THE QUIET ROOM

Australia, 1996, 92 minutes, Colour.
Celine O'Leary, Paul Blackwell, Chloe Ferguson, Phoebe Ferguson.
Directed by Rolf de Heer.

Rolf de Heer came to prominence with his Bad Boy Bubby, winner of AFI awards and many overseas awards. However, his subsequent film, Epsilon, a science-fantasy exploration of our world, has been shown only in one Sydney theatre. With The Quiet Room, he is getting a little more attention. The Quiet Room focuses on a seven year old girl and her child's point of view of her parents' marriage and its deterioration. She stops talking, hoping that this can have an effect on them. De Heer has often spoken of his love for children and his concern for them, especially the impact of their parents. He has an ability to communicate children's perceptions. This was a strong theme of Bad Boy Bubby.

The Quiet Room is a serious film and not a `just a night out' kind of film. In these days of increasing consciousness of the varieties of abuse of children and the impact of the abuse, De Heer has made a contribution to this growing
awareness.

1. A different kind of film? Family? Children?

2. The location: the action happening within the house, within the little girl's room? Outside the house, the glimpses of the beach and the dog running, the walking in the countryside? Confined and restricted - with hopes for opening out? The musical score and its quiet themes?

3. The structure of the film: the focus on the little girl, at age seven, the younger girl? Her being able to move in and out of her present situation and into the past? Communicating with her younger self? Her hearing her parents, her voice-over continually throughout the film, her dialogue with them, though their not hearing it? Her decision not to speak, her motives, her decision to speak?

4. The portrait of a marriage disintegrating, the husband and wife in love, ordinary situations, their impatience with each other, growing tensions, leaving, the separation, the father visiting? The hopes for reconciliation, the seeming failure? The little girl and her perception of this process?

5. The director's understanding of children? His writing the dialogue for the seven-year-old girl? Her speaking as a seven-year-old? Yet the sophistication of her observations, analyses, responses?

6. The portrait of the parents, the loving mother, her care for her daughter, ordinary things in the house like washing the sports uniform? Making the beds and weekends? Her love for her husband, the tensions, her impatience, ordering him away? The separation? The counselling? The hopes for the future, the promise of the country, the promise of a dog? The husband, his love for his daughter, his relationship with his wife, the growing tensions? His exasperation, leaving? His visits and his daughter's excitement? His going away, the counselling? The possibilities of an eventual reconciliation?

7. The incidental characters, the babysitter, the adolescent, her reaction to the little girl? The estate agent and her looking over and noting the things in the house? The removalists and their coming in and out and making their decisions about taking things?

8. The little girl, her love for her parents, the games, their picking her up, going into the bed? The interaction with the seven-year-old?

9. The seven-year-old, her appearance, the quality of her voice-over? Her decision not to speak, wanting to do something for her parents, leaving it too long and then feeling she could not begin to speak? Her hiding in the cupboard - wanting to go to the toilet, having to speak, their finding her again? The main time when she didn't speak, her activities in her room, her drawings, reading? Her observing her parents? The games, lifting her up, going to the bed? The sophistication of her observations, her remarks that she was only seven years old, yet her looking at the kissing, the embracing, the body language, the continual tensions? In her room, her observations on her fish, the hope for a dog, the dream of running along the beach, walking in the country? The details of her parents' interactions, her watching, her hiding, the removalists? Her finally hoping her manoeuvres and strategy had worked? The portrait of a young girl?

10. Insights into marriage, family, disputes? The effect on children? The insight into the experiences of children?

THE QUIET AMERICAN

US, 2002, 100 minutes, Colour.
Michael Caine, Brendan Fraser, Do Thi Hai En, Tzi Ma, Robert Stanton, Holmes Osborne.
Directed by Philip Noyce.

Brendan Fraser plays Alden Pyle, the too-good-to-be-true neat, dapper and courteous American allegedly in Indochina to assist with aid to trachoma sufferers, the embodiment of the 1950s eligible and promising young man. But he was a covert CIA operative. Surface charm and ingenuous manners covering ruthless ideology and commitment - and action. Which was the real Alden Pyle? which the mask? Or both?

While Alden Pyle is the quiet American of the story, the focus is on British journalist, Thomas Fowler, an average, perhaps mediocre, foreign correspondent who describes himself as a listener and merely a reporter. Fowler has succumbed to the attractions of Asia, found himself a comfortable niche and, refused a divorce by his wife, he has taken a beautiful young Vietnamese taxi dancer, Phuong, as his mistress. Is this the real Thomas Fowler or an idle mask which he removes when confronted by the duplicity of his friend, Pyle, and is challenged by the brutality of the 'third force' that the CIA is supporting and the victims lying dead and mangled in the streets?

The film does not offer clear-cut answers to these questions. Rather, it makes dramatic suggestions for the audience to ponder.

Considerable talent has gone into the making of this political thriller. Graham Greene's novel was published in the 1950s and madman immediate impact, Greene once again providing insights into an exotic land and political intricacies as he did with Mexico, Sierra Leone, Cuba for English-speaking readers. This screen adaptation is the work of playwright Christopher Hampton, perhaps best known for writing Dangerous Liaisons for the theatre. The director is Australian Phillip Noyce whose recent film, Rabbit Proof Fence, tackled the particularly sensitive issue of the removal of aboriginal children, especially those of 'mixed blood', from their families during the first half of the twentieth century. It tells the story of three little girls in the 1930s who ran away from the institution and followed the fence built through Western Australia to keep out rabbits until they got back home again. Noyce also inserted critical comments against the Suharto regime in Indonesia in his Tom Clancy thriller, Clear and Present Danger.

