MIRACLE ON 34TH STREET

US, 1994, 114 minutes, Colour.
Richard Attenborough, Elizabeth Perkins, Dylan Mc Dermott, J.T. Walsh, Joss Ackland, James Remar, Jane Leeves, William Wyndham, Mara Wilson, Robert Prosky.
Directed by Les Mayfiield.

Another version of Miracle on 34th Street? Is it necessary? Probably not. Enjoyable? If an audience hasn’t seen the original with Maureen O’ Hara, Edmund Gwenn and Natalie Wood, yes. Even a very good actress is very difficult to replace Maureen O’ Hara. The original 1947 screenplay has been moved to the 1990s, it stays very close to it. The story is familiar. The story of the nice old man with the beard who thinks he is Kris Kringle, charms the children at a department store at Christmas, but has to go to court to establish that he is Santa Claus. Richard Attenborough enjoys himself immensely as Kris Kringle. It is just what one would expect for entertaining Christmas sentiment, a nice remake, but the original still stands.

1. The popularity of the original film? The effectiveness of the remake?

2. The New York settings, homes and apartments, the streets and parades, the shops, the Christmas decorations, sales? The atmosphere of commercial Christmas? (Very little religious overtones, except for the priest and the Christmas Eve wedding.)

3. The credibility of the plot? Belief in Santa Claus? Children and their not believing? Parents and their fulfilling the expectations of Santa’s bringing gifts? Parents bringing children to the department stores to meet Santa? His promises?

4. The miracle, the believing in Santa Claus, Susan asking for a house and family, her getting them?

5. Dorey, her job at Coles, supervisor, special projects, the parade? The drunken Santa Claus, his fall? Her desperation? The encounter with Kris Kringle, his credentials, her inviting him to be the Santa? His genial presence? The success of the parade?

6. Coles, the owner, the chairman? His wariness, the rivalry with the other store? Victor Landbergh? Shoppers’ Express? The rivalries?

7. Landbergh, his personality, Shoppers’ Express, his domination? Jack Duff as his assistant, his getting him to spy on Coles? His bad tactics, Duff and his bribing the drunken Santa to testify that Kris Kringle had attacked him?

8. Kris, the success in the store, parents wary about the gifts, his explaining that they could be bought more cheaply at another store, the chairman and his reaction, seeing it as a good advertising means for the prestige of the store? The children, Kris and his ability with them? Christmas joviality?

9. Dorey, at home, the collapse of her marriage? Bryan Bedford, the lawyer, his daughter, Susan? The bonds between them? Bryan’s proposal, Dorey turning him down? His giving the ring to Kris for someone else?

10. His defending Kris in the court, the presiding judge and his genial attitude, the argument about Americans’ belief in God from ‘In God We Trust’ on the dollar bill, the argument from collective faith, justifying a belief in Santa Claus? His decision that Santa Claus was Kris Kringle?

11. Dorey and Bryan, the reconciliation, the invitations to go to St Mary’s, the priest, the ring, their marriage?

12. The Christmas Day, Susan, her thinking that Santa would not fulfil his promise, confirming her belief that he did not exist, testing her change of belief in her encounter with Kris? The marriage, the house and its being the dream house, the prospect of a baby brother?

13. Christmas stories, stories of Santa Claus? Christmas sentiment? Christmas cheer?

MOLOKAI

Belgium, 1999, 120 minutes. Colour.
David Wenham, Peter O'Toole, Leo Mc Kern, Derek Jacobi, Sam Neill, Kate Cerebrano, Kris Kristoffersen, Alice Krige, Tom Wilkinson, Chris Hayward, Aden Young.
Directed by Paul Cox.

Molokai, the Father Damien Story, was written by John Briley (Gandhi, Cry Freedom) and directed by Dutch-born Australian, Paul Cox (Man of Flowers, Vincent, Exile, Innocence, Nijinsky). Molokai itself and Honolulu provide spectacular backdrops to the action.

The movie boasts a large international and Australian cast. Sydney actor, David Wenham, is a down-to-earth, sometimes cantankerous saint.

The Belgian-financed movie experienced great trouble in production. The initial version released in Belgium was cut against Cox's wishes and an alternate musical score added. However, the investors were willing to finance Paul Cox in re-cutting the movie as he wished, re-inserting eliminated sequences (including the character of the second bishop of Honolulu). The original score was restored. This is the version that was finally released.

The result is a moving story of a saint (beatified in 1996 by John Paul II) with a world-wide reputation in his time for his charity and his social concern for lepers. It is also a serious social justice movie about leprosy in the 19th century and its gradual elimination. (Catholics of previous generations were brought up on the biography by film director, John Farrow, 'Damien the Leper'. An American telemovie, Damien: the Leper Priest, featuring Ken Howard as Damien, a role intended for David Janssen who died during pre-production, was released in the 1980.)

1. A Belgian production, Damien as being a Belgian saint? The impact for Belgium, for Hawaii? The long universal popularity of Damien and his being so well known?

2. Damien’s reputation, a 19th century missionary, on Molokai, his life in Hawaii, his care for the lepers, living with them, his care for them, religious care, social concern for Hawaii at the end of the 19th century? The nature of his holiness and sanctity?

3. The use of authentic Hawaiian locations, the wide screen, the musical score? The choral effects? A re-creation of the period and the sense of what life was like on Molokai in the 1880s?

