XTRO

UK, 1983, 82 minutes, Colour.
Philip Sayer, Bernice Steegers.
Directed by Harry Bromley Davenport.

Xtro is B-budget British science fiction and horror. Advertising linked it to E.T. - a child, but one who finds aliens are not always friendly. The film also echoes Invasion of the Body Snatchers and the kind of horror of Larry Cohen's It's Alive and It Lives Again. There are effective, sometimes very gruesome, special effects.

The film presupposes alien beings who can take over humans - with horrific consequences. This is balanced by a conventional story of a widow and son and boyfriend and violent confrontations. Some sex is added in the form of a shapely au pair girl and her boy friend - who are summarily disposed of during the film. The film works on a comic book level rather than sophisticated science fiction.

1. The impact of science fiction and horror? Interpretation of the present? Apprehensions about the future? The popularity of this kind of film late '70s, early '80s? Audiences interested, enjoying the horror and the imaginative nightmare?

2. The film was described as a sub-science fiction rip-off? How accurate is this description? B-budget? Cast? Location photography? Special effects? The work of the director in the basic story, music composition and performance?

3. The quality of the imagination in the film? Comparisons with E.T. and body-snatching style science fiction? Mutants, aliens?

4. The prologue: dream and reality? Sam chasing Tony? The bright light? His being taken? Tony's waking up? The thew of dream and reality? Fantasy?

5. The effect on Tony? Reliance on his mother, longing for his father and expecting him to return, antipathy towards Joe? Recurring nightmares?

6. The conventional story of the household: Rachel and her coping, Joe living in, his work (and the dash of sex with the modelling sessions and photography)? Tony's isolation, resentment? This conventional story as a base for Sam's reappearance?

7. The science fiction trappings of the alien, the monster delivered to earth, the car crash and the accident, the killing of the couple, taking the victims ' clothes, the rape of the woman in the house, the scene of her monstrous giving birth to the adult Sam, his new life?

8. Sam arid his normal appearance? His arriving at the household? Trying to cope with the three years' absence? The dilemma for Rachel? For Joe? Tony and his delight? Sharing experiences with his father? Eating the snake eggs and Tony's revulsion? His father biting him and taking him over? Telekinesis? Power and alienation - to what purpose?

9. Rachel and the effect on her, trying to cope, the emotional dilemma, the puzzle? Trying to cope with Tony? The phone calls and her concern about Tony? Her losing both Sam and Tony?

10. Tony and his isolation, his toys, pet snake? miss Goodman and her killing the snake? His vengeful and sending the live toy to kill her? The dwarf and their murderous play?

11. Anneliese as the au pair girl, her role in the household, looking after Tony? Her boyfriend - the sex scenes? His being attacked and killed by the panther? Her being bitten by Sam? Her skeletal form in the bathroom? Giving birth to the pods?

12. Joe and the confrontation, seeing the photo of the murdered girl in the coat. the phone calls home, the death of the doorman?

13. The build-up to the visit to the country house. the fight with Sam? Rachel's dilemma? Sam and his beginning to disintegrate?

14. The escape, Joe's death, the pods left on earth. Rachel's return home - reality or imagination?

15. How effective was the film as science fiction horror story? As imaginative nightmare?

Q & A

US, 1990, 137 minutes, Colour.
Nick Nolte, Timothy Hutton, Armand Assante, Patrick O'Neal, Lee Richardson, Charles Dutton.
Directed by Sidney Lumet.

Q & A is a Sydney Lumet film about justice when law and order is in disarray. Ambition, corruption and violence prevail - especially in New York City. Lumet has adapted the screenplay himself from a novel by Judge Edwin Torres (who was a judge in New York City and Lumet's advisor for Prince of the City). It is in the vein of his 70s police films Serpico and Dog Day Afternoon as well as the 80s Prince of the City. It is very grim.