Michael Caine gives one of his best performances as Thomas Fowler. Fowler has drifted to Indochina, has become comfortable there, observes life and the war with detachment and has become comfortable. He explains that he is a man of regular habits, taking a cup of tea in mid-morning at a cafe in the square before turning up for work before midday. The way in which the role is written and is played by Caine suggests something of drifting, detachment, focus on the present and a kind of rather quiet life.

With the coming of Pyle into his life and Pyle taking Phuong, with an imminent recall to London, Fowler is galvanised into action: to visit the north where he sees the aftermath of a massacre of villagers, to interview an emerging general, escaping with Pyle's help from an ambush set up by the general and, finally, discovering who Pyle really is, horrified at the car bomb explosions and the victims and finally becoming complicit in Pyle's death. Is this the real Fowler, taking sides, more compassionate, more decisive, seeing the many sides of the situation - was the lazy and complacent journalist merely a comfortable mask?

For those who enjoy comparisons of originals and remakes, it is worth pointing out that The Quiet American was first filmed in 1957 by Joseph L Mankiewicz whose career included All About Eve, the Brando Julius Caesar, Guys and Dolls, Suddenly Last Summer and Cleopatra. In that version there was no explicit mention of the new CIA. Dien Bien Phu was a recent event rather than history. It was Michael Redgrave who played Fowler bringing a more stately and articulate presence to the role than Michael Caine. Caine is more credible in the role. In that version, Pyle was played by Audie Murphy, taking time off from the many westerns he made in those days. Still baby-faced, Murphy was ideal casting, perhaps even better than Brendan Fraser because the good-boy, baby mask made what he was doing even more sinister. (For those in the know, Murphy was one of America's most decorated soldiers in World War II and had re-enacted his story in the 1955 To Hell and Back - but he still looked too young and innocent to have achieved what he did.)

Pyle's mask is bland. When we finally see him take charge after the explosions, we see far more decisiveness and, in his explanation of his vision of America stepping in to save Indochina from Communism (with echoes of the US philosophy of 'manifest destiny' for world leadership), he talks 'big picture' language. What kind of man? How would you know with a covert agent?

1. Impact of the film in 2002 and the political situation? The film's relevance about American foreign policy? In the 50s, 60s, the beginning of the 21st century?

2. Graham Greene's perspective on the political situation in Asia, his understanding of Vietnam, the background of Indo China? His own personal issues, relationships? Betrayal?

3. The Vietnamese locations, the use of the cities, the countryside? The opening and Fowler's comments on Vietnam and its attraction? The interiors, apartments, restaurants, hotels? The musical score and its mood?

4. The 50s and the political situation in Indo China, the presence of the French, rebellion against colonialism, the rise of the communists? War? The retreat of the French, the treaties, the division of Vietnam? The preparation for the third force, the CIA backing, the aftermath and the Vietnam War?

5. The terrorist war in Vietnam, in the countryside, the grenades in the city? The emergence of General The and the Third Party, the backing of the CIA, using terrorist tactics to scare the people, to blame it on the communists and therefore being able to step in?

6. The structure of the film: the death of Pyle, the inspector and his interrogation of Fowler, Fowler's voice-over and his explanations? The reprise of the inspector's visit at the end, the importance of the footprint of the dog, Fowler's lies, responsibility?

7. The focus on Thomas Fowler, Michael Caine's presence and performance, age, experience, relationship with his wife, her being a Catholic and refusing to give a divorce, his work in Saigon, his being lazy, his dependence on his assistant, the cable from head office, his being called back, his devising the expedition to the north, saving himself another month? His relationship with Phuong, a man of regular habits, detached point of view, sympathetic, an easy life as a correspondent? His explanation that he was merely a reporter?

8. Pyle, the thirty-year-old American of the 50s, well-groomed, well-mannered, courtesy, his concern about eye disease, his loyalty to the United States? His being at the legation, his liaison at the legation? His meeting Fowler, their discussion, his recognising his work in the times? The drunken American, the brothel, his being rescued? Immediate infatuation with Phuong? The restaurant, the taxi dancers, Phuong's sister, her bitterness towards Fowler, her interest in Pyle? His dancing, declaration of love for Phuong? His wanting to be friends with Fowler?

9. The expedition to the north, the arrangement, observation, the horror of the massacre, the effect on Fowler, his article and the way that it was used? His continuing his investigation, seeing General The in the parade? Mr Muoi? The interview with General The, his hostility to the questions, breaking off the interview, the subsequent attack on the road, Pyle offering to accompany Fowler, his motives to save him from injury?

10. On the side of the road, the soldiers in the tower, the attack, the soldiers' fear, the escape, Fowler injuring his leg? Pyle and his taking up the gun and the violent defence of Fowler?

11. Pyle, in Saigon, his explanation of his motivation to Phuong and Fowler, Fowler sitting back detached? The argument, Phuong's choices? The letter from his wife, Fowler deceiving Phuong, her sister reading it, Phuong deciding to leave him? Her living with Pyle, the plan to marry in Boston?