4. The work of Paul Cox, his usual small-scale sensibilities? Working from a script by John Briley (Gandhi, Cry Freedom)?

5. David Wenham leading an international cast, the contribution of the Australian cast, the international stars? Giving the film a prestige quality?

6. The structure of the film: the introduction to Damien, the background of his life, work, in Honolulu, the appeal for missionaries for Molokai, his motivation for going, explanations or not? His life and work on Molokai until his death?

7. The context for the spread of leprosy in the 19th century? The introduction of the disease to the Hawaiian Islands by white settlers? The government attitude towards the illness, segregating those who were sick? The role of the church, missionaries and chaplains? The media and its taking up the cause of Father Damien and spreading the news of his work (like an early-day Mother Teresa)? The settling of the lepers on Molokai, authorities being care-less? Public ignorance about the disease, the actual disease, its effect, not killing people, destroying appearances, limbs? Leading to pneumonia? The marginalised, their squalor? The lack of medical help? Researchers coming to investigate? A frontier for medicine? A frontier for spiritual care? Public opinion, the changes – and the aftermath and the elimination of the dangers of leprosy?

8. David Wenham as Damien, his appearance, age, accent, work in Honolulu, the missionaries and the explanation given? The provincial asking for volunteers, Damien going? His meeting the lepers, being advised not to touch them, hiding them? His single-mindedness? His prayer, the conditions, his not following the injunctions, living completely with the lepers, eating with them? His knowing the consequences?

9. His arrival, the voyage, the reactions of the people? The welcome by William Williamson, the long discussions with Williamson, with the little girl, the boy whom he called the little bishop? The church, cleaning it up, rebuilding? The choir? The drinking, the prostitution, his sleeping outside? The building, clearing the area, his serving the people, touching them, eating (with?) them? Molokai itself, his adapting to the place, the natural beauty?

10. The letter to his brother, his surprise at his becoming a media celebrity and a hero? The governor and his reaction? The bishop and his wanting volunteers? The provincial and his reaction, prissy behaviour, his discussions about money and saying it was needed in Honolulu instead of Molokai? The issues of religious obedience? The issues of whether nuns should be sent to Molokai or not or remain in Honolulu? The growing support for Damien around the world?

11. The passing of the years and the effect on him, his being alone? The princess and the sexual charms, the women at the beach, the attempted seduction? His commitment to his vows? The bishop coming, his going to confession, his confession of his own behaviour, in French? His celebration of the masses? The doctors coming to the island, their friendship, the research, but not staying? His talking to them, to the experts, getting the books? In the illness, his visit to Honolulu, the new bishop? Mother Marianne and the coming of the nuns?

12. The research doctors, their visits, discussions, research, the experiments? Illness and deaths? Their not staying? The later return to see the consequences of the research?

13. The portrait of the two bishops, the first bishop and his concern about Molokai, his friendship with Damien, his being prepared to sail to Molokai and to disembark, his being forbidden, having to hear the confession from the boat and in French? The second bishop, his support of the mission?

14. The provincial, his prissy manner, his control, manipulating people, his attitude towards Damien, leaving him on Molokai, Damien’s return visit and his reaction, his disapproval of the letter to his brother, the issue of money and the nuns?

15. Clayton Strachan and his background, rough, going blind, living with the woman, drinking, his antagonism towards Damien, Damien’s initial harshness, beginning to understand, performing the wedding ceremony?

16. Rudolf Meyer, ranch owner, his welcome to Damien, the meals at his ranch, the supplies? His friends? His having to live separately? His support of Damien?

17. The Princess of Hawaii, her status, her visit to the island, garnering information for the public, public support? Her song?

18. The women on the island, their being pleasant, suffering from the illness, the old women, the sexual encounters, the type of life they had to live? The comparisons with the men, the drinking? The children, their growing up, the little bishop and his support of Damien?

19. The storm at sea, the captain and his harshness, the lepers being thrown overboard, Damien and the population saving them?

20. Mother Marianne, the response to the appeal from Molokai, her sisters coming to Honolulu, the provincial forbidding them to go, their finally arriving? Mother Marianne, her work, her apology to Father Damien?

21. Brother Dutton, his military background, the Civil War, his approach to Damien, coming to help? His assistance to Damien, his working hard, his long life on Molokai and his being buried there?

22. Damien’s final illness, the nature of his holiness in living those years on Molokai, serving the people fearlessly, becoming one of them, his severe European attitudes at the beginning, his mellowing, his growing compassion? His death? The funeral?

23. The achievement of Damien, in the light of the opening up of the Pacific in the 19th century, in the work of Catholic missionaries in that century? Role model and saint?

INITIATION

Australia, 1987, 92 minutes, Colour.
Bruno Lawrence, Rodney Harvey, Arna Maria Winchester, Miranda Otto, Bobby Smith, Tony Barry.
Directed by Michael Pearce.

Initiation is an interesting story, done with small budget and an attempt to reach an overseas market with an exotic story from Australia.

The film focuses on a young American who comes back to Australia to find his father after his mother’s death. His father is involved in drug-smuggling in the outback – and the consequences of this are the son going with his father on a flight and their crashing and his having to make his way back to civilisation to save his father.