Nick Nolte is believable as the psychopathic and brutishly crooked cop. Timothy Hutton gives an excellent performance as the earnest, to-be-disillusioned lawyer. Armand Assante is also excellent as the local Hispanic hoodlum tycoon. In fact, the film is very well-made, small parts acted particularly well (for instance the Jewish lawyer, Hutton's advisor friend, Patrick O'Neal as the smooth political operator). The film takes us into a dark, selfish, exploitive, racist, crude, foul-mouthed world - and Torres and Lumet are pessimistic about the future.

1. The title, the processes of law, the role of the police, law and order?

2. The work of Sydney Lumet, his interest in justice, police, crime? A film of the 80s and 90s? Pessimism?

3. The authentic use of New York City locations: the police precincts, the various districts of New York, Times Square, nightclubs, the Hispanic sections? The use of Miami? Puerto Ricco? Musical Score? Song?

4. Mike Brennan and the opening, the killing, audience revulsion at the brutality? His setting up the witnesses? Pressurising them? Using his badge? Telling the various stories to the fellow police - and his crude tone? Al listening to him? His wanting to be pals with Al? Genial side? The Q & A process, the clarity of his answers, his lies? The bond with Quinn and Quinn's smiling? The enigma of the cover-up? Audience expectations for the conflict? Brennan in himself, personality, psychopathic? Motivation for being police? For jaw and order? The card dragged from the river and his pressure on Al? His plea with his friend Chapman - and the implicit racism in his relationship with the black officer? His threatening of Val at the video shop in front of his children? In Times Square and his brutality with the prostitutes, transvestites? The pursuit of Roger? Chapman tailing him? His link with the prostitutes, in the apartment, murdering the prostitute? His going to the Mafia bosses and wanting protection? Listening to the answering service, the information about Roberto Ricco, going by plane and following Al? The confrontation with Roger, the sexual invitation - leading to murder (but indicating Brennan's own sexuality and inhibitions)? Killing Roger, the explosion of the boat? The return to new York, confident? Going berserk in the office, shooting? His shooting his friend Chapman? The back ground of the Irish police, bigotry and racism, emphasis on (white)? The blue of the police? Belief in law and order? His relationship with Quinn, his being used for political purposes? Symbolic of corruption in the New York police force?

5. Quinn, his orders for AI, neat and tidy. sense of menace, ordering AI in his investigations? The link with Brennan? Expectations of procedures, being thwarted? Expressing disappoint with menace, inviting Al to dinner, the outline of his political campaign, emphasis on wealth, the Jews? His PR men? Threatening Al? Bobby Texador and his story about the young Quinn, his violence and brutality? The possibility of exposure? Bloomenfeld and the decision to let Quinn go (expecting him not to win office)? The portrait of office seekers in New York State?

6. Timothy Hutton as Al Reilly: waking up, being asked to take on the case, seeing the issues from his prospective, eager and innocent, going to Quinn, agreeable, listening and laughing at Brennan's stories, one of the boys? The Q & A process and its clarity, his self-satisfaction? His relationship with Chapman and Valentin? The banter, the process of inquiry? His friend ship with Bloomenfeld, idealist, giving him information? Learning from him? The hearings and the reaction of Preston Pearlstein? His winning out over the witnesses? The interrogation of the Mafia types, throwing the book at them? Attitudes towards Bobby Texador? Finding Nancy at the interrogations? Bobby and his threats? The effect? His own doubts? The memory of his father and his respect for him? Obeying Quinn? Learning from Chapman and Valentin? With Nancy and moving to a more serious approach? The story of his relationship with Nancy, his hurting her, her background and her-father? His discovery of his own racism? Seemingly irrevocable mistake? Brennan and his threats? Brennan's other threats and Al hiring them? Continuing to get advice from Bloomenfeld? Tracking down the witnesses, the information to go to Puerto Rico? Hearing Quinn's story from Bobby? The early hour sitting? The shootout in the office, his being hurt? The cover-up, Bloomenfeld's stance, his disillusionment? His own methods, going to Puerto Ricco, the confrontation with Nancy, wanting to be with her? The support of her mother and his interviews with her? A future?