12. The role of Phuong's sister, at the restaurant, the family and its background, her work at the legation? Phuong as a symbol of Vietnam, dependent on the outsiders, waiting to be saved, the Americans coming to her rescue?

13. The Diolactin, Mr Muoi and his imports, getting them through Customs, Pyle's explanation about their use for medical reasons, Fowler's looking up the books, finding that they were used in explosives? The visit to the warehouse? Their being ordered off? The role of Hinh as assistant to Fowler, the contact with the communists, the official statements, unofficial? Taking him from the warehouse? Fowler and his sitting in the square, the ordinary weekday morning, the exploding cars, the close-ups on the visuals of the injured and dead people, the photographer? Pyle's arrival, the blood on his cuff, talking to the police, fluent Vietnamese?

14. Fowler and his compassion, his looking at the people, deeply moved, understanding Pyle, confronting him?

15. Pyle's philosophy, Americanism, the long-range big picture and people having to die for ultimate good, the Third Force, the support of General The? The role of the CIA in Vietnam?

16. Hinh, the discussions with Fowler? Realising his disgust with Pyle, the plan with the book, Pyle and his dog arriving, the discussion, Fowler giving the signal at the window? Continuing to talk, some later regrets?

17. Pyle and the set-up, his being pursued, the chase, his being stabbed and thrown in the river? Fowler and the table for one, the drunken American, his son and polio - and the irony of his comment about wanting his son to live no matter how disfigured or ill, Fowler and his being a father-figure to Pyle?

18. The inspector, the discussions with Fowler, the open case?

19. The confrontation to Fowler, having to take sides, move from moral grey areas, alert conscience, heart and compassion, responsibility? The aftermath and his continuing in Vietnam as a correspondent and the indications of the war with the final image of the newspaper and the blinded soldier?

THE QUIET AMERICAN

US, 1958, 116 minutes, Black and white.
Audie Murphy, Michael Redgrave, Claude Dauphin, Georgia Moll, Bruce Cabot, Kerima.
Directed by Joseph L. Mankiewicz.

The Quiet American is based on the novel by Graham Greene. It appeared in the early 50s, focusing on the European presence in Indo-China?, especially that of the French and the battles in Vietnam during the early 1950s which culminated in the defeat of the French at Dien Bien Phu. Graham Greene was a world correspondent, a great traveller as well as a novelist. In his novel, at the height of the Cold War and critique of the communist system, Greene offered an insight into the presence of the French in Vietnam and of the looming American presence. Within ten years of the publication of the novel and five years of the release of the film, the Americans would become entangled in a Vietnam war.

The Quiet American focuses on an enigmatic young man who seems to be present in Vietnam for compassionate aid. Instead, he is an operative of the CIA and instrumental in setting up political tensions and a rival third force to combat both the communists and the local regime.

Michael Redgrave brings great dignity to his role as the English journalist in Vietnam, although he seems too refined for the performance. Audie Murphy, on the other hand, is perfectly cast as the quiet American. With knowledge of his war record, the most honoured soldier in World War II and author of his memoir and film, To Hell and Back, even in the late 50s Murphy seemed particularly baby-faced, defying belief that he was such a skilled soldier. This gives credibility to his undercover CIA role.

The film was written and directed by Joseph L. Mankiewicz, celebrated director of such films as A Letter to Three Wives, All About Eve, Julius Caesar, Guys and Dolls, The Honey Pot, Sleuth. He was also the writer director of the ill-fated Cleopatra.

In 2002, Philip Noyce's remake of the film was released. Michael Caine was excellent as the journalist, much more credible than Michael Redgrave. Brendan Fraser, with his history of comic roles, is also effective as the quiet American. The film was anti-American in tone, released just before the Iraq war. Michael Caine was nominated for an Oscar. The film also took on the story of Vietnam into the 60s with the central character becoming a war correspondent, reporting the American war.

The film is interesting in itself, a version of Graham Greene, an insight into the perspective of the 50s, and an interesting comparison with the remake.

1. An interesting film? In its time? Its perspective on Vietnam? As seen in the light of the history of the latter part of the 20th century? (In comparison with the 2002 remake and its perspective in hindsight?)

2. The work of Graham Greene, his observations on countries, politics, intrigue? His skill at dramatic confrontations, mystery, politics?

3. The black and white photography, the atmosphere of Vietnam, Saigon, authenticity? The musical score?

4. A film of the late 50s, the political situation in the 50s, the Cold War, European presence in Indo- China, the conflict with the French in Vietnam? The collapse of Dien Bien Phu in 1954? Power struggles, the elected government, the communist uprisings in the north, the politics of the third force and the ideas of the CIA, later adopted by the American government?

5. The Americans, their interest in Indo- China, their neo-colonial attitudes and power, wanting to save the world, believing in their destiny, intervening in Vietnam? Graham Greene and the film as prophetic of the 60s and 70s?

6. The presence of the British, the journalists, their observing, reporting?

7. The French administration, the police, the investigation of terrorism, of the actions of the American? His death?

8. The visualising of the communists, their plots, manoeuvres? The stance of the film as pro or anti-American?

9. The impact of ideas, Fowler and his discussion with the American? The American and the books? The contrast between theory and reality?

10. The flashback nature of the film, the information about the American's death, in the river, Thomas Fowler and his involvement, the questions of the police chief, the investigation of the body? The new year, Tom and Phuong and her grief at the American's death?