Bruno Lawrence, New Zealand actor, is a strong presence as the father. Rodney Harvey is the American boy (who, ten years later, after some prison time, was to die of a drug overdose). The film features Arna Maria Winchester as Bruno Lawrence’s wife, Tony Barry as his drug contact, Bobby Smith as an enigmatic Aborigine and a role for the very young Miranda Otto.

The film combines some aspects of Aboriginal lore along with a conventional kind of story about drugs, father and son relationships, reconciliation – all in the beautifully photographed outback locations.

1. Interesting film? Entertaining? Australian? The impact for local audiences? Overseas?

2. The title, the reference to Danny Molloy, his coming from America to see his father, his initiation into Australian life, into the hardships of life in his trek to rescue his father? The background of Aborigines, Aboriginal rites – and Danny having the equivalent of this kind of rite of passage.

3. The South Australian locations, the mountains, the towns, the desert? Beautiful? Exotic? Threatening and dangerous? The musical score?

4. Danny Molloy, his age, not knowing his father, his mother’s death? Travelling to Australia, the flight? In Adelaide? His getting help to get to the town? The bus? The encounter with his father, his father’s reaction? His going to the house, his meeting Sal, her wariness of him? Meeting Stevie, friendship with her? Helping, the car, the plane? His settling in? The encounters with Kulu, his interest in Aboriginal rites? The friendship? Kulu keeping an eye on him? The drug background, Sal and Stevie not knowing? His father’s decision on meeting the drug dealers? The flight? The crash? Looking after his father, making his way through the outback, the forests and the desert, the mountains and the caves? Kulu and his inspiration, this journey serving as a rite of passage? His maturing? An initiation into adulthood? The return, the rescue? A future?

5. Nat Molloy, his past marriage, his son going to America? His work in the outback, flying? Cars and planes? His relationship with Sal, with Stevie? His initial reaction to Danny’s coming? Working around the place? Pat’s arrival, the issue of the drugs? The Italians, Thailand? The flying in of drugs? Doing the deal, the money? His flying with Danny, the crash, his delirium? His being rescued and recovery?

6. Kulu, his presence in the town, with the family, his befriending Danny, looking after him? The supernatural aspects of his presence, guidance, the rituals?

7. Sal, her wariness of Danny, bonding with him? Stevie, age, friendship, games, attraction?

8. Pat, the Australian drug dealers? Carlo and the visitors, their wealth, the deals for the drugs, money, deceiving the police?

9. A combination of the lyrical, the dramatic and the melodramatic?

I SPY

US, 2002, 97 minutes, Colour.
Eddie Murphy, Owen Wilson, Famke Janssen, Malcolm Mc Dowell, Gary Cole.
Directed by Betty Thomas.

Probably be going to be seen on thousands of in-flight screens. Based on the popular 60s TV series with Bill Cosby and Robert Culp, we now see Owen Wilson - who has a flair for deadpan comedy heroics, see Shanghai Noon - teaming with Eddie Murphy - who has had plenty of action on screen and enjoys comedy. The plot plays like an episode in a James Bond film. The setting is exotic, Budapest filmed to advantage. There is a lot of high-powered action, a lot of which is played for laughs. Famke Jansen adds glamour and Malcolm Mc Dowell snarls as a billionaire arms dealer villain. Predictable light entertainment.

1. The popularity of remakes of television programs? The popularity of the original program? The style of the remake?

2. The popularity of espionage films? The James Bond tradition? This film as a blend of comedy and seriousness? In the James Bond vein?

3. The American settings? Espionage, US officials? The boxing world? The world of the media and PR? The transition to Budapest, Budapest as itself? The old buildings, castles? The city? The streets? Atmosphere for espionage? The musical score?

4. The original I Spy, the odd couple pairing of spies? Working off each other? Solving mysteries? The new pairing, black and white, two comedians? The antagonism, the collaboration – and each changing the other?

5. The espionage situation: Arnold Gundars and his plane, its invisibility? His trying to sell the plane? The auction – and the international bidders? His agents? His sinister style? The confrontation with Kelly Robinson and Alex Scott? The defeat at the end? The background of the plane, the science, the technology? The dramatic use of the plane appearing and disappearing? Comic use?

6. Kelly Robinson, an Eddie Murphy character, loudmouthed? In the ring, his fans, the confrontation with his opponents, the knockout? The later irony of his being in the ring with the hearing-piece in his ear, his listening to Scott, his being KO’d? His assistants? Public relations? His vanity? His being used as a cover by the government? His going to Budapest? The encounter with Scott, the antagonism? His meeting with Rachel? The training, the encounter with Carlos? His use of the guns, the hearing aid with its information? His befriending Alex, doing the Cyrano de Bergerac thing and helping him with his attentions towards Rachel? Society, the fans, his moving amongst people? The searching of the palace, being trapped, falling through the roof …? The other escapades? Rachel’s betrayal? Carlos’s appearance? The problem of who was the enemy and who was the ally? His learning something from his friendship with Scott, his contributing to the solution of the problem?

7. Owen Wilson as Alex Scott, seeing him in action, daredevil? His skills? His infatuation with Rachel? Watching Kelly on the television? The banter between the two? The initial antagonism? The training, the gun training, the going to Budapest? Keeping in contact? Kelly helping with his attentions to Rachel? His love for Rachel, the shock to find she was a double agent? The escapades in the palace, the social meetings, the dinner, searching the rooms? Being caught? The car chases?