7. Bloomenfeld, 30 yrs experience, attempts for justice, wise advice, finally playing things safe, helping Al not to be injured, his final-words - and the disillusionment?

8. Chapman, the black detective, friendship with Brennan, Brennan saving his life, blue being more important than black? His skills, friendship, his approach to the case? Following Brennan and knowing the truth? Giving the information to Al? Not wanting to hurt Brennan - and the irony of his being shot by him?

9. Valentin and the Hispanic style, manner, speech? Relationship with Bobby, the confrontations? Working undercover? Yet the family man? Going to Puerto Rico, his honesty to Al? The Hispanic police in New York City?

10. Bobby Texador and his background, success, the gangs, the story about Quin and the gangs, his relationship with the Italians, spurning them, using the homosexuals and the transvestites? At the nightclubs and the confrontation with the Mafia Love for Nancy, marrying her? His taking Roger to Puerto Rico? Money issues? The setup for his murder and his outwitting the Italians with his Cuban bodyguards? Roger's phone call at Brennan's behest, going to the boat, the explosion? The picture of the arrogant Hispanic gangster become tycoon?

11. The Italians, the tradition of the Mafia, their bigotry, anti-Hispanics? The witness questionnaire and Pearlstein and his clients? The Italians at the club and their despising of the Hispanics? The Mafia boss and his home, his hold over Brennan, drug deals and money? Sending the killer to Miami to set up Bobby Texador?

12. Nancy and her background, her Hispanic mother, black father? Love for Al? Her story about her disillusionment in seeing the look on his face? With Bobby, love, security? Silent at the interrogation? AI following her, the car ride and the discussion, the visit to her mother? Her stories about losing love? Supporting Bobby? At the end on the beach - the possibility of forgiving Al?

13. Nancy's mother, Al's visit, his going back to the mother, the discussions about the racism and Nancy's hurt, her supporting him?

14. Quinn's campaign, his PR men and strategists? The role of the police? The District Attorney's office and Bloomenfeld, protection for Al, the collection of information? The early morning sitting? Their decision not to prosecute? Wheels within wheels?

15. The glimpse of the New York City precincts, the police, the range of backgrounds, racial and religious tensions? Good humour? Brutality? Law and order?

16. A picture of New York at the end of the 80s, crime, drug-dealing, vice, violence, power? A pessimistic viewpoint?

QUENTIN DURWARD (THE ADVENTURES OF QUENTIN DURWARD)

US, 1955, 103 minutes, Colour.
Robert Taylor, Kay Kendall, Robert Morley, George Cole, Alec Clunes, Marius Goring, Wilfrid Hyde White.
Directed by Richard Thorpe.

Quentin Durward was released In 1955, It was made In the same vain an the 1953 Ivanhoe. Once again a story by Sir Walter Scott@ Robert Taylor as the hero, Richard Thorpe an the director. However this film was not so popular an Ivanhoe and not so well made, Perhaps one of the differences was that the screenplay this time was by Robert Ardrey, ano author who was later to philosophize about atmosphere and environment especially in his book the Territorial Imperative. The screenplay of Quentin Durward is not an straightforwardly serious as that of Ivanhoe, there In a re-creation of the medieval period but much satire on the customs and the manners of the time. This is especially evident In the character of King Louts played by Robert Morley. This time Kay Kendall is the attractive heroine. However Quentin Durward does combine the best elements of MGM epic adventure and satire.

1. The success of the film as a costume melodrama? The appeal of period films? The enjoyment? The serious undertones of costume dramas?