11. The portrait of the American, his arrival, dapper appearance, coat and tie, his book and the third force, humanitarian aid? His admiration for Fowler, going out with him, the dance hall, meeting Phuong, attracted, explaining it to Tom, courting her? Her sister's caution? His going up-country, meeting Tom, helping him, the trip, the tower, the attack, helping him escape? His later appearance in Saigon, his knowledge of the Vietnamese, Fowler seeing that there was something more beneath the surface? His being linked with the toxins and chemicals? His being perceived as a danger, the communist forces, the plot against him, setting him up, his going to his death, the brutality of his death?

12. The character of Tom Fowler, his background, his wife left in London, his relationship with Phuong? An easy life, his dislike of London, his finding life easy in Vietnam? The meeting with the American, being flattered by him? Taking him to the club, finding a rival for Phuong? Phuong and her decision to go with the American? Its effect on him, writing to his wife, the issues of divorce, lying to Phuong and her sister? Her sister's protectiveness? His decision to do an article, going up-country, interviews and observations, the siege, the American coming to his help? The further investigations, the chemicals, the information from the communists, the pressure on him to betray the American? The set-up, the issue of the book, the discussion, the signal, allowing the American to go to his death? His interaction with the police, nothing being able to be laid at his door? The rendezvous, the discussion, the ending?

13. Phuong, her background, her sister, in the clubs, the dancers, prostitution, survival? Her relationship with Fowler and love for him? Attracted to the American, going with him? Her grief at his death?

14. The human face of Vietnam at this time, the French in Indo- China, the colonial power, the Vietnamese and their reaction against the colonial masters, the terrorism, the brutality in the streets, the war, the emerging generals, the build-up to the defeat of the French? The entanglement of the Americans?

Q PLANES (CLOUDS OVER EUROPE)

UK, 1939, 82 minutes, Black and white.
Ralph Richardson. Laurence Olivier, Valerie Hobson, George Merritt, George Curzon, Gus Mc Naughton, David Tree.
Directed by Tim Whelan.

Q Planes (Clouds Over Europe) is an entertaining comedy spy melodrama just before World War Two. The film is a London Films production, backed by Sir Alexander Korda. It has an excellent cast with Ralph Richardson giving one of his best performances as a daffy civil servant spy. Laurence Olivier is the rather conventional hero and Valerie Hobson is all energy and style as the heroine. There are some very amusing lines - including John Laurie's criticism of Valerie Hobson for being too enthusiastic - "after all, this is England". The film is rather dated but shows the perennial ingredients of the espionage thriller. It is a still entertaining indication of London Films' cinema style of the '30s. Direction is by Tim Whelan, an American director who worked for Korda for some time and then returned to Hollywood.

1. Entertaining British spy comedy? The British film industry of the '30s? The work of Alexander Korda? A glimpse of the stars early in their careers? Spies, patriotism, humour? Hitler's Europe and the eve of World War Two? Now?

2. Black and white photography, production values, London in the '30s, the technology of planes and ships? Location photography? Special effects? The score?

3. The stars and their later reputations? Ralph Richardson and his flair for comedy?

4. The comic touch with Hammond and the opening, seeing him at work, his being arrested, the comedy routines covering the serious effort, the police, the umbrella, his manservant? Hammond and his British eccentricities? His absent-mindedness yet skill at detection? Oblivious and shrewd? His interviews with the authorities? The infiltration into the plant? The following of Jenkins and his death? The clash with Mc Vane and their growing friendship? His clashes with Kay and her investigations? His being taken off the case despite his credentials? His going home to cook and suddenly leaving with a brainwave? His snooping? Discovery of the truth? His gentlemanly gung-ho attack at the end? The humorous refrain of the phone calls to Daphne and postponing their appointment? His discovery that she was married? The understated eccentric British humour - as the style for the Secret Service?

5. Mc Vane and Laurence Olivier's earnestness? His work as a pilot, skills, grudges? The encounter with Kay at the canteen and the clash when he found her ringing the newspaper? The discovery of the truth and his embarrassment? Their continued clashing and falling in love? His following Jenkins and discovering Hammond at the death? His going up in the plane? The farewell to Kay? The heroics and the British fight against the Germans at the end? The noble British warrior hero, '30s style?

6. Kay and her work in the canteen, her talk and inquiry, the slap and getting the sack, phoning the news through, her work with the editor, the clashes with Mc Vane and their falling in love, her tormenting her brother? Her help with the detection? Happy ending? The plucky British heroine?

7. The Secret Service and the authorities, patriotism, style?

8. British industry and technology in the '30s? Development of planes? Pig-headedness? The British government depending on the finance and goodwill of the industrialists? The tests and their failure? The group of pilots and their morale?

9. Spies, covers, money deals, agents? The planes and the desperate means to steal them?

10. The techniques of stealing the planes, washing the wreckage ashore? The salvage vessel? The anticipation of World War Two with the plucky British fighting to the death at the end? The effectiveness of this morale-boosting and patriotism?

11. The blend of the mock-heroics with the heroics? Comparisons with later spy films? The perennial themes despite the big-budget spectaculars of later decades?

THE QUILLER MEMORANDUM

UK, 1966, 104 minutes, Colour.
George Segal, Alec Guinness, Max Von Sydow, Senta Berger, George Sanders, Robert Helpman, Robert Flemyng.
Directed by Michael Anderson.