8. Rachel, strong, supportive? The irony of her betrayal? Her lies, Carlos’s appearance, her disappearance?

9. Carlos, Gary Cole’s comic performance as Carlos? Arrogant, his manner? His reappearance at the end, Kelly and his confronting him? Trying to decide whose side Carlos was on?

10. The parody of the more serious espionage stories? The parody of the James Bond secret agent style? How well did the film blend the comic and the serious?

INCOGNITO

US, 1997, 108 minutes, Colour.
Jason Patric, Irene Jacob, Thomas Lockyer, Ian Richardson, Simon Chandler, Rod Steiger, Ian Holm, Dudley Sutton.
Directed by John Badham.

Incognito is another thriller from John Badham. Originally a television director, he moved into mainstream film-making in 1977 with the success of Saturday Night Fever. For the next fifteen years he directed a range of hits, generally action films. He made a Dracula with Frank Langella and Laurence Olivier as well as such films as Stakeout, Bird on a Wire, The Hard Way, American Flyers, War Games, Blue Thunder. On a more serious level he also made Whose Life Is It Anyway.

The film takes place in the world of art forgery with Jason Patric as a surly and angry skilled forger. He has a great admiration for his ailing father, played by Rod Steiger. Irene Jacob plays an art expert who becomes romantically involved and then professionally involved with Patric. There is an uncredited appearance by Ian Holm and Ian Richardson is the prosecuting lawyer. Thomas Lockyer is a suave villain.

The film revolves around Patric painting a false Rembrandt, its being used to sell and make money from Korean art dealers but it is so successful that the entrepreneurs want to put it to auction. Patric disagrees and there follows a conflict which is both violent and ends up in the courts. There is an ironic ending where the villains are defeated and the central characters win out.

The film received limited release but it is a reasonable action entertainment with a touch of art and intelligence, given its art world setting.

1. Popular intrigue and action thriller? Characters? Dangers? The art world and the world of forgery?

2. The international flavour of the film, the sequences in Paris and the use of the city, the coast of Spain, New Jersey, the bulk of the action taking place in Britain, the city, the countryside? Authentic atmosphere? The musical score?

3. Art forgery, its prevalence, entrepreneurs making money, buyers? The rackets, the possibilities for deceit? The forgers themselves, whether to sign their names, the artists’ names or appear incognito?

4. The plausibility of the plot, Harry and his skills, his being influenced by his father, his resentments, wanting to measure up? The deals, hard-boiled language, wanting the money? When asked about feelings towards a painting, unable to reply? His big fees? The admiration of people in the art world, the world of forgery? The testimonials? John and his urging Alistair Davies to go to Harry? The proposition, his decision to paint the Rembrandt?

5. The painting of the Rembrandt, the careful preparation of all the paints and chemicals? The range of study? The actual painting? Going to Spain, setting up to be discovered in a Spanish cellar? The dealers, their pretence, suggesting it was a Spanish artist, the experts all claiming that it was a Rembrandt? The consequences for Harry? Davies and his decision to go to auction to make more money?

6. Harry, in Paris, Marieke and her spilling the coffee, the discussion about the book, the irony that she and her father were the authors? His offhand manner about the book, about intellectuals? Her taking him to meet experts and his insulting them? Her pursuing him, the attraction, the affair, her note – and its being used in court? Her turning up to verify the Rembrandt, her decision that it was a fake and the reasons given?

7. Harry, in England, the discussions with Davies, the shooting, the death of the Korean, his being accused of murder? Of stealing? The encounter with Marieke, her wanting to expose him, his bargain with her, the handcuffs, taking her on the train, getting off, the phone box and her attempt to escape? Her gradually believing in him? His going to the art school, the discussions with John, Davies and his associates present? The police and the interrogations (the previous interrogations in the pub and his escape with the painting)? His arrest?

8. His relationship with his father, their discussions about his art, his forgeries, not having his own style? His father’s illness, the phone call, death? Davies showing him the press clipping about his father’s death?

9. In prison, the discussions with the visitors, in court, the prosecutor and his harsh stance, the role of the defence? The judge? The issue of the shooting, the issue of the painting? His decision, with Marieke, to demonstrate his abilities? The painting, seeing his father’s eyes, not being able to go on?

10. Davies and his hold over Iain Ill, Ill going into the stand, revealing the truth about Davies and the shooting? His being let off?

11. The auction, the people bidding for the Rembrandt? Fifty-five million? Ill and his party, speech, toast? The irony of his lawyer coming, Harry and the letter that he sent to the man in Spain, the claim that the painting was his because it was in his cellar? The money going to the Spanish government, the church, to the man in Spain – and his giving half to Harry?

12. Justice being seen to be done – Harry and his portrait of Marieke, asking her how she felt about it? A neat and pat ending to the action thriller?

I LOVE TROUBLE

US, 1994, 123 minutes, Colour.
Nick Nolte, Julia Roberts, Saul Rubinek, James Rebhorn, Robert Loggia, Olympia Dukakis, Marsha Mason, Eugene Levy, Charles Martin Smith, Paul Gleason, Jane Adams, Lisa Lu, Norah Dunne.
Directed by Charles Shyer.

I Love Trouble is a 90s version of the Spencer Tracy-Katherine? Hepburn sparring and falling in love kind of drama/comedy. The film is a murder mystery. It focuses on Nick Nolte as a journalist-turned-novelist and his competitiveness with Julia Roberts as a rival from another paper.

