JURASSIC PARK

US, 1993, 126 minutes, Colour.
Sam Neill, Laura Dern, Jeff Goldblum, Samuel L. Jackson, Richard Attenborough, Bob Peck, Joseph Mazzello.
Directed by Steven Spielberg.

Jurassic Park is a tour de force entertainment by Steven Spielberg. It was adapted from the novel by Michael Crichton).

The film takes up the theme of theme parks in the United States and their popularity. It also takes up the scientific and ethical questions of cloning and the consequences for animal and plant nature as well as the danger for humans: the transferring of prehistoric animals to the late 20th century and their trying to survive out of time. The point is made, ethically, about scientists testing whether they can do things rather than whether they should do experiments.

The computer-drawn dinosaurs are quite credible. Spielberg uses his techniques from Jaws for ensuring audience scares and screams. The humans take second place: Sam Neill is an ordinary hero, Laura Dern smiles a lot, Jeff Goldblum makes wisecracks, Sir Richard Attenborough has a Scottish accent and goes through pangs of conscience. The film also focuses on two children - young audiences identifying with them in the dangers.

Jurassic Park is very entertaining, has initial debate about science and ethics, has a rousing score by John Williams and should satisfy most audiences. It was a record-breaking success at the box office in 1993. It successor was The Lost World, 1996.

1. Popularity and acclaim? For what audience - ages, parents, children? The computer effects? Stunt work? The themes of science and progress?

2. The work of Steven Spielberg, his identifying with children, children in an adult world, growing up? Jurassic Park dramatising his perennial themes?

3. The Hawaiian and Montana locations? The realism of the locations? The realism of the dinosaurs and the park? The musical score and themes?

4. The title, audience knowledge and interest in dinosaurs, the history of the universe, biology, evolution? The role of creation, the role of God? Survival of the fittest, natural selectivity? The role of intelligence, human behaviour? Dinosaurs and their grandeur, as monsters? The reasons for them becoming extinct?

5. The debates about science in the early part of the film? The perspectives of the scientists, re-creating extinct animals? The plausibility of the experiments? The mosquitoes, DNA, the frogs? The possibilities of the cloning and its success? The females, the eggs, the fertility? Nature always finding a way of adaptation? The growth of vegetation - and the poison vegetation, its effect on the creatures? Prehistoric creatures transferred to the ecosystems of the 20th century? How to survive? The moral question of `should' rather `could'?

6. The humans and their attitudes towards the dinosaurs? The scientists and their experiments, motivations? Excelling at what they could do? The lack of ethical perspective? John Hammond and his park (and his Scots ancestry) bringing the flea circus to London, the illusion of the circus and the illusion of the park)? Money, a gift to the world, the exercise of control, power? Wanting a flawless park? The role of error, human error, machines? The dependence on machines? Greed, money and betrayal? Arrogance? Relative values? Thinking through issues, feeling through issues?

7. The dramatics of the ethical discussions - with Hammond and the visitors to the park, his assistants and their stances, Allan and Elly and their reaction? Malcolm and his critical comments? The range of issues - and audiences identifying with these, having to think through them during the film?

8. The transition to action and to horror? The build-up about the dinosaurs? The opening sequence and the violent death? The information, the research, Hammond and his quest, the revelation about the park, the seeing of the dinosaurs, the breakdown, getting out of the car, the ranges of the chase, in the car, on foot? The dangers, the hunting? Adults and children? Men and women? The heroics? Dennis and his plan, the car, the rain, losing his way, the small dinosaur and its poisoning him? The hunter and his death? Arnold and his attempt to help? Outside the park, inside the park - destruction? The roaming in the park, getting into the headquarters? The atmosphere of menace, action? Scientific knowledge, using wits? Cinematic techniques, especially editing for shock value?

9. Allan and Elly and their work, their relationships? The discovery of the dinosaur remains? Their dependence on funding? The arrival of Hammond and their reaction, agreeing to help him, the flight to the island? Discussing the various theories about cloning? Allan and his disdain for children? The meeting with Malcolm, the discussions? The action, the enjoyment of the theme park? The poisoned animal and Elly's helping, going back to the centre? Allan and his being with the children, the cars being battered and pushed over the cliff, the tree, rescuing the boy? The trek, the night, the leaf-eating animals? The final pursuit, the electric wire, the boy and the shock? Getting inside?

10. The children, Hammond's grandchildren, their intelligence and knowledge, behaviour, interest in Allan, his reaction? On the tour, response to the dinosaurs, delight and interest? The attack of the dinosaur, the cars, their terror, the boy trapped in the car? Over the cliff, in the tree? The girl and her fears, her helping the group? Allan and relating to him? The night in the tree? The fence? The boy and the shock? Getting back inside?

11. Hammond and his character, showman, motives, style? The planning of the park, the money? The tour and his wanting approval? The lawyer and the insurance? The scientists and their knowledge? The experts and their observations? His devotion to his grandchildren? The tour going awry, his fears? Reliance on his assistants, the shutting down of the computer, the electricity going on, his trying to guide? The end and his closing of the park?

12. Malcolm, his expertise, his ethical stances, his cynical remarks? Being wounded?

13. The Chinese scientist and his explanations? Arnold and his computer knowledge? The technology and the dependence on it? Theories about closing down the system, reopening it? Arnold and his work with Elly, his death?

14. The hunter, his knowledge of animals, his helping the group, with Elly - and his being outwitted by the dinosaurs, his death?

15. Dennis, his greed, the deal with the opposition? At work with the computers? Food? His double dealing, the plan for the dinosaur eggs? Driving the truck, the rain, his losing his way, the dinosaur and the poisoning and his death?

16. The adventures inside the park, audiences identifying with the group and their being pursued, using their wits? The intelligence of the dinosaurs? The variety of dinosaurs - especially those dangerous to humans? Inside the centre, the ruining of the dining room, the dinosaurs opening the doors, the mayhem in the kitchen? The final confrontation in the museum - and the dinosaurs destroying each other?

17. Themes of nature, creation, human relationship with nature? The basic ecological messages?

JUNGLE 2 JUNGLE

US, 1997, 105 minutes, Colour.
Tim Allen, Martin Short, Jo Beth Williams, Lolita Davidovich, David Ogden Stiers, Bob Dishy.
Directed by John Pasquin.

Jungle 2 Jungle is an enjoyable Disney film - if somewhat predictable. It is a star vehicle for Tim Allen, from TV's Home Improvement. His earlier film, also directed by John Pasquin, was The Santa Clause.