2. The M.G.M. lavish style? Cinemascope? Location photography, the stars? Audience expectations from period melodrama?

3. The irony inherent in the presentation of the costume drama? The tradition of Sir Walter Scott's novels? Yet the opening caption about knighthood and its drooping flower? The film as a mock-heroic exercise on knighthood and the Middle Ages? The humour and irony of the dialogue, the comedy of the situations? Upsetting audience expectations for sheer
heroism?

4. The importance of the historical and political comment? The idealizing of chivalry, the regret for its passing? The ironic presentation of the more modern world of guns and diplomacy and betrayal? How much regret for the noble ideals? How much realistic facing up to the cynical attitudes? How much regret for these attitudes?

5. How well did the film set the political situation? The Scottish involvement in France in the fifteenth century? The clash between Burgundy and France? The roles of the leaders, their plots and double-crossing? The Scottish alliance? The tradition of the war with England?

6. The situating of Quentin Durward in this setting? As a flowering knight, contrasting with the drooping blossom? His qualities and strengths as a hero? His background of being a Scot and penniless, his dependence on his uncle? The mission and his encounter with his uncle and the plans for the marriage and the Scottish alliance? His sense of honour, his involvement, his love for Isabel, nobility, and chivalrous heroics?

7. Isabel as the heroine of this film? A charming woman? A political pawn for the King of France and Burgundy? A victim of each? The planned marriages? Her love and dependence on Quentin Durward? Her involvement in the fights and the heroics? The justice of the happy ending and the marriage?

8. The presentation of King Louis? A more modern king? His skill in smooth talk and treachery? His style, reliance on his advisers, his discussion with his barber? His challenge of Burgundy, its almost failing? His attitude towards Isabel and Quentin Durward?

9. The similarity of Louis and the Duke of Burgundy? Burgundy relying on the manoeuvrings of his envoy?

10. The contributions of the gypsies? The humour of the character of Hayradden? His comic speech on being a spy, money? His loyalty? The sadness of his death?


11. De la Mare being the villain? The rebel in the forest? Cruelty? The characteristics of a villain? The contrast with the chivalrous hero?

12. The importance of the pageantry of the Courts? Of riding through the countryside?

13. The detailed presentation of the Courts of France, their intrigues, the plans for a united France?

14. The world of the forests, the fights, the Inns and their danger?

15. How effective was the climactic duel in the bell-tower? The way it was visualized, the sounds, the acrobatics, the suspense?

16. The suspense, the climax, the escapes? Louis' final diplomacy with Burgundy and providing a happy ending for Quentin and Isabel?

17. How enjoyable and successful a historical epic?

QUINTET

US, 1979, 118 minutes, Colour.
Paul Newman, Vittorio Gassman, Fernando Rey, Bibi Andersson, Brigitte Fosse, Nina Van Palandt, David Langston.
Directed by Robert Altman.

Quintet is interior, meditative Robert Altman (using long, tracking, reflective cinematography and symphonic score like Three Women). It is also a social allegory - set in a frozen, sparsely populated, post-nuclear future city. Quintet is a deadly game, played by experts for the excitement of being near death and surviving. Their mediaeval garb suggests vividly both past and future. The ruins of Montreal's Expo '67 are used for a vivid environment. An international class cast including Paul Newman, Vittorio Gassman, Fernando Rey and Bibi Andersson reinforces the global survival significance. Criticised as boring and pretentious (and many will find it so), yet it has powerful and persuasive atmosphere and meaning.

1. The significance of this film in Robert Altman's work? His mosaic satiric commentaries on American society and his more subjective, dreamlike films? The film's lack of commercial success? Its critical success? The validity of the comment that the film turns its back on its audience and challenges it to stay?

2. The importance of the film's technique and texture: the atmosphere it created, the world it visualised and in which it immersed its audience, the snow-scapes, the city of ice and ruins, the recognisable old world in disarray, the changes? The importance of the visual impact: compositions, colour, designs of the decor, costumes? The mediaeval decor and weapons? The importance of the musical score - quiet and atmospheric, loud and climactic? The style of the long tracking shots, the tableau? The presentation of the game of quintet, the editing? The build-up to climax? The symbolism of the photographs used in the decor of the city, the suggestion of the oppressed and the persecuted? The goose flying north?