The film is a good star vehicle for Nolte, sympathetic while being something of a cad. Julia Roberts shines as the reporter. There is a very strong supporting cast in character roles.

The film focuses on genetic engineering, its dangers, especially in unscrupulous companies trying to make money with dangerous drugs. The film also involves political overtones in Washington. However, the enjoyment of the film comes in the partnering of Nolte and Roberts. The film was co-written by Nancy Meyers and Charles Shyer. They worked for many years on comedies like Private Benjamin, Protocol, the Father of the Bride series. When they separated, Shyer went on to direct such films as The Affair of the Necklace and What’s It All About, Alfie? Nancy Meyers moved to direction with What Women Want and Something’s Gotta Give.

1. The title, indication of themes, characters?

2. The Chicago, Wisconsin and Nevada settings? The world of newspapers, investigative journalists? Companies and their huge plants? Washington and politics? Musical score?

3. The opening, the train, the guidance of where the passengers should sit, the news of the crash, the stealing of the briefcase? The investigation, the press conference, the driver and his alcoholism, fleeing the scene, pleading that the alcohol was planted? The case becoming a murder mystery?

4. Peter Brackett, his novel, charm, girlfriends, autographs, hiding from the editor, plagiarising himself, the work of his assistants? Clashes with the editor? With the book promotion? His being sent out on the job, his being scooped by Sabrina, his going out again? Becoming involved with the case?

5. Sabrina, the rookie reporter, the questions at the press conference, Brackett’s advice against these? Her following through, the phone calls, the discussions with her editor, the mother of the driver, scooping Brackett? The gift of the flowers, the gift of the dog? Their rivalry?

6. Each of them pursuing the case, agreeing to combine forces, double-crossing each other, searching each other’s luggage, Sabrina being sent on a literal wild goose chase? Their being in danger from the false wife? Being shot at? The information about the dead thief, number 307? The information about Wisconsin? Their interviewing the contacts of all the deceased on the train? Brackett looking at the video and seeing somebody tampering with the train, his interrogation of the workers? His friendship with Sam, going to Washington, the senator, the meal, the discussions about the son of the owner and his career at Yale?

7. The decision to go to the plant, the guided tour, the platitudes of the guide? Meeting the owner? His wanting to get rid of them, his asking his friend from Yale days to get rid of them? The irony that it was Sam and that he was talking with Bracket on the phone?

8. The dangers, their being pursued from the diner, the hectic car ride, their skill in subduing the assailant? Lost? The boy scouts and the comedy, the photos? Their going to Nevada, their being pursued, going into the wedding chapel, the comedy of the official? Their being married, the return? Their still double-crossing each other? Each saying they would stop the case?

9. Brackett and his return, his going to the factory, finding Sabrina as a tour guide? The revelation that Sam was the villain? Number 307? Brackett getting off the plane and going to Wisconsin? Sabrina and her going to the computer, her being trapped?

10. The climax, the confrontation with the criminals, Sam and his explaining everything, Brackett noting it down? Brackett to the rescue, the fights, the literal cliffhangers? The happy ending? Each of them writing for their own paper?

11. A 90s version of comedy drama, screwball comedy, murder mystery? The continued pairings of stars in this kind of role over the decades?

IN & OUT

US, 1997, 97 minutes, Colour.
Kevin Kline, Joan Cusack, Tom Selleck, Matt Dillon, Debbie Reynolds, Wilford Brimley, Bob Newhart, Shawn Hatosy.
Directed by Frank Oz.

Director, Frank Oz, cut his teeth with the Muppets before moving on to comedies like Dirty Rotten Scoundrels and Housesitter. He knows how to entertain and make people laugh. And he does it again here, although underneath the light and sometimes farcical surface there are serious themes of understanding and tolerance.

You might remember that when Tom Hanks won his Oscar for portraying a gay lawyer in Philadelphia, he thanked an old drama teacher, virtually 'outing' him. Playwright Paul Rudnick (Jeffrey) imagines what might happen when this kind of announcement is made to the world and the teacher is just about to be married.

Kevin Kline gives a funny, thoughtful and sympathetic performance which means that the audience does not simply
enjoy some cheap laughs, but has to wonder how they would handle a similar situation. The supporting cast is very good with Matt Dillon as the actor (and some scenes from his award-winning film which looks like a send up of Forrest Gump), Tom Selleck as a TV reporter, Debbie Reynolds as Kline's mother and Joan Cusack as his bemused fiancee.

1. The origins of the film? Tom Hanks’ Oscar speech? Philadelphia? His tribute to the gay teacher?

2. The work of the writer, films, plays? The film using the sitcom style? Home in Indiana?

3. Homosexuality, issues of tolerance and understanding, misconceptions, homophobia? The role of the boys in college, the principal and his being unable to say the word?

4. Comedy as a vehicle for a message? For the ordinary audience? For audiences ingrained with homophobia? The characters, the stars portraying these roles, the ending?

5. The strengths of the screenplay, the dialogue, the wit, the sharp dialogue? Stereotypes but beyond?

6. Kevin Kline’s portrait of Howard, seeing him in class, his love of poetry, Jack and the letter for the scholarship, the town’s admiration for Cameron Drake as an actor, the Oscar nomination? His having taught him? The students wanting to know more about Cameron Drake than poetry? The preparation for the wedding, the long engagement, Emily and the dress, his mother and father and their preparations, all the town interested, the extended family? The real-life situation as a setting for the comedy and the fantasy?