The Quiller Memorandum is an efficient spy melodrama of the kind we have come to expect from films made from 1965-70. It shows disillusioned spies, icily unfeeling controls, potential traitors and clever character performances from the supporting cast.

But this film should have been much better than it is. Harold Pinter wrote the screenplay (he wrote The Pumpkin Eater, The Servant, Accident, The Go-Between). Direction is by Michael Anderson who has not achieved so well with the large tasks he has undertaken, e.g. The Shoes of the Fisherman, Pope Joan. As with most efficient spy thrillers, many questions are raised.

1. Was this a typical spy thriller? Why?

2. The central issue of the film was Neo- Nazism. Was this a particularly interesting issue? How relevant is it to contemporary European politics?

3. Was Quiller an engaging hero? Why?

4. How was Berlin itself one of the characters - was this important for the Neo- Nazi issue? How?

5. What irony was there in Pol's saying that the Neo- Nazis were just like everyone else in appearance?

6. What comment was there on the English way of doing things - the off-handed remarks, the dinners and Pol's breakfast.

7. what did you learn about the German and European situation from Quiller's interviews as Cooper. the journalist?

8. Did you understand what the Neo- Nazis were trying to do and why they acted so desperately?

9. Did you suspect Inger at any time of being a spy?

10. What is the morality of being a spy? Are all things lawful? Why?

11. Do films like this show a 'realistic' picture of a spy's life?

12. Had Quiller changed by the end of the film? Did he understand himself better? Was he disillusioned? Cynical?

THE QUIET MAN

US, 1952, 130 Minutes, Colour.
John Wayne, Maureen O' Hara, Barry Fitzgerald, Ward Bond, Victor Mc Laglan, Mildred Natwick, Arthur Shields.
Directed by John Ford.

The Quiet Man is one of John Ford's most entertaining films. It stars one of his favourite actors, John Wayne, who had appeared in Stagecoach, The Long Voyage Home and many Westerns during the 40s and 50s and into the 60s. He was often teamed with Maureen O' Hara in Ford's films, eg. Rio Grande, Wings of Eagles. Victor Mc Laglan, Barry Fitzgerald, Mildred Natwick, Ward Bond, who had appeared in many Ford films, also feature here. It is a very entertaining story of Ireland, full of Irish flavour and style. The colour photography is very beautiful. All in all, excellent cinema entertainment.

1. How ironic was the title? How was the quiet man the central figure of this film? How important was the contrast between Ireland and America in this film?

2. How was Ireland a strong character in the film? What beauties and love of Ireland emerged from the film? How was Ireland made to contrast with the U.S.? The colour, beauty and tranquillity of Ireland? The manners of Ireland? The old-world customs? How was this illustrated immediately by the train's arrival and the discussion at the station about the way? Of Michaeleen's presence with the buggy?

3. How humorous a film? Wat it a good comedy? Its main comedy ingredients? How were they successfully presented?

4. Sean Thornton as the central character. Why had he returned? Did it matter that this was not known until later in the film? What hopes did he have from Ireland? How proud was he of his heritage? His wanting to buy his home? Was it normal that he should have wanted to marry Mary Kate? His strengths? The impression of cowardice that he gave? The fact that he would put up with this? His amazement at the customs of courting? His withstanding the taunts of Red? How good a man was Sean Thornton?

5. Was Mary Kate a typical Irish heroine? What were her strengths? Her weaknesses? The way that we saw her at the church, in her family? How happy could an Irish girl be in such situations? How much room for unhappiness was there? Her place at home with her brothers and with Red? Her disappointment in his running her life and engagement? The fact that she had to abide by customs? Her willingness to thwart them when she was out with Sean Thornton? Why was the dowry so important to her? Was this made clear? Why couldn't Sean understand this? Why did she refuse to consummate the marriage? How stubborn was she? Why did he taunt Sean with his cowardice? Did Sean do the right thing in making her walk the five miles? Did his humiliate her? How happy was she after the fight? Why did they both live happily ever after?

6. How typical of the Irish ruffian was Red? How boorish was he? Why? What motivated him? Why was he in love with the widow? Why was he blind as how to behave? His book? The follower on? His behaviour at the race? His wanting to pick a fight? The fact that he was humiliated in the fight? Did this matter? All ended happily anyway.

7. What aspects of the Irish character did Michaeleen represent? As the human equivalent of a leprechaun? His companionship for Thorn? His matchmaking abilities? Helping Sean and Mary-Kate? Scheming against Red? The importance of drink and the horse stopping outside the hotel? The mischievous, happy, scheming Irishman? How engaging was Michaeleen? How likable?

8. Father Lonnegan and Father Paul. How did they represent the Catholic Church in Ireland? What picture of the church did they give? The authority of Father Lonnegan and yet his friendliness? The fact that he would enter into the schemes with Michaeleen? Father Paul and his relationship with his mother? His riding in the race? Father Lonnegan and his fishing and his leaving it to go to the fight? Were they caricatures or were they probably the real thing?

9. The role of the Playfairs in the film? As Protestants in Catholic Ireland? As well liked in the village? For example, the Catholic support when the Bishop arrived? The importance of Mr. Playfair in helping Sean understand his situation? (Just as Father Lonnegan had helped Mary Kate.)

10. What did the widow add to the story? Her selling the place to Sean Thornton? Her place at the race? Her thinking that Red was a boor? Yet her love for him? And all ended happily every after?