Here Allen plays one of those parents who is ignorant of his son's existence and when he discovers it, is in a dilemma whether to keep on with his intensive obsession with business or to become a family man. This was the kind of theme done during the early '90s, the most successful example being Jim Carrey's Liar, Liar.

The film is also a variation on the Tarzan theme as well as films like The Emerald Forest. It seems that Allen has a son by his former wife, born in the Amazon and about to undergo initiation. Part of his initiation is to get fire from the Statue of Liberty and bring it back to the Amazon tribe. This gives the occasion for the son, played by Sam Huntington, to have some intercultural experiences in New York City and compare the way of life in the two jungles.

There is comic support from Martin Short as Allen's exasperated business partner. There is also some comedy with the Russian Mafia, led by David Ogden Stiers. Jo Beth Williams is the first wife and Lolita Davidovich is about to become the second. It is all done in a kind of cute Disney and somewhat knowing style.

1. The appeal of this kind of Disney family film? For adults and their reflections about their relationship with their children? For children - spirit of adventure, relationships with parents? Coping in the 1990s and the two jungles?

2. The Disney qualities: cute, predictable, genial, some slapstick humour (especially with Charlotte's cat)? The boiling of the tropical fish...?

3. New York City and its style? The Statue of Liberty? The homes in the country? The Amazon settings, the river, the flight, the forest? The two contrasting atmospheres? The significance of the title? Mimi- Siku and his moving from jungle to jungle?

4. The film as a star vehicle for Tim Allen? His comic style, timing, physical humour, verbal humour? His not knowing that he had a son? Hurrying to the Amazon for the divorce papers? The city slicker in the jungle? The Amazonians having fun at Michael's expense? The experience of the initiation - and the demands made on him? The effect of seeing his wife again? The effect of discovering that he had a son?

5. The New York background? The boss and the pressures about the deals? The working relationship with Richard? The comedy patter between the two? The phones, the confirmation of deals? The mobile phone in the Amazon - and the mix-up with the coffee deal?

6. The return to New York City? Michael and the business concern, the clash with Richard? His trying to take care of Mimi- Siku? Introducing him to Charlotte? Her reactions? Mimi- Siku and his flight, trying to adapt to the city? Being cared for, being neglected? Michael and his being busy? The Russian Mafia and the deals, desperation, the encounters, the violence? The build-up to the final confrontation?

7. Mimi- Siku and the city, his not knowing the manners of the city - as regards toilets, out on the roof, climbing the Statue of Liberty? Clothes? His trying to understand? His attraction towards Richard's daughter? Going to stay with the family in the country? Throwing away the frozen fish, boiling the tropical fish (and Richard's hysterical reaction)? The family trying to welcome him - with the intercultural differences? On the swing with the daughter and Richard's over-reaction? His wanting to go back to the jungle?

8. The comedy with the Russians? The caricature of the gangsters? The leader and his henchmen and their ineffectiveness, comic villains? The fight and the family being able to overcome them?

9. Charlotte, her glamour, reactions to Mimi-Siku? The animals, the snake, being petrified? Her photographer? The incompatibility with Michael? The comedy with the cat?

10. The build-up to the fight, the whole family joining in? Humorous knockabout comedy?

11. The boss, the change of the coffee prices and the vindication of Michael and Richard?

12. Mimi- Siku and his wanting to return to his village? His father giving him the Statue of Liberty cigarette lighter? Back in the jungle, with his mother, with the tribe? Achieving manhood? His father ringing, the humour of his being on the river bank? The whole family coming, including Karen? The bonding of the jungle of New York with the jungle of the Amazon?

13.Disney and the exploration of family values? The single-parent families of the '90s? Broader families and bonding? The contrast with the Amazon tribe, the extended family, initiation rites, maturity? And the postscript with Michael trying out the same initiation rites?

JUDGMENT IN BERLIN

US, 1988, 92 minutes, Colour.
Martin Sheen, Sam Wanamaker, Sean Penn, Max Gail.
Directed by Leo Penn.

Judgment in Berlin is based on the book by Judge Herbert J. Stern. It is a true story about Stern and his presiding over a case about refugees from East Germany. The situation was that of an American court operating according to American law in Berlin. The screenplay is written by Joshua Sinclair and director Leo Penn.

Martin Sheen plays the liberal judge with his accustomed aplomb. Sam Wanamaker enjoys himself as a lawyer. Sean Penn has a subdued supporting role (German accent and all) and shows what an effective actor he can be. (Here he is directed by his father, Leo Penn.)

The film is set in the '70s - and was made just before the collapse of the Berlin Wall and the unification of the two Germanies. It is a reminder of the communist era.

1. Interest in the communist era, divided Germany? Escaping from East Germany to the West? Human interest? Legal judgments?

2. The Berlin settings, the authenticity of the city of Berlin, the contrast between east and west, East Germany? The musical score?

3. The title, the focus on the judge, his responsibility? The refugees? The attitudes of the East German authorities, the Polish authorities, the American State Department?

4. The establishing of the situation: 1978, the atmosphere in East Germany, East Berlin? Schuster, from the West, an engineer, arranging the escape? Sigrid and her daughter? His using his friend Helmut - and his wife and children in the West? The plans, the documentation, going to the station, the train and the plan for the ship? Poland? The arrest of Schuster, the false papers and the passports? His imprisonment and interrogation?

5. Helmut and Sigrid, the plane, the hijacking? The landing in West Berlin? The fellow passengers and the seeking of asylum? Helmut, Sigrid and her daughter arrested? The audience not seeing the full nature of the hijacking - the importance of Gunther and his wife, their knowing the facts? Their later coming forward?

6. The treatment of Helmut and Sigrid by the authorities? American suspicions? The range of interrogations, recording the interrogations? Their being used in evidence against them? The comparisons with the East German authorities and their treatment of Schuster? The question of the hijacking, Schuster and his case depending on what happened in the West?

7. Judge Stern, his reputation in the United States, his wife? His going to Germany, the discussions with the American authorities? The gradual revealing of the significance of the case? The background of law, the American Constitution? A US court within Germany? The treatment of the case, the listening to evidence? The evidence of Helmut, Sigrid - and the dropping of the case against her after revelation that she was forced into a confession by the American official? The Poles and their interest? The presence of Soviet and Polish authorities in the court?

8. Stern, his knowledge of law, his discussions with his wife? The contrast of the intimate sequences with his appearance in the court? The pressure of the American State Department? Their arguments in court, the legal attack on their statements? The estimates of the judge and his criticism of the government behaviour?