7. The build-up to the Oscars, Peter Molloy and his covering the Oscars, Whoopi Goldberg, the various celebrities interviewed, Cameron and his girlfriend? His talking about art and the movies?

8. Glenn Close as the compere of the Oscars, Cameron Drake and his career, the sequences from the film, To Protect and Serve? The parody of Saving Private Ryan, the parody of Forrest Gump and its parallels (and the references to Tom Hanks and his character)? The legless officer, the court-martial, the declaration of his being gay, the two at the end? Cameron Drake being nominated for an Oscar, the jokes about Clint Eastwood, Paul Newman, and the joke about Steven Seagal being nominated for Snowball in Hell? Glenn Close waving to Michael Douglas and the parody of Fatal Attraction?

9. Cameron Drake’s speech, about the film, about gay people, the references to his teacher, naming Howard Brackett? The response, Howard and the family all watching the television? His mother and her being upset? His own hand dropping limp? Emily and her surprise?

10. Howard’s attempts at reassurance, puzzle over his own behaviour, the behaviour of the kids in class, their saying that he was prissy, the characteristics of a decent man seeming to be the characteristics of somebody homosexual? The stereotypes about the male? The bucks’ party and Howard’s friends, the references to Barbra Streisand, the Barbra Streisand Festival, Yentl? Mr Halliwell and his reaction, his inability to pronounce the word ‘homosexual’, Howard’s response to him? The interviews?

11. Howard in denial, the meeting with Peter Molloy, his being out, his explanation of his coming out? His work as a journalist? Howard’s attack? The crash, the discussion, the kiss, its effect? Emily and her response? His using the tape, following the sayings to become more macho, moving against the stereotype, his being tricked by the questions? ‘I Will Survive’ and his dance? His going into the locker room, the young men’s reaction, their pretence? His father and Barbra Streisand? The effect of all of this on him, the wedding?

12. The preparations for the wedding, Emily, her not having eaten, her dress? Her going into distress? Peter Molloy and his interviewing all the people in the town, their support of Howard, the postman? The stylist? The comedy in the comments from the small town?

13. The build-up to the ceremony, his mother fussing, the vows, his coming out, his having to break off the marriage, Emily and her distress, the talk and the anger, her punching him?

14. The women’s group, their chatter, playing cards, Howard’s mother as part of the group, their discussing their secrets, all revealing their secrets?

15. Peter and his talk-TV, the nationwide interest? Howard, his dismay, his father’s visit and support?

16. Emily, her eating, her meeting Peter, the discussion, her dismay at what should have been happening on her wedding night, in the bar, talking to Peter and making advances? What she learnt?

17. Cameron Drake and his girlfriend, her daffiness, her vomiting, wanting to be thin, model, the motel, not understanding a dial phone? Meeting Emily? Cameron and his discussions with Emily, memories of the classes, affirmation?

17. The build-up to the graduation, Howard to go, the rival teacher and his getting the award? Cameron Drake and his speech, his winning the group over to supporting Howard?

18. Jack, the scholarship, his being afraid of Howard? Mike and his friendship, the girls, the discussion of bias? The speech, Jack and the others all claiming that they were gay, the fireman, the postman, Howard’s brother, his parents – everyone?

19. The principal, the teacher and his wanting the award, the members of the staffroom, their previous discussion, the prize?

20. The renewal of vows by Howard’s parents? The happy ending with the wedding? Peter and his having helped Howard? Howard and his coming out?

21. The range of songs, the final credits and everybody joining in “Macho Man”?

I, ROBOT

US, 2004, 118 minutes, Colour.
Will Smith, Bridget Moynahan, Allan Tudyk, James Cromwell, Bruce Greenwood.
Directed by Alex Proyas.

Isaac Asimov was one of the great science-fiction writing pioneers of the 20th century. He introduced robots before they were a fashionable topic for fiction and fantasy. He also introduced the three laws of robotics designed to safeguarded the humans who had engineered the robots and who now used them as servants.

This line of imagination has been fruitful in speculating about human nature and technology, about human intellect and feelings. Interesting films in this genre include Blade Runner, AI – Artificial Intelligence, Bicentennial Man and such entertainments as Forbidden Planet and The Stepford Wives.

Here, Asimov’s stories are taken as the basis for an updated plot. The Chicago world of 2035 is sufficiently recognizable in its ordinariness, although it has the kind of building developments and technology centres that are quite imaginable. Robots are key figures and new line models are being continually improved in automated serving skills.

Will Smith plays a detective who has an antipathy towards the machines and their seemingly impeccable logic: he had been saved be a robot in a car drowning accident instead of the child he thought should have been saved. He is so edgy that he pursues a robot through the streets thinking he was a mugger when (we knew) that he was only getting medication for his owner. But this edginess means that he is the best contact that a frightened engineer can make to try to reverse a malevolent trend in the main computer which is turning the new robots against the humans. What follows is part detective work, part action thriller, part final confrontation with an army of computer-graphic rogue robots.

It is not as if the message were exactly new now. But, that is not the point. Humans need reminding of their pride in thinking that they can conquer all worlds and harness artificial intelligence for their own needs. The machines think that humans sometimes need protection from themselves and this logic leads them to apply violent methods ‘for the humans’ own good’.