3. The quality of the international cast? Their acting styles? The effect of their mixed styles?

4. Altman's vision of the future: a dream of the future - the ravages of war, the continued sounds of wars and explosions, the bomb? The contrast with death by knives and spears? The destruction wrought, the elimination of most activities? The qualities of survival? The occupying of time? The excitement of being alive? The challenge and the facing of death? Food and warmth? The absence of love? The exercise of power? Philosophy and religion and the meaning of life, suffering, the void after death? The visual and atmospheric bleakness? Seals dying out in the south, birds flying to the north? The symbol and motif of the dogs eating the frozen corpses? The importance of playing quintet in this kind of world - its rules, killing order, lists, challenge, skill, murder and survival? Quintet as the symbol of future survival?


5. The film as an allegory of the present situation, international condition, war and peace? The allegory of the game of quintet - with reference to power, nuclear power, international diplomacy, war? (Suggestions of the Pentagon? War as a game? The killing list as a deadly game?

6. The focus of the title on the game, the playing of the game, the nature of the list, the organisation of the tournaments and their skill? Grigor and his supervision, his being the impartial judge? St Christopher and his skill, sinister presence? His explanation of the meaning of five, the furthering count of six, the empty space, the void? The nature of five in geometric representation? The game and getting into the game, the purpose, losing one's identity once one entered the game as someone else?

7. Essex and Vivia emerging from the snow? The long introduction indicating their trek from the south, the elimination of the seals, Vivia's excitement at the bird flying north, their passing the dogs eating the corpses? Vivia's asking for stories about history and the city? The derelict centre of information and Essex's skill in getting the information? The audience moving with them, curious, hopeful for the city - but dim hope? The revelation of their past and the hunting of the seals? The relics of a past civilisation? The fading of memories and the nostalgia? The revelation of Vivia's pregnancy and hopes for the future? Vivia's love for Essex, her easy manner, her anticipation of life in the city, her willingness to enter the game? The sudden violence of her death?

8. Essex and his absence, hearing the explosion? His revulsion and revenge? His reverent carrying of her past the dogs to float away in the river? Paul Newman as Essex? The impact of Newman as superstar in this role and in this film? His emerging from the snow with Vivia? His memories? His work in the south? His reason for coming to the city? Searching for his brother in the headquarters, finding his brother and the suspicious response? The family and his being accepted? His not pitying quintet? His going out for the wood and his being absent for the explosion? His grief and the putting of Vivia's body into the river? His search for the murderer?

9. The irony of St Christopher murdering the assassin? His discovery of Redstone's body, the list? His decision to identify with Redstone? His guest and detection? Its meaning and vengeance? The importance of changing his identity - but his being absorbed into the quintet game? His exploration of the city? The various sectors? Discussions with Deuca about the game? The encounters with Grigor and the discussions about judgment? Hs visiting St Christopher's section? His listening to his speech, the contrast between charity and the philosophising about the number five and quintet? His moving into the hotel? The cold rooms? His eavesdropping on the quintet player and the discussion with Ambrosia? The death of the man? The relationship with Ambrosia, their talking, the gentleness of the sexual encounter? The possibility for human contact? The confrontation with St Christopher and the quest in the snow? The fight and his death? St. Christopher as villain - Vittorio Gassmann's appearance and style, sinister manner, cruelty? Playing the game? Slitting Redstone's throat? His running the soup kitchen and the irony of his preaching? The preacher about five, the space of six, existence, death, hell, the void? Hope being eliminated from the vocabulary? His relationship with Grigor? The threats to Ambrosia? The death of Deuca? The build-up to the confrontation in the snow and his death?