9. Sigrid, her daughter, the interrogations, the case being dropped against her? The separation from Schuster at the end of the film? The contrast with Helmut, his trial, the testimony of the crew, excessive threats? The Polish Prosecutor-General?, the intimidation in the court?

10. Gunther, his wife, in Germany, asylum? Remaking their life? Gunther's crisis of conscience, his going to the authorities? His testimony - and the audience seeing what really happened, the toy gun, the knowledge of the crew, there being no immediate danger? The American State Department's case against him? Pressuring the judge? The `not guilty' charge? His sentence as time already served?

11. Bernard Hellring, his skills as a lawyer, investigations, performance in court? With Sigrid, the case against her being dropped? His shrewdness? His staff? Judah and his friendship?

12. The issues of justice, the law, humanity? The comparisons between the American government and the Polish government? East German government? The issues seen in the retrospect of the reunification of the two Germanies?

JOHNNY HANDSOME

US, 1989, 94 minutes, Colour.
Mickey Rourke, Ellen Barkin, Elizabeth McGovern?, Morgan Freeman, Lance Henricksen, Forest Whitaker.
Directed by Walter Hill.

Johnny Handsome is a tough thriller directed by the renowned director of tough thrillers, Walter Hill - whose films include Streetfighter, The Driver, Red Heat, Southern Comfort, 48 Hours.

The film has authentic New Orleans settings. It focuses on petty criminals and their success, as well as their betrayal of one another. Lance Henricksen and Ellen Barkin portray two of the ugliest of screen villains. Mickey Rourke has an offbeat role as Johnny Handsome - a man with a disfigured face (reminding audiences of the Elephant Man). After a plastic surgery operation (done by the genial actor Forest Whitaker), he goes back to an ordinary life - but is bent on revenge. Elizabeth McGovern? is attractive as the sympathetic girl.

The film focuses on grim aspects of life, the world of criminals, the world of labour, the world of the police (represented by Morgan Freeman as a sardonic parole officer). There is a great deal of violence - but is quite well done in its style.

1. Interesting and exciting thriller? Twists of the plot?

2. The New Orleans settings, the world of the criminals, the dark, nightclubs, prisons, workplaces, the police? Industry and labour? Authentic atmosphere? Musical score?

3. The title and its ironies?

4. The credits: the relationship between Johnny and Mike, the photos, the bonds, the past? Crime and money? The plan for the robbery? Rafe and Sunny, her background, working with Rafe? The robbery, the execution, the masks, the jewels, the violence, the getaway - and the killing of Mike and wounding Johnny?

5. Johnny, his appearance, nickname, participation in the robbery? Grief at Mike's death? The arrest, prison? In himself, his memories, his parents, his face, threatening the children who mocked him? His sentence? The police officer and the pursuit? In jail, his being knifed in the yard, the failure of the attempt on his life?

6. The doctor, sympathy, the possibility of change? The discussion at the surgery, the issues, the preliminaries, the operation, the computer work and planning of the restructuring? The effect?

7. The personality of the doctor, his motives, sympathy? Preparation, the operation? With the students at the hospital? His being the psychologist for Johnny's rehabilitation and readjustment? The nuns at the hospital, the sympathetic nun and her teaching Johnny how to speak?

8. Johnny transformed into the recognisable Mickey Rourke? Getting out, new documents, the report of his death, possibilities? Going to work, the effect of work on him, an ordinary life, apartment, meeting the secretary, attracted to her, sympathetic? Going out with her? The attack by her boyfriend and his threatening him? Warning him away from forcing the girl to cook the books? His dropping her and her puzzle?

9. Rafe and Sunny, their background, Sunny as a prostitute, Rafe keeping the money, her being in the bar? Their partners?

10. Johnny's plan, checking it out, the threats? Going to the club, seeing Sunny, getting Rafe involved? Rafe's threats but Johnny's hold over them?

11. The execution of the robbery, the effectiveness, the same technique as before? The getaway? Johnny and his shrewdness with the money, his plan, laundering it? The various doublecrosses and the effect?

12. The cleaning of the money, the man recognising Johnny? Contact?

13. The policeman, his continued meetings with Johnny, suspicious, looking for the revenge, wanting to catch the criminals? His working out the laundering of the money? His pursuit?

14. Rafe and Sunny and their taking Donna? The shootout? The final bluff about the gun in the case? Rafe's death, Sunny's death? Johnny being shot? What had he achieved?

15. The world of criminals and evil, the effect? Possibilities of redemption? Revenge or redemption? What if...?

JFK

US, 1991, 188 minutes, Colour.
Kevin Costner, Sissy Spacek, Kevin Bacon, Tommy Lee Jones, Gary Oldman, Joe Pesci, Donald Sutherland, John Candy, Jack Lemmon, Vincent D' Onofrio.
Directed by Oliver Stone.

JFK was co-written and directed by Oliver Stone, Oscar-winner for Platoon and Born on the Fourth of July as well as writer-director of such films as Midnight Express, Year of the Dragon, Wall Street, Talk Radio, The Doors. This is not a film about John F. Kennedy himself. There are visual glimpses of his career and presidency. But this is a film about his death, the investigation by the Warren Report and subsequent conspiracy theories. They focus on Jim Garrison, the New Orleans District Attorney, who has pursued his beliefs for almost 30 years.

Pre-Watergate? and Irangate, most people trusted governments. JFK indicates just how far we have come in suspicion and cynicism. An extraordinary exception is the film's idolising and idealising Kennedy as a man and as a politician, despite later revelations about him. JFK is a media film. It reminds us of the power of movies, a strong plot with twists, characters who attract and repel, stylish photography and editing. Kevin Costner is a credible Jim Garrison and many Hollywood stars, including Jack Lemmon, Walter Matthau, John Candy, Donald Sutherland, Ed Asner appear in cameo roles. The exception is Garrison's wife, Sissy Spacek, who offers all the conventional responses. Her part, like many women's parts in Stone's films, is weakly written.

The focus is on the medium itself. Does it present the truth? Can it? Ever photo is taken at an angle. There is always another angle. Every video sequence is a moment or some moments of captured time. These can be processed. Some of the newsreel footage in JFK is actually Stone's screenplay filmed with actors. So, what is real and what is true? This means that movies, even docu-dramas, are not the best medium for historically accurate stories. Movies dramatise; movies capture moments; movies have angles. JFK then cannot be (and does not claim to be) `historical'. Rather, using media present and past, it reconstructs history so that we can stop and think, ask questions, theorise (even to conspiracies) and, in this way, enjoy.