It is always interesting to see again that, in a world which continually hails scientific advances, one of the roles of movies is to warn against dangers by telling the Frankenstein monster story over and over again in new guises.

1. The work of Isaac Asimov, his reputation as a writer, the influence on science fiction literature in the 21st century?

2. Asimov and robots, robotics, the three rules of robotics for the protection of humanity? The impact in the 40s and 50s, later, the post-2001 attitude towards robots and computers? The familiarity of audiences with the issues? The serious issues of machines, artificial intelligence, control? The comic aspects? The possibility for revolution and turning against humans? The limited human intelligence and understanding of computer technology and machines?

3. The world of the future, its being made plausible, the imagination of the film for robots, the cities of the future? Close to the present, yet…?

4. Chicago in 2035, its appearance, the blend of the old and the new, the neighbourhoods and their ordinariness, the modernistic buildings, the technology, money and power, the role of the police, authority and order?

5. Science in the 21st century, inventors, companies and finances, the advances in robotics, human versus the machine, the importance of the criticism of an exclusive machine culture, Del Spooner and his use of old machines, wariness of robots? The failure of people to understand basic machinery, Susan and her inability to work the CD player?

6. The central computer, its power? The development of robots, the machinery, their appearance, flexibility, choreography, voices? Their serving? The continual improvement in the models? The use of holograms, the scientist and his last will and testament in hologram? The central computer and its control, its inventor having to deceive it? The culmination of the fight between Spooner and Susan and the central computer? The climax to destroy it?

7. Del Spooner, the break-up of his marriage, getting up, the beginning of his day, memories of his past and his being wary of robots, robots making intellectual decisions and deciding that the drowning child was not worth saving (and this recurring in his dreams)? His being saved, the doctor reconstructing him? His pursuit of the robot with the bag and his making a fool of himself when the robot was serving the asthmatic woman? The attitude of the police, the police chief?

8. The death of Professor Lanning, his appearing on the hologram, his message about his death, his suicide? The Hansel and Gretel stories, breadcrumbs as clues, Spooner and his having to follow these back, the end and his realisation that Lanning was trying to deceive the central computer? His attitudes towards Sonny, shunning him, fighting him, finally realising the truth, following him, the discovery, Sonny and Susan collaborating to rectify the situation? Sonny’s heroics?

9. Del as the hero, Granny and her care of him, rousing on him? Seeing him at work? Meeting Susan, the clash, the more emotional versus the more cerebral approach? His relationship with the professor, his antagonism towards the robots, the various clashes with Sonny? The chases? Seeing the hordes of robots, the factories, trucks? The car chase? The attack? The need for control, the danger, the city becoming a battlefield? Persuading Susan to help? The build-up to the finale and the attempt to destroy the central computer?

10. Susan, the scientist, cold, wary, her suspicions of Del, the interactions with him, her loyalty to the professor, to Lawrence Robertson? Learning the truth, the attraction towards Del, the discussion of theories, emotions? Her relationship with Sonny, his about to be destroyed, and not destroying him? Her participation in the heroics?

11. Sonny, the original disobedient computer, his refusing to live by the rules of robotics? His look, behaviour? The confrontations with Del? His about to be terminated, the discussions with Susan? Her not terminating him? His being part of the professor’s plan, to antagonise Del to make him investigate further? Sonny and his support and loyalty at the end?

12. Lawrence Robertson, the boss, seeming sinister, audiences expecting him to be in control, the irony of his being killed?

13. The police, their mocking Del, thinking that Del was always crying wolf, especially about computers? The uprising of the computers and the police chief and leading the force against them?

14. The spectacular special effects for the robots, as individuals, as a group, as a military force, in the trucks, the red light burning within them signalling danger, their returning to their servant role?

15. Society, machines, machines at the service of humans, their being used and exploited? Their operating solely on logic? To protect and destroy humans even to protect them? Themes of the future and the roles of machines, technology and humans?

TONY MANERO

Chile, 2008, 97 minutes, Colour.
Alfredo Castro.
Directed by Pablo Larrain.

A disturbing and challenging film from Chile.

Yes, the title is the name of John Travolta's character, the lithe disco dancer, in Saturday Night Fever. This film opens, in 1978, with a TV competition for lookalikes. Raul (an eerily mundane as well as sinister performance by Alfredo Castro), the central character, elicits our sympathy when he turns up on the wrong day for the Tony Manero competition (it is Chuck Norris day). Rather weather-beaten, 52 and a dancer and a choreographer in a small restaurant in the suburbs of Santiago, he seems a small-time loser. Just when we are sorry for him, he does something so despicable that we are shocked. And, without conscience, he keeps committing despicable acts, a self-centred man who cares little for the small dance troupe who are doing their best and for the woman who lets him stay on in the restaurant she runs.

Were that all there was to Tony Manero (and Raul's going to see the movie but one day finding, to his disgust, that Grease is screening (starring 'the same gentleman', as the lady at the ticket box advises him), then it would be a parable about the cult of celebrities, aping them and aspiring to really be them, clothes, appearance, manner...

But, in 1978, five years after the overthrow of Allende, General Pinochet rules Chile. There is a frightening military presence in the streets – and they are not slow to exercise authority and brutality. There is a curfew. There are informants on dissidents and interrogations with threats of torture.