11. Comment on how the ordinary people of the village were presented? The people in the pub? The people at the station? The fight?

12. How vividly was the whole way of life presented in the film? The Church, the village, the pub, the races, the town itself?

13. What did the race add to the film? In terms of plot and dramatic irony? Mary Kate's feelings? Sean's feelings? The plot run by Father Lonnegan, Mr. Playfair and Michaeleen?

14. How important was the fight in the film? The fact that Sean had been reluctant? Sean's background and his memories of the death? Mary Kate's taunts of cowardice? Red's ridiculing of him? How important was it that Sean beat Red? As regards the dowry and the marriage? How well filmed was the fight? The people following from the station, the people and the betting, the interruptions and the going to the pub, Red's tricks, the whole joyful good nature of the fight?

15. How satisfying was the end of the film? How did it sum up all that had gone before?

16. How optimistic a view of mankind did the film present? Was this part of its charm and its enjoyment?

QUIEN SABE? (A BULLET FOR THE GENERAL)

Italy, 1967, 112 minutes, Colour.
Gian Maria Volonte, Klaus Kinski, Lou Castel.
Directed by Damiano Damiani.

Quien Sabe? is a vigorous example from the '60s of the spaghetti western. It was produced at the same time that Sergio Leone was making his mark with the 'Dollars' films and then The Good, the Bad and the Ugly and Once Upon a Time in the West. The star, Gian Maria Volonte starred in some of Leone's films. Here he has a strong role as Chuncho, the Mexican bandit trying to steal and buy arms for General Elias, the Revolutionary General. He is joined by Klaus Kinski (later to be so striking in many films including Herzog's Aguirre, Nosferatu and Fitzcaraldo). Lou Castel has a good role as the American bounty hunter.

The film, in colour and scope, spends most of its first half in set pieces, violent and bloody massacres, train hold-ups, shootouts. The film comes to a more serious point towards the end with scenes of mutual betrayal - the realisation by Chuncho that he has been betrayed and his vengeance on his friend the bounty hunter. Themes of loyalty, friendship, causes and betrayal come to a head in quite a dramatic conclusion. This film illustrates both the strengths and weaknesses of the spaghetti western. Self-indulgence in action and violence spectacle, themes of relationships and the significance of the American and Mexican West. Direction is by Damiano Damiani, a director whose career was largely in making films derivative of other genres - The Tempter (with Glenda Jackson and Lisa Harrow), and in the United States, Amityville II: The Possession.

1. The impact of the Italian spaghetti western? Its looking at the American and Mexican West with European eyes? The homage to American westerns? The originality of the Italian style? This film as a good example of the spaghetti western?

2. Colour photography, Spanish locations, the suggestion of the West? Panavision? Landscapes, action sequences, the use of close-ups and profiles? Special effects? The musical score? The star cast?

3. The conventions of the spaghetti western: the quick establishing of situation, characters and action? The heavy emphasis on violent confrontations? Spectacular attacks and fights? The lack of attention to subtle motivation? The gathering together of themes at the end? The popularity of the spaghetti western?

4. The comparisons of plot with the American western? Characters, bandits, the military? Confrontations? Train robberies? Friendships and loyalties? The role of the Church in Mexico? Government, military, betrayals? The confrontation of hero and villain at the end?

5. The character of Chuncho: Gian Maria Volonte's vigorous presentation of the bandit chief? His pride, laughing? Simplicity and shrewdness? His violent action and cause for getting the guns? Robbing the train, shooting people, the various set-ups and the use of his team for robbing forts and getting away with ammunition? The ambiguity of his friendship with Tate? His understanding of his brother - and the later irony of his brother ready to kill him? The cause of Mexico, the peasants, the Church, anti-military? His saving the life of his friend - especially with the malaria? The final confrontation with the General? The desertion of the village and his being ready for execution? His brother about to kill him and his acceptance of this? His being rescued by Tate? The temptation to be transformed into an American bounty hunter, the money, the night with the prostitute? The final confrontation with Tate at the train and his killing him and raucous running away to further the cause of the Revolution? A subtle characterisation in an unsubtle type of film?

6. The contrast with Tate - the variation on the Man With No Name? Presence on the train? Suit, hat? Enigmatic watching? Youthfulness? His killing people and the puzzle for the audience? The handcuffs? His deceiving Chuncho? Joining the gang? Participation in the various sieges of forts? Shooting, observations? His friendship with Chuncho? The malaria and Chuncho's help? The infatuation with Adelita? His going away? His finally killing the General with the golden bullet? Saving Chuncho's life? His receiving the money from the military? The slick bounty hunter and his success? The irony of his being killed by his friend? Underestimating Chuncho's values and loyalties? His shock in death?

7. The strange character of Santo - the priest with the revolutionaries, Klaus Kinski's manic look, dress, words, cross? The death of the priest and Santo's preaching to the men? His simplicity and the explanation of his intensity by Chuncho? His participation in the raids? His belief in the cause? His preaching at the giving of the medals and leading the siege? His disgust with Chuncho and his readiness to execute him?

8. The revolutionaries and bandits? Their skills in robbing trains? The various sieges? Jealousies within the group? Loyalties to Chuncho? The desertion of San Miguel?

9. Adelita and her place in the group? Her man? The temptation to love Tate? Loyalties and pressures within the group? Her loyalty to Chuncho? Her leading the attack on the fort with the prostitutes?

