne? Mack's reaction, stealing the money? The confrontation, fight and shootouts, the exploding of the factory? The father and Michael bent on revenge? The seeming deaths? Yet Leanne disappearing and Mack being imprisoned?

6. The transition to Vancouver? Mack in jail, the visit of the director, her proposition, his acceptance, training to work with the police? The chance seeing of Leanne? His eluding his guard, going to the apartment, the fight with Victor? Discovery of the truth? The red and white roses?

7. Michael and his arrival in Vancouver? Again measuring up to his father's expectations? The visit to Mr Graves, the proposition, Graves' refusal? The threat of antagonism? Murders? The police wanting to find out the truth?

8. Mack, Leanne and Victor making a team? Techniques, Mack and his brashness in the hotel, Victor's exasperation and insinuating himself, seeming to be on the take? Leanne and her police work? The domination of the director?

9. Graves, betrayal, murder? The power of the Chinese?

10. The build-up to the confrontation? Mack and his taking risks, the Rembrandt? The confrontation with Michael, the fight, the chase, the wharf? The confrontation with Victor? The truth?

11. The finale with Leanne between Mack and Victor? The inconclusive ending as regards the romance?

12. Popular TV entertainment themes of crime, police work, stunts, danger - with a touch of the social consciousness, especially about Hong Kong in the mid-'90s and the influence in North America?

J.W. COOP

US, 1972, 112 minutes, Colour.
Cliff Robertson, Geraldine Page, Cristina Ferrare, R.G. Armstrong, John Crawford.
Directed by Cliff Robertson.

J.W. Coop is a rodeo film of the early '70s (along with The Honkers with James Coburn and Sam Peckinpah's Junior Bonner with Steve McQueen). This is a more serious approach to the world of the rodeo riders. It features Cliff Robertson as the star, who also wrote and directed the film. It also features a strong performance from Geraldine Page. The film is a combination of personal drama, disillusionment as well as some action rodeo sequences.

1. The film and its impact, interest in rodeos and rodeo riders and their life? The film as the work of Cliff Robertson as star and director?

2. The atmosphere of the West, the open roads? The action sequences? The use of Panavision photography, the musical score?

3. The title, the focus on Coop, the rodeo professional, public life, private life?

4. The atmosphere of the West in the '70s, the changing West, the rodeo circuit, the changes in the holding of rodeos, and the recycling of the western myths and updating them?

5. The rodeo sequences, the action, the thrills, skills, injuries?

6. Coop and the opening in prison, coming out, his patron? Taking the bus, revealing his character in conversations? Going to the house, his relationship with his mother? Listening to her? Going out on the road, the car? The police ticket? Abandoning the car? Meeting the girl, companionship, the relationship? The police, the Mexicans? The big woman and the rodeo? Coop and his age, the past, change and challenge? A future?

7. The portrait of Coop's mother, at home, her devotion to him, living in another world, the nature of her madness?

8. Bo, his relationship with Coop, his life?

9. The rodeo circuit, the various personalities, managers, agents, friends? The audience?

10. The picture of the police, the critique of the police?

11. The portrait of the Chicanos?

12. A picture of American life? Portrait of a man, middle age, change and challenge? Life and its meaning?