Other Kennedy conspiracy films include Executive Action (1973), Richard Condon's audaciously satirical suggestion in Winter Kills (1979) and the Kris Kristofferson police thriller, Flashpoint (1983).

1. The impact of the film? The worldwide controversy? Discussions in the United States about conspiracies, the Warren Commission Report, the availability of documentation? Stances pro and con? The film's acclaim and awards?

2. The work of Oliver Stone, his style? His intentions? His use of Jim Garrison's book and Garrison as a central character? The plausibility of what he presents? Credibility?

3. Attitudes towards conspiracy theories about Kennedy's death - in the '60s before Watergate and the public believing official reports? The cynicism and disillusionment of the '70s and '80s? The role of the American government in cover-ups?

4. The role of the media, supplying of information and data, media and interpretation? Stone and his own use of media and media styles, for example his own newsreel footage inserted with actual footage? Editing, commentaries?

5. The title, the credits and the glimpses of John F. Kennedy as a person, as a significant figure, in his time, the idealising of Kennedy (and the ignoring of personal and political revelations about him and his adequacy since)? The political background, Kruschev, the Berlin Wall, the Cuban situation, the missiles? And yet the idealism of Camelot? The Vietnam experience?

6. The opposition to JFK: military officials (and the speech by Eisenhower at the opening of the film)? Business interests? The anonymous officer, played by Donald Sutherland, giving information, explanations about the military and business hierarchy? Armaments, the presence in Vietnam? The anti-Castro Cubans and movements in the United States? Right-wing fanatics? Business interests and their paramilitary organisations? The CIA?

7. Audience knowledge of Kennedy, memories of him and of his death and its impact? Changing attitudes towards Kennedy since his death? Images, speculation? The effect of three hours of this film - and audiences leaving and their attitude towards the assassination?

8. Colour photography, the skill in cinematic styles, editing? The range of the cast? The musical score?

9. The background of Dallas, the presidential visit, Kennedy and his entourage, the crowds, information about the route, the observer and his Super 8 film (and its not being available unless subpoenaed)? Photos, verbal evidence and interrogations? The number of the shots? The question of the single bullet - and the explanation of its alleged `magical' journey? The reaction of the police, the arresting of Lee Harvey Oswald, the interrogation, lack of records, the ease with which Jack Ruby could approach? The sitting of the Warren Commission, its report, the 26 volumes - without index? Consistencies and inconsistencies within the report? Authorities, vested interests - even to Lyndon Johnson?

10. Jim Garrison and New Orleans, Kevin Costner's screen presence and charisma? Audiences identifying with Costner and, therefore, Garrison? The District Attorney, his skill at his work, his colleagues and their collaboration? Watching the television, the motorcade, the impact of Kennedy's death? Garrison as a lawyer, his status in New Orleans? A family man, an ordinary man? His relationship with Liz, the tensions, her presuppositions about the assassination, about Oswald? The children and their relationship with their father? His being busy, neglecting his family? Seeing them together, Liz and her wanting to walk out? The dangers? Her change of heart and coming to court? The background portrait of the family?

11. The New Orleans scene and Guy Bannister and Jack Martin, the flashbacks, their drinking, Bannister and his disdain of Kennedy? Reaction to the assassination? The arguments, their work, documentation, Bannister and his conspiracies? His bashing Jack? The interrogation of Jack three years later, Jack and the explanations, his fears? Bannister and his connections, Clay Shaw? With David Ferrie, Lee Harvey Oswald? The Cubans? The various agencies? The paramilitary training? The address of his office, Garrison checking out the doors and entries?

12. New Orleans and David Ferrie, calling him in for interrogation, his lies? The homosexual background and company? Friends, his own personal style, his story about wanting to be in the seminary? The story of goose-hunting and going to Texas? The inconsistencies? His own fears? The flashbacks and seeing him in action with Bannister and Shaw? Paramilitary training and expertise? The Cubans? The protests in New Orleans, Oswald and his continued presence? Ferrie, the later interrogations - and his death?

13. The portrait of Garrison as a conscientious District Attorney, his close associates, Suzy Cox? Their discussions, meetings, theories, investigations and interrogations? The years passing? New Orleans responsibility, Lou and his moving out - his return to the court? A solid team?

14. The background of politicians - and the sequence of Garrison going to Washington with Senator Long? The political implications and connections? The Warren Report?

15. The range of witnesses, the film's continually returning to them? Interviews with the police, the verbatim from the Warren Report investigations? The flashbacks? The reconstructions, the route of the motorcade, the television-style interviews? Bowers and his evidence - and his death? The family groups? The dead woman who allegedly heard the Cuban planning and her being thrown onto the road? The sinister deaths - and the number of deaths of witnesses?

16. Clay Shaw, his presence in New Orleans, as seen in the flashbacks with Bannister and Lee Harvey Oswald? His homosexuality and moving in homosexual circles? Garrison and his associates going to the prison, searching out Willie O'Keefe, the interviews? O'Keefe, his manner, background, the male prostitute? His status in prison? In court, evidence against Shaw? The flashbacks, Shaw picking him up, the meal, seduction, cross-dressing? The crediting and discrediting of O'Keefe?

17. Shaw and his reputation in New Orleans, Liz Garrison and her response? His being arrested, going into court? His aliases? His self-assurance, business deals and connections? The reconstruction of his behaviour, connections? His denials? The court sequences? The behaviour of the judge, the objections, sustained or disregarded? His speeches in the courtroom? Garrison, the defence lawyers? The speeches to the jury? The `not guilty' verdict - the aftermath, Shaw leaving, the press and their interviewing Shaw as well as Garrison?

18. Dean Andrews, his manner of speaking, connections, the law, the lies, his style in discussions with Garrison? In the witness box?

19. The portrayal of Lee Harvey Oswald, the reconstruction of the months before the assassination? An enigmatic character, the Marine training, the training in languages, his visit to Russia, documents, Russian citizenship, marrying Marina? His return home, the guns? The basis of his presence in New Orleans, the campaigns, the address on the leaflets handed out? To Texas, his job? On the day of the assassination, relationship with Marina? The neighbours and their comment? The boarding house? At work, meeting people in the building? The explanation of his doing it himself (and the re-enactments with the speed of cocking the gun and firing the bullets, and possible accuracy)? The other assassins, his fleeing the building, caught at the movie theatre, the death of Officer Tippett? The interrogations, his declarations of innocence and that he was a patsy? The witnesses? The records and their lack? Jack Ruby killing him?