10. The encounter with Don Felipe and his wife? The lords and the rule of Mexico and the revolutionaries' reaction? The attack of Don Felipe's wife? Adelita and her not wanting to spare her?

11. The screenplay's enjoying itself in its revolutionary tone, siding with the peasants, satirising and caricaturing the military and the government? The indulgence of the massacres?

12. The social points being made about oppression, the shoe-shine boy and Chuncho at the end, Chuncho's seeming transformation and willingness to go to America, to enjoy the fruits of exploitation rather than revolution? His final loyalty to the cause?

13. The popularity in the '60s and '70s of the spaghetti western? The European insight into the American West of the 19th. century? Insight into the traditional American western film?

QUICKSILVER

US, 1986, 101 minutes, Colour.
Kevin Bacon, Jami Gertz, Paul Rodriguez, Larry Fishburne.
Directed by Tom Donnelly.

Quicksilver is the story of a young man talented at the Stock Exchange but losing his -money and opting for a more simple life of bicycle deliveries. However, in the bustle of city life lie becomes involved in other people's lives. The film is something of a drama about yuppies with a human touch.

Kevin Bacon (Footloose, Diner, She's Having a Baby) is quite engaging as the hero. Jami Gertz (Less than Zero, The Lost Boys) is the heroine. Paul Rodriguez (The Whoopie Boys) is good as the hero's friend- The film recreates the atmosphere of the city, the life of the cycle messengers, hopes and aspirations, and the background of drug deals. It was written and directed by Tom Donnelly.

1. Contemporary drama? Yuppy drama? The young adult?

2. The title, mercury and-change, the barometers of fortunes, riding like quicksilver?

3. The American city, hones and streets, the Stock Exchanges, companies, rug-running, the bike-riding and expert stunt work? Songs and score?

4. Jack and photos in the credit sequences, his success at the Stock Exchange, busy, wealth, the taxi racing the cyclist? His failing? Condemnation of himself? £he encounter with his father and his father's nonchalance, going back and seeing him weep?

5. Jack and his character, success, the taxi race, his job, success, friends? Failure? The cycling job, the friendship with Hector, the lonely girl, watching Gypsy and his brutality, the drugs? The visit to his father and mother, the consoling of his mother, trying to speak to his father, trying to get an emotional response? Their concern about him? His girlfriend, the dancer, living in. the warehouse? His skill on the bike, his skill in the job? The girl and her awkwardness, her lies? Her taking the drugs and delivering them? His friendship with Hector, Hector's ambitions, taking the money and going to the Stock Exchange? His friends at the Exchange, his enthusiasm and success? His chasing Gypsy and the fight? The pursuit and Gypsy's crash? The girl, the resolution? His growing up? Going with the girl to Hector's hamburger shop?

6. The girl, her background, lies, imagining great things about her parents? Work? Gypsy and his advances., getting her to do the drug delivery? In the apartment, antagonising Jack? Her being pursued by Gypsy, the fight, the chase? The ending and the possibilities of a better life?

7. Hector, his family the bike, helping the girl with buying the bike, money and hopes? The flash suit for the interview? The birth of his baby and excitement? The possibility of running drugs? Trusting Jack, cheerful, getting the finance and his shop?

8. Gypsy and his watching, brutal and flash style, pressure on Hector, pressure on the girl? The drugs? His antagonism towards Jack, the fight and the pursuit, the crash?

9. The firm, the workers, the bosses, the jobs?

10. The sketch of Jack's parents, his mother's concern, his father's lack of emotional- expression?

11. The city, the Stock Exchange, the successful brokers?

12. The city and its themes, values, quests in contemporary life?

THE QUICK AND THE DEAD

US, 1987, 86 minutes, Colour.
Sam Elliot, Kate Capshaw, Tom Conti.
Directed by Robert Day.

The Quick and the Dead is a western telemovie made for home box-office. It is based on a story by Louis Lamour. It has a strong cast led by Sam Elliott as a lone gunfighter, Kate Capshaw and Tom Conti as a pioneering couple, Matt Clark as a renegade doctor. The Midwest scenery and locations are beautifully photographed, a beautiful background for a story of pioneering, pursuit, violence.

1. Enjoyable western? Telemovie? The westerns of Louis Lamour?

2. The Wyoming settings, the Midwest photography? The planes, the town, the landscapes, the bills? Musical score?

3. The title, reference to characters, survival?

4. The dying town, empty, the men there, types? Doe Shabbutt and his hold over the men? The Breed and his joining the gang?

5. Duncan and Susannah, their story of the east, Pennsylvania, epidemic, arriving in the town, the invitation, passing through, setting up camp, the stealing of the horses? Vallian and his interest. advice, Duncan and the confrontation, Vallian shooting, the taking back of the horses?

6. Vallian and his quest: his background. Indian, the action and freedom in his life, passing through the town, the confrontation, chasing Breed - especially in relationship to his dead mother? Attraction towards Susannah, his comments, Duncan's reaction, Tommy's admiration? Continually with the family, sharing their experiences, offering advice, his warnings, coming to the rescue? The night and kissing Susannah? The shootings? Discussion? Confronting Breed at the goods from the wagon train? His being wounded? The family tending him? The final confrontation? His future. Duncan punching him, Tommy's last words, Susannah's farewell?