Raul can be seen as a petty despot in his area, with seemingly no conscience and no compunction, an allegory of authority in Chile and of the ruthless Pinochet himself. The other criticism that the director says he wanted to make was of the loss of local culture and a slavish following of overseas popular cul and trends – with a climax, after Raul has ruined his troupe's young dancer's chance to compete as Tony Manero by showing himself as a literal shit, in a Pop Idol like TV glitz show with six Tony Manero's all trying to be John Travolta.

Not an easy film, with blunt sex and with even blunter brutality. But, small-budget, made on 16 mm and looking like it, with handheld camera, a type of guerilla film-making, it is still a very good film.

1.A disturbing film? As a drama, its themes?

2.Basic film-making and production, sixteen-millimetre photography, handheld camera, realistic, grainy, authentic? The feel and the mood? The Santiago streets? Colour?

3.1978, Chile, its history, the coup against Allende, the rule of General Pinochet (and seeing Pinochet in other films as well as films about the oppression and killings in Chile)? The military, their patrolling the streets, the curfew, the people disappearing, dissenters, publication of leaflets, arrests, interrogations, torture, killings in the street? Ruthlessness and an atmosphere of fear?

4.The title, the character in Saturday Night Fever? The character, what he stood for? John Travolta as an icon, dancing, his moves, the disco atmosphere?

5.The theme of celebrity? The Chuck Norris lookalike competition? The Tony Manero competition? Television, the tapings, the numbers of men lining up for the impersonations? The Tony Manero suit, hair, style? Raul as wanting to be Tony Manero – even to the black briefs in his room? The look, the swagger, the dance, the moves? The aim to be the celebrity? The cult of the celebrity, as an icon, worshipped? The consequences?

6.Audience sympathy for Raul initially, joining the queue, his friend at the studio not acknowledging him, his going on the wrong week? His disappointment, going for the interview, the form, his occupation, age, address, his being very ordinary, at home, alone?

7.Seeing the thugs in the street, the old woman with her shopping? Going to help, escorting her home, her offering food, watching television, her comments about General Pinochet’s eyes? The shocking and sudden brutality of his killing her? Taking the television? Audience shock at his heartlessness? His going home, hiding with the TV from people in the street?

8.Raul at the restaurant, Wilma owning the business, her clientele, trying to build it up? Her liking Raul but exasperated by him? Cony and her attraction to Raul, the dancing, the sexual compatibility? Her daughter Pauli, age? Goyo and his skill in dancing, ambitions? His dissenting activities, the dangers, the posters? The rehearsals, their energy, their hopes? Raul and his choreography, Cony and Raul marginalising the others?

9.Goyo and Raul following him, the leaflets, his contact, the military, shooting the man with the leaflets, Raul scavenging his body and taking his watch and possessions?

10.The floor for the restaurant, the glass bricks, going to imitate Saturday Night Fever, the difficulties with the money, going to collect them, Goyo helping him, killing the man?

11.Going to see the film, his going to see Grease and his disappointment, the wrong film, killing the projectionist, the shock of the box office lady?

12.Pauli, the rehearsals, the sexual liaison with Raul, its bluntness and brutality? Cony’s reaction? Goyo? The joyless sex, the physicality?

13.Raul and his plan for the competition? Goyo also going? His destroying Goyo’s suit with the excrement?

14.The police, the interrogations, Wilma, Goyo, Pauli, her mother informing? Raul hiding and thought absent from the restaurant?

15.Raul, going to the studio, the group of competitors, their personalities, the applause, the audience, the final, Raul losing, the winner and his wife, Raul following them in the bus?

16.The open ending – and what Raul would do?

17.The parallel with General Pinochet, as a celebrity, lack of morals, the nominal Catholic background, the crucifix? Ruthlessness, killing ordinary people without compunction, psychotic?

18.The issue of culture, Chile’s past, the internationalisation symbolised by the movies, Saturday Night Fever? Television and globalisation?

FAST AND FURIOUS

(US, 2009, d. Justin Lim)

That's exactly it.

An initial attempt at a robbery involving road tankers and speeding cars along back roads and cliff paths in Santo Domingo is so pacily edited that it gets the adrenalin going at once whether you approve or not.

We are back at the 2001 The Fast and the Furious, having dropped the 'the's' to remind us that Dom (the smiling/humour and charsima free zone, Vin Diesel) and Brian (the tall Paul Walker) are still on different sides of the law and still rivals when it comes to racing their cars through crowded LA streets, out in the desert or though miles of tunnels under the mountains on the border between Mexico and the US. So, for the fans, there is a lot of driving, lots of souped up engines and manoeuvres and crashes and drivers with capital A, Attitude.

As with the previous films there is a final credits warning on the danger of the stunts, the fact that they were performed by experts and under supervision, and an exhortation not to try them.

There is a criminal sub-plot, as had The Fast and the Furious 2. A drug lord has been responsible for the death of Letty (Michelle Rodriguez). Dom is after revenge. Brian is with an FBI agent tracking him down. Yes, the do infiltrate. Yes, they do become drivers. Yes, there is rivalry. Yes, they combine to 'bring him down'. But, we knew all that – it was just the question of how enjoyable it was to follow it all.

It's undemanding action, expertly crafted – except that Diesel is so impassive we presume there is a lot going on inside. And Walker is bestubbled to give him that subversive FBI personal.

PS. It made over a million dollars worldwide in its first week of release. The release was also of pent-up adrenalin in the credit crunch times.