20. Jack Ruby and his background, connections? His motivation for killing, the shock for the American public after the assassination at Ruby's murdering Oswald?

21. X - and the information given, approaching Garrison, explanations of the military, the build-up in Vietnam, the need for a presence in Vietnam? The attitudes of the Pentagon? The discussions and explanations for Garrison - and for the audience? Giving some kind of possibility for such a conspiracy?

22. The impact of the court sequences at the latter stages of the long film? Speeches, reconstructions? The motorcade, Kennedy shot, the information about the bullets, his falling? Governor Connelly? His being taken to hospital, the transfer of the body to Washington, the surgery, the officials and their presence, the demands made on the doctors? The relationship of this information to the Warren Report? The allegations of cover-up - even to Lyndon Johnson?

23. The overall effect of the film? The influence of movies? Their power? Fact, fiction? Angles of photography, other angles, editing, processing? Interpretation? The credibility of Garrison? The value of this kind of film in raising issues?

JERRY MAGUIRE

US, 1996, 138 minutes, Colour.
Tom Cruise, Cuba Gooding Jr, Renee Zellwegger, Kelly Preston, Bonnie Hunt, Eric Stoltz, Jay Mohr.
Directed by Cameron Crowe.

Nominated (surprisingly) for an Oscar for Best Film. Tom Cruise, putting a lot of effort into his turn as a sports agent who develops a conscience, and Cuba Gooding as the self-opinionated football star both won nominations. Very long, repetitious and seeming to attack the greed mentality while the solution depends on winning big bucks, the film does have some very entertaining sequences plus some idealistic moralising. One of the biggest money-spinners in the US in 1996, it means that despite our apprehensions about violence, audiences do prefer this kind of pleasant movie. Frantically easygoing.

1. The film's popularity and critical acclaim? Oscar nominee? Nominations for Tom Cruise, win for Cuba Gooding?

2. American response to films about sport? The spectacle, the hype, competitiveness, media and money? The fans?

3. The football sequences, details of play, crises and touchdowns, tackles? The players and their deals?

4. The world of sports agencies, the promotion, the hype, the deals, the huge amounts of money, the need for success, the phone calls, pleas, the contracts?

5. The popularity of the phrase, `Show me the money'? Its comment on things American?

6. The strength of the cast, Tom Cruise and his style, popularity? Cuba Gooding and his style (and Oscar win)?

7. The background of the American cities, big business and the offices, apartments, the contrast with small towns, hotels, houses? The range of songs, the musical score?

8. Jerry and his success, status in the firm? The range of clients? The professional jealousy amongst the alleged friends in the agency? His not being able to sleep, the brainwave of writing the mission statement? The contents of the mission statement itself and its quality? Its critique of the company? The reality of the critique in the real world, especially of agencies? Jerry and his self-image, truth, love, honesty? - And the irony of the bigger contract for Ron Tidwell at the end?

9. Tom Cruise as Jerry Maguire, his screen image, presence? The clean-cut American guy - no matter what? His work as an agent, his skills, his relationship with his bosses, with the peers, with the clients? The effect of the mission statement, their reaction, their comments that he would go - and his being fired?

10. Jerry and his desperate phone calls to save his clients? The few who remained? His appeal to the people in the office and their turning away? Inspiring Dorothy Boyd, her going with him? His starting his own business with her, the details of their attempts to set up office, make contacts?

11. Jerry and his relationship with Avery, her own professional skills? Fiancee? Tough, their sexual relationship, the sex scene and the revelation about her dominance? The break-up and her punching him?

12. The contrast with Dorothy Boyd, nice, in the office, his making a pass at her, the quality of their relationship, `She had him from hello'? His liking for her son? The date, the contrast between himself and Dorothy with Rod and his wife and their manifesting their love for each other? His overhearing Dorothy talk with her sister? His proposal - to keep her with him? The marriage, on the road, the distance, his not loving her, the split? His moment of success and realising that he needed Dorothy to be with him? The sequences with the boy - and the boy as a catalyst for Jerry to understand himself?

13. Rod, his status as a football player, with the agency, his staying with Jerry? The phone calls and the deals? The promises of contracts and millions of dollars? The contrast between Kushman and his double-crossing Jerry, going with Bob Sugar? The character of Bob Sugar as dramatising the sleazy successful agents?

14. Cuba Gooding as Rod? Carry-on and style, the extreme extrovert, `Show me the money'? Home, his relationship with his wife, family? The dressing-room - and the sequence where Jerry pleads with him, `Let me help you'? The contract, the season, his success, Jerry following him? The dramatic touchdown? People in the stadium, the TV audience willing him to succeed? The tackle, his collapse, the tension, his survival? His recovery - and his big speech in owing it all to Jerry? And the reward of an even bigger contract?

15. Dorothy's family, her sister and her advice? The divorce group and their meetings, discussions, cutting off Jerry in his speech? The son and the humanising of Jerry?

16. The supporting cast giving strength to the atmosphere of the film - the players, the sports commentators, the agents, Chad the jazz-loving babysitter?

17. The atmosphere of the sports world, frantic and on the go, away from home, living in hotels, the reality and unreality? The effect on the players and the agents?

18. The film as the humanising of Jerry Maguire? The popular theme of American films in the '90s with the professionals being so successful that they need failure, relationships and the possibility of becoming human again? The perennial appeal of this kind of film - especially in the latter part of the 20th century and the atmosphere of greed and success?

JAMES AND THE GIANT PEACH

US, 1996, 80 minutes, Colour.
Voices of Simon Callow, Susan Sarandon, Richard Dreyfuss, Miriam Margoyles, David Thewliss.
Directed by Henry Selick.

James and the Giant Peach is based on a Roald Dahl story. Several films have been made of Dahl's novels: Willy Wonka and the Chocolate Factory, The Witches and Matilda. In the latter two, adults seem ugly and threatening. This is very much the case with the two sisters in James and the Giant Peach, played by Miriam Margoyles and an absolutely ugly Joanna Lumley.

The film focuses on a young boy, played by Paul Terry, in the late '40s. His parents disappear (taken by a mysterious rhinoceros) and he is put under the cruel care of the two sisters. A traveller, Pete Postlethwaite, passes by and tells him a story - which leads into the fantasy of his travelling to New York, the place of dreams bequeathed by his father, in a giant peach. He is accompanied by a range of bugs and insects - who have rather strong personalities, especially with the voices of Simon Callow as the grasshopper, Susan Sarandon as the spider, David Thewlis as the worm, Richard Dreyfuss as the centipede.