7. Duncan and Susannah, their relationship, hopes. Tommy? The wagon. the dangers? The confrontation for the horses? Susannah bashing Red in the night? The decision to take up the gun, gun practice? Duncan's memories of the violence of the Civil War? The pursuit, leaving their goods behind? The fights, survival? Finding the house, deciding to settle? Telling the truth to each other? Pride and love?

8. Doe and his meanness. the killings, his brothers, the pursuit? Red and his bashing, Breed and his being killed, the other deaths? The long journey, through the snow? The final confrontations and death?

9. The harshness of the west, opportunities, dangers? The American heritage?

A QUESTION OF SILENCE

Netherlands, 1982, 95 minutes, Colour.
Edda Barends, Nelly Frijda, Henriette Tol.
Directed by Marleen Gorris.

A Question of Silence (The Silence Around Christine M.) is a powerful Dutch docu-drama which has important repercussions for feminist themes. It was written and directed by Marleen Gorris. The situation is quite contrived - but important for highlighting the roles of wen and women in contemporary society. Three oppressed women are shopping, they are treated patronisingly by the shop manager - they turn on him and murder him. There are some bystander witnesses. The women are arrested, go to prison, are interrogated by a woman psychiatrist. There is a court case and her testimony is presented. With the backgrounds of the three women, with the story of the psychiatrist and her relationship with her husband, issues surrounding women and their rights are dramatised. While the presentation is in many ways realistic, the treatment is much more symbolic, a type of psycho-drama.

The film is powerfully argued - one reviewer saying the important thing was dialectic rather than didactic method, the asking of questions rather than their being answered. The reviewer also noted that the constant appeal to common sense is the appeal to patriarchal presuppositions. The film is well acted, interestingly written - and a disturbing piece of entertainment.

1. An interesting and entertaining film? A parable of women's issues in contemporary society? The seriousness of the themes, treatment, motivation? The administration of justice? The feminist dialectic?

2. A Dutch production: setting, Dutch society, perspective? The universality of the theme and its treatment?

3. Life in the Dutch city: homes, offices, cafes, shops, jails, the courts? Authentic atmosphere - used realistically and symbolically?

4. The work of the writer-director and her feminine cast? Feminine sensibility, issues? Women's responses? Men's responses? A disturbing film?

5. The importance of the structure: the introduction to the psychiatrist and her husband and their relationship? Contemporary couple, sexual relationship, marriage, roles? Careers? The introduction to the three women - their background, the arrest? The later visualising of the crime? Prison, the court? The audience gaining the evidence piecemeal? Facts, evidence and interpretation? Questions of motive and justice? Realism,

6. The title - and the focus on silence, on Christine and her refusing to speak? The background of her being silenced by society and its attitude, her family? The silence as a symbol?


7. Audience response to the crime: its being dramatised objectively: the man, the shoppers, the clothes, service, the attack, the brutality, the joining in of the group, the bystanders? Audience reaction to the objectivity of the guilt?

8. Women and their dignity, as persons, as feminine persons? The masculine world and its effect: the office and the secretary and her being excluded from decisions? The cafe and the truckies etc., the home and expectations from husband and children? Silence, sexual harassment, appreciation? the pressures on women, their remaining silent, the potential to lash out - even to kill? The suppression of abilities, talent, personality? The man as a symbol of oppression, of hatred, of violence?

9. The women presented as real and as symbols? The men as real and as symbols: the psychiatrist's husband, lawyer, the boss in the office, the men at the cafe, the victim, the judge?

10. Christine: at home, her story, husband, children, the routines, her not having opinions, keeping silence? The build-up to the crime? Her response afterwards - the children at the fun fair? The bond with the other women? Her arrest, prison, silence? The psychiatrist not being able to break through? The complete withdrawal? Behaviour in the court, the final laughing? Christine as an indictment of men?

11. Andrea and her work, competence as secretary, sexual harassment, opportunities and her being passed over, under-used? Participation in the crime? Her acting out the role of the prostitute - the attraction of the hooker, the man assuming that she was, her leading him on, the sexual encounter and humiliating him? Arrest, prison, encounters -With the psychiatrist, articulate?

12. Annie as the rough diamond, raucous, the divorce, living alone, the encounters with the men, her work, used? Participation in the crime? Prison, reactions, down to earth?

13. Janine and her husband? The mirror of the world of the three women? Marriage relationship, the audience seeing the sexual relationship? Their skills and their work? Equality? The women being seen as honorary males? Her intelligence, professionalism? Entertaining? Comparisons with the three women? The rivalry with her husband and the masculine edge? Her work with the three women, no reaction from Christine, the bullying? Her becoming involved? The testimony and her trying to puzzle it out? Discussions with her husband, the lunches? The pressure tor her report? Her presenting it? Her husband's reaction against it? Her laughing in the courtroom? Janine as a potential killer?

14. The judges and questions of justice? The perspective of a man, he victim, the crime? The reaction to the women and the handing own of the decision?

15. Themes of normality, abnormality? The perspective of the police, the judge, the psychiatrist?

16. The importance of the laughter in the court - tension-breaker, laughing at the them, the hysteria, the laughing at situations? The observers in the court laughing?

17. The bystanders and their presence in the court, solidarity with the accused women, the tableau of the bystander women (age, occupation)?

18. The film as a psychodrama - enabling insight into feminist questions, perspectives?