The film was directed by Henry Selick, the director of Tim Burton's The Nightmare Before Christmas. Tim Burton and Denise di Novi are the producers of this film as well. It combines puppets with animation.

The film is vigorous, entertaining, with a touch of the sweet and the frightening and a number of songs.

1. An entertainment for children? For adults?

2. The popularity of Roald Dahl's stories, other film versions? The focus on children, intelligent and resourceful children? Their being put upon by adults? The ugly adults? The world of fantasy and relief?

3. The title and its expectations? The humour of travelling over the seas on a giant peach - and not dying of hunger because the peach can be eaten?

4. The introduction: James and his parents, the visual style of the late '40s, colour, clothing, the postures on the beach? The artificial settings? James and his love for his parents, their love for him, communicating that love and their dreams, especially New York?

5. The mysterious disappearance and their being taken by a rhinoceros - and the audience being left with this mystery? The later appearance of the terrifying rhinoceros?

6. The two ugly sisters: their appearance, vanity, looking at themselves in the mirror, their clothes? Their cruelty to James? Making him work? Their threats - and the dangers of their house? The insects and their antagonism, the spider?

7. The traveller, his knowing all about James, his friendliness, telling him the story - and his winking at the audience at the end?

8. The contrast between the real-life action and the animation? Establishing the characters and voices with real life? The transition to a fantasy world?

9. James and the enterprise of going on the voyage, the various insects and their presence on the boat? The setting sail? The vision of New York?

10. The musical score, the songs - especially those throughout the voyage and their contribution to character, to situations?

11. The sisters and their appearance on the prow of the ship, their appearance on the high seas? Finally arriving in New York and their dominating James, accusing him of telling lies, the spider cocooning them in her web? The villains of the piece?

12. The characters of the insects on the peach: the grasshopper and his English aristocracy? The Brooklyn centipede? The British worm? The French spider? The ladybug? Their appearance, characters, wit, contribution to the action - especially in sailing the ship, surviving, the pirates, the shark?

13. The shark attack - and the visuals of the mechanical shark? The contrast with going down into the pirate ship - and its coming alive with Skellington characters?

14. The seagulls and the ingenuity of getting them to carry the peach? The difficulties, getting them back, transporting them over the sea?

15. The adventures on the ship, James and his wisdom and control? Relying on each of the insects? Their moments of despair, hope, courage?

16. The arrival in New York? The humour of being stuck on the Empire State Building? James being rescued and the voyage being a success? The confrontation with the sisters and his telling the truth? The sympathetic policeman? The people on the streets and their watching James and admiring him? Hope for a new life?

17. The humour of the newspaper headlines with the fate of each of the characters? The post-credits glimpse of the game involving the two sisters?

18. Roald Dahl and his capacity for telling stories to fascinate children? Children and their identifying with them? The criticism of ugly adults? The limitless realms of fantasy?

JOSHUA

US, 2002, 90 minutes, Colour.
Tony Goldwyn, F. Murray Abraham, Kurt Fuller, Stacey Edwards, Giancarlo Giannini.
Directed by Jon Purdy.

Joshua is a modern version of the name of Jesus. It is the name of a film which, of course, has an effective Christian message and puts the Gospel teachings before us in story form. It is one of those films which is suitable for everyone though younger audiences may find that much of it goes over their heads.

What if Jesus were to come to earth now and live his mission among us all over again?

We need to ask further questions. Where would he live? Would he preach in the way that he did 2000 years ago? Would he work miracles now, even raise the dead? What about challenging the religious authorities as he did with the scribes and pharisees? If you have ever wondered about these questions – or even if you haven’t – then Joshua will provide some answers.

Fr Joseph Girzone has written a series of Joshua novels. And he answers, 'Yes!’ to all of the above questions. The books show how Jesus preaches more by example and living amongst ordinary people than teaching. It is by sharing their lives that he wins them to himself. He affirms them as the persons they are with their particular gifts and talents.

His miracles would be much more low-key than in the past and they would drain the power out of him (as he said when, in Mark 5, he healed the woman with the haemorrhage and felt power go out of him). He would be 'ecumenical' and would test the faith of many who preach the Gospel in his name but fall short of the ideals or misinterpret them: tent-show healers as well as of fear-of-God parish priests. And, in the case of Joshua, he would be living in the United States.

This is all to be found in this first film of Fr Girzone’s Joshua stories.

It should be said that it is made for those who like their good messages clear and positive with a minimum of ugly confrontation. It does not take a very sophisticated approach and, yet, underlying the entertaining story, there is quite some serious reflections on following Jesus and on faith.

Tony Goldwyn, who showed he could be quite a villain in Ghost and in The Sixth Day, is much different here. His playing of Joshua is of a man who is both outgoing and quiet, down-to-earth yet insightful, speaking the truth yet compassionate. Like the Jesus of the Gospels, he is a listener as well as a man of action. It is a subdued but pleasing interpretation.

The film-makers had to make decisions as to how Joshua would be credible in modern times let alone in the film. Questions they had to face concerned his age, his appearance, his manner? How could the actor portray him as reserved yet friendly? Somebody who could convey the impression that he was grounded in the real world as well as communicating deeply about realities beyond day-to-day human experience? While he seemed to appear from nowhere and there was initial antagonism to him, he began to make friends. The writer took Fr Girzone’s lead and showed Jesus doing ‘gospel’ things. He was able to move into the workshop of her husband by a woman in the parish. After all, Jesus was a carpenter. Joshua made carvings – and gave a heart to the woman. And the local church? He was there to help pull it down in order to build it again. When you see the film, you will appreciate how Joshua was, like Jesus, all things to all people - his growing friendliness with the various people that he met: the boy and his guitar and clash with his father, Maggie and her grief for her dead husband and wanting to move, Father Pat and his difficulties in the church, going fishing with Fr Pat (who becomes something of a Peter-figure, the Baptist minister, Theo and the congregation, Joan and the difficulties with her husband, the clashes with Father Tordone, the parish priest. A dramatic highlight is the raising of the church bell and Theo falling off the roof – and his being brought back to life. Joshua goes to the revival tent and a woman gets her strength back, his challenge to the preacher about his lack of faith and the quiet healing of the blind woman. And, like Jesus of old, Joshua felt the strength going out of him as his enlivening power went into those who were healed.

Kurt Fuller is genial as Fr Pat and F.Murray Abraham is not as the pastor. Giancarlo Giannini appears at the end as the Pope receiving Joshua in audience and listening to his message. Audiences who prefer their messages to be less explicitly inspirational will find the film too sweet for their taste.

The screenplay will be too simplistic for many, much happening too fast and without the dramatic and psychological impact that would have given it more depth. Fr Tordone's literal change of heart was rapid in the extreme. Fr Pat (who may drive more staid parishioners up the wall) is very genial. And, yet, it made me reflect on how Jesus would be incarnated today, what his manner would be like, how he would heal, how he would affirm and challenge.

1. The popularity of the Joshua novels? Imagining Jesus coming back on earth? In an ordinary American town? His impact, example, parallels with the gospel?

2. The American small town, the homes, the barn, the river, the churches? An authentic atmosphere of a contemporary Nazareth? The contrast with the scenes in Rome and the Vatican? Musical score, songs?

3. The title, the Hebrew name for Jesus? Enabling a parallel as well as a contrast with the Jesus of the gospels?

4. The credibility of the plot: that Jesus could be incarnated in the 20th-21st century? His age, experience, carpentry skills? His impact on people? His really being Jesus with his knowledge of the past and his own experience on earth, his seeing into the future? His seeing into people's hearts? Telling the truth, enabling them to be their better selves?

5. The voice-over by Father Pat, his place in the town, dominated by Father Tordone? His simplicity, the fisherman (and the Peter parallels)? His place in the church, dominated by the parish priest, friendly with everyone, admiring of Joshua, transformed by him? His commentary and perceptions?

6. Joshua, age, appearance, manner? Reserved yet friendly? Down to earth yet insightful? Telling the truth but compassionate? A man of action but a listener? His arrival, initial antagonism, the boys on the roof of the church, Theo and his friendliness? The advertisements, Joan and her letting him have her husband's workshop? Settling in, his carvings, giving the heart to Joan? His being at the church, pulling it down in order to build up again? His growing friendliness with the various people that he met: the boy and his guitar and clash with his father, Maggie and her grief for her dead husband and wanting to move, Father Pat and his difficulties in the church, the Baptist minister, Theo and the congregation, Joan and the difficulties with her husband? The clashes with Father Tordone?

7. His work, the building of the church, gathering the group around him, the sense of community? Going to Mass and listening to the sermon and pronouncing it interesting? The discussion with Father Tordone about God's anger and God's love? Going fishing with Father Pat, making him fish without assistance? Going to the rock concert? The discussions with Maggie? The raising of the bell to the church, Theo and his falling off the roof, the miracle of bringing him to life again? The quietness of the manner, Pat witnessing it? Going to the revival tent, the preacher, the woman getting her strength back, the blind woman, Joshua's challenge to the minister, telling him about his lack of faith, the quiet healing of the blind woman? The importance of the miracles and strength going out of Joshua into the healed person and his feeling weaker?

8. Father Tordone, the Masses, the discussion with Father Pat, his frustrated ambitions in not being able to go to Rome, his friend the cardinal, telling Pat how to behave, to preach, sitting behind him and watching him, forbidding him to be friendly with Joshua? His commissioning the statue? Joshua seeing into him? His anger, accusing him of building up a cult following, developing a sect? The visit to the bishop and the bishop not acting on it? His contact with Rome, going to the cardinal? Joshua and his going to Rome, talking with the cardinal, touching Father Tordone, enabling him to love? Their friendship, walking through St Peter's Square, Father Tordone and getting his job in the Vatican? Father Pat getting the parish - just as Joshua said?

9. Joshua's personality, his listening to everyone, his initiatives, enabling people to be their better selves, telling the truth, getting people to say what was really in their hearts? His kindness towards everyone? The meeting with Maggie, her misinterpreting it, smashing the glass, giving her the gift of the glass object - and her feeling made whole? Pat and his anger with Father Tordone, taking off his collar, resigning, going to the confessional, Joshua encouraging him to keep going?

10. The summons to Rome, Joshua not having to go, his being willing? The final meal - and Pat's comment about it being a last supper?

11. The cardinal in Rome, Joshua and his calmness, the effect on Father Tordone? Giving him the papal audience, the discussions with the pope, giving him the tools, telling him that he knew about his promise to commitment because of his sick sister? The effect on the pope, Joshua urging him to preach God's love?

12. The film and its explicit preaching? Implicit example of Joshua's life as a sermon? The spiritual message of the gospel?

13. Imagining Jesus in a contemporary situation - would he have acted like Joshua? The people accepting him, the hostilities, his vindication? His power of healing? His predictions? His final conversation with the pope and referring to his life in Jerusalem and his crucifixion?

14. The feelgood aspects of the film? The lighter treatment of confrontations and hostilities? The impact of the film for an audience who prefers more straightforward presentations of the gospel message and goodness?

JUST CAUSE

US, 1995, 102 minutes, Colour.
Sean Connery, Laurence Fishburne, Kate Capshaw, Blair Underwood, Ed Harris, Christopher Murray, Ruby Dee, Scarlett Johansson, Daniel J. Travanti, Ned Beatty, Lyn Thigpen, Hope Lange, Kevin Mc Carthy, Chris Sarandon, George Plympton.
Directed by Arne Glimcher.

Just Cause is a rather graphic and violent investigation movie with Sean Connery trying his hand at solving a murder mystery and, as a celebrated lecturing lawyer, defending the innocent. Connery is executive producer of the film. Once again Connery lends his dignity (though a dent in credibility with Kate Capshaw, so young compared with his age, as his wife with young children, one of whom is Scarlett Johanssen - The Horse Whisperer, Ghost World, The Man Who Wasn't There, The Girl with the Pearl Earring, Lost in Translation) as one of the grand old men of cinema to a popular genre.

Again there is a very strong supporting cast including Blair Underwood as a man accused of rape and murder, Laurence Fishburne as a Florida policeman. The plot has a number of twists and character interconnections that lead to changing sympathies. Ed Harris gives a brief but extraordinary performance as a psychotic killer. The film highlights justice difficulties in violent America.

1. A strong police investigation, portrait of a serial killer, thriller? The combination of these elements?

2. The southern settings, the towns, homes, prisons, the glades - a context for the action, for the characters? The contrast with New England? The musical score?

3. The plausibility of the plot: the work of the police, police brutality, crimes, rape and murder, beatings and confessions, the practice of the law, motivations, the insane killer, the various twists in audience sympathies, the final peril?

4. The title, as applied to Bobby Earl and the crimes he was accused of, the police and their brutality, Sullivan and his criminal activity, Paul and his concern about justice, his wife and her motivations? The ending?

5. Bobby Earl, black, the previous charge of kidnapping, Laurie and her having prosecuted? His second arrest, the rape and murder, the examination of the location for the crime, lack of evidence? His being in the cells, Wilcox and Brown and their treatment of him, the confession? His being found guilty, going to prison? His relationship with his mother? Her going to Paul to plead for him to come and defend him? His discussions with Sullivan, Sullivan assuming his blame? His being let out, the revelation of the truth? Laurie and her daughter, his going berserk, motives? The explanation about his torture and castration? The confrontation with Paul and Brown? The threats, death, vengeance being taken on him?

6. Wilcox and Brown, their police work, Wilcox and his treatment of Bobby Earl? Work, investigation, Brown and his being black, investigating Bobby Earl? The actual beatings and who did them? The mission, the notice, the men, the escape, going to the glades? Brown with Paul? Wilcox's death? Brown surviving, the confrontation with Bobby Earl, his death? The bonding between Brown and Paul?

7. Paul, his work, lecturing in New England, Evangeline and her being present, pleading her son's cause? Paul and his work, his young wife, children? The discovery that Laurie had been involved in the case against Bobby Earl? His going to the south, discussions with the local authorities, investigating the police, going to the jail, interviewing Bobby Earl? Estimating his guilt or not? A man of the law, a man of action? His relationship with his wife and daughter, their being taken? The interviews with Brown, with Sullivan? Sullivan's execution? The lie to Bobby Earl that Sullivan had not been executed? Forcing the truth? Brown and his story, their going to the glades, the confrontation with Bobby Earl, the rescue of Laurie and the children?

8. The cameo presence of Sullivan, mad, cruel, born-again? His intensity, the interviews, his violence? His taking on Bobby Earl's guilt? Giving the explanation and clues? Their not measuring with the truth? His deal with Bobby Earl, his execution?

9. Laurie, her law background, in the case against Bobby Earl? The age difference with her husband? Her children? Her motivation in persuading Paul to take the case, his questioning whether it was for Bobby Earl or for herself? The family, the abduction, the perils, their being saved?

10. Brown, black, police work, Bobby Earl and justice, the atmosphere of the south, the brutality of bashings for confessions? The interactions with Paul, the initial antagonism, Wilcox's death, the abduction, his change of heart, his helping Paul in the rescue?

11. The officials, the law, prison guards?

12. The victim of Bobby Earl's crime, her parents, their wanting justice?

13. The complexities of morality and law, the administration of justice? Morality, action and melodrama?

JULY RHAPSODY

Hong Kong, 2001, 103 minutes, Colour.
Jackie Chung, Anita Mui, Karena Lam.
Directed by Ann Hui.

July Rhapsody is a human drama. It focuses on a middle-aged teacher, his dedication to his job, the attraction towards a student who pushes herself towards him, the alienation from his wife of twenty years, his relationship with his sons. The film is presented in a gentle manner, reflecting the rowdiness of schoolchildren and high school students at the beginning of the 21st century while also showing the quieter side of family life. Jackie Chung is excellent as the teacher, gradually allowing himself to be attracted by the student, with difficulties with his wife. These are explained only towards the end of the film and make a great deal of sense, the wife having had an abortion because she was pregnant to a married teacher in the past. She is now looking after him because he is dying. The film parallels the wife with the young girl and her flirtation with the teacher.

The film also has a great love for Chinese poetry, many quotations, references to the beauties of the Yangtze River.

While the film is quiet in tone, its emotions run deeper than the surface and there is a satisfying reconciliation with the husband and wife being more open and truthful to each other, honest with their children, the young girl making a decision to make her own life and break off with the teacher, realising what she had put him through.

Anita Mui was a famous Hong Kong star. This was her last film. Ann Hui is a veteran of the Hong Kong film industry with such diverse projects as Summer Snow, about Alzheimer's, and Ordinary Heroes which is a historical drama.

1. The impact of the film? Its appeal? Its humanity? Conventional plot line but treated with sensitivity?

2. The title, the reference to summer, the lyrical aspects of the relationship? The admission that there would be changes of seasons?

3. The Hong Kong locations, homes, schools, the beaches? The Yangtze River? The journey to the mainland with the nightclub? The musical score?

4. The portrait of Lam: seeing him on the beach with his son, their having a discussion? The love of literature? His boring class, the girl and her attitude? His love of teaching, his relationship with the staff, with the principal? At home, the strain between himself and his wife? The meals, in their small room, their discussions? His relationship with his younger son, pushing him to do better? The older son and his maturity? His going out with the girl, at the shop, at the cinema? Walking around with her, talking, allowing himself to be attracted towards her? Her girlish behaviour? His taking her to the opening of the nightclub of his friend, staying overnight - with her or not? The scenes of the school staff, the dinner and his wanting to pay his share? The prize-giving and the girl not turning up, her throwing the trophy down and thinking it worthless? His return home, not speaking well with his wife, the revelation of the truth about the story of her pregnancy? His correcting the school work, writing the story for his son? The satisfaction of being with his son? Visiting the sick man, reciting the poetry for him, acknowledging the truth? Return home, his wife and her thinking that he wanted to leave her, his promising to take her to the Yangtze River that they should both see it? The fact that the dying professor was his ideal in academic days and persuaded him to love literature and teach? The future?

5. The wife, at home, the tension, meals, talking, her husband telling her that she hadn't changed in twenty years? Her typing? Going to look after the professor? The flashbacks to her story, the pregnancy, his going back to Taiwan, his being married, the abortion, Lam being with her, marrying her, the birth of her sons and her devotion to them? Her looking after the professor? Her thinking that he husband would leave her, her embracing him? Their future?

6. The young girl, in class, drawing the teacher? Flirting with him, throwing herself at him? His response, their going out together, talking, her switching the drinks? In the shop, throwing down the trophy? Her abilities, not wanting to go to university, wanting to open the shop? The cinema? Going to the nightclub? Staying the night, telling him that he was finding excuses for his wife? Her finally turning up at the graduation, her plan to go to India, her future?

7. The two sons, the serious older son and his maturity, talking with his father, the bets with his brother and finding out about the parents' quarrelling? His listening to his mother's story, the story from his father? The younger son and his being urged to do better?

8. Life at the school, the teachers, the principal, his anger at the girl not turning up for the award and her later abusing him? The friendly teacher?

9. The schoolboy friendship with Yue, his moving, buying the nightclub, Lam going to its opening and supporting him?

10. The human themes of family, relationships, memories of the past, mistakes, coming to terms with the past, love?