10. Grigor as judge? His being seen as the supervisor of quintet, his knowledge of the rules, his moving alone? Sinister? His encouragement of the tournaments? The survivor? His theory of excitement, death, the loneliness of ruling? The alternate survival of the human race?

11. Ambrosia and the feminine presence in the game, her wandering the city, her capacity for playing, her following the rules? Her room, the discussion with the man about to be murdered? Essex spying on her? The sexual encounter and her radiance? The confrontation of Essex and her trying to kill him? Her death as part of the game? The absence of women in the future?

12. Deuca and her managing the game, her control, her lies, the violence of her death and her being present, dead, during discussions?

13. The glimpses of the populace: so few, in the soup kitchen, the wood cellar, Essex's brother's family? Lack of children? The death of Vivia and the loss of potential for human survival and a new generation?

14. How satisfying a film? Did it involve its audience or invite them merely to observe? The role of science fiction in portraying a possible future and commenting on the present? How optimistic a viewpoint? A satisfying parable for the present?

A QUESTION OF PRIVILEGE

Canada, 1998, 95 minutes, Colour.
Jessica Steen, David Keith, Wendy Crewson, Nick Mancuso, Michael Ironside, Eric Johnson, Tom Butler.
Directed by Rick Stephenson.

A Question of Privilege is an interesting, if routine, crime drama. It focuses on three young men who are accused of raping and murdering a fourteen-year-old girl. They come from wealthy backgrounds and there is criticism that they will not be brought to justice. In fact, one of the boys' lawyers gives information to the police which leads to their arrest and this is deemed as illegal and so they are released on a technicality. However, three of the young men are killed.

The film focuses on a husband and wife, police and lawyer team. He is the assistant prosecutor but has known about the illegality and is upset when his wife emerges as the person who exposed the illegality. Ironically, with quite a twist, it emerges that the evidence that the wife has, a tape from a bar which catches the lawyer and the police speaking, was a set-up to effect the technicality.

The film has several twists, including the fact that it was the younger boy, who did not participate in the rape but had tried to help the girl, who accidentally kills her when she struggles with him. It also emerges that the lawyer for the rich family, who had been raped in the past, is the avenging angel who actually kills the boys.

The film has a good cast with Jessica Steen and David Keith as the husband and wife, Wendy Crewson as the avenging lawyer, Nick Mancuso as the prosecutor and Michael Ironside as one of the police.

1. Interesting and entertaining police and legal drama? Characters, the crime, the solution?

2. The Canadian settings, the city, the river, the bridge, the prisons, the police precincts? Musical score?

3. The title, its reference to legal matters, client-lawyer privilege, the wealthy family and its privilege and issues of justice?

4. Andrea and Carter, Carter and his job with the prosecutor, the possibilities of promotion? Andrea and her having worked with the prosecutor, his having dismissed her because of her support of a witness, her setting up in private practice, waiting for phone calls? The home life with their daughter? The rape case, Carter and his work? Andrea and her client in the bar, his eccentricities, getting her the tape, her seeing the policeman and the lawyer, the client pointing it out? Her realising that the lawyer had given information to the police, enough for them to arrest the boys accused of rape and murder? Her bringing this forward, the boys getting off on a technicality? Her husband's upset, his losing his job, the prosecutor thinking that she had looked through the file? The antagonism of Lieutenant Ingram? Tensions in the house, Carter at home, cooking the meal, the daughter refusing to eat the spaghetti, his upset? Andrea and her continuing to follow the case, the Tate family offering her a job?

5. Gail Sterling, the lawyer, her working for the family, Kyle Reeves and his assistance? His giving the information to the police? The irony of it being a set-up? Gail and her not working for the Tates, the discussions with Andrea, the antagonism? Her interviewing the boys on the bridge? The information given by Ian, the classical music, the phone calls in the documentation, Andrea going to see Gail, realising that she was the killer, locking her in the greenhouse, the classical music, the confrontation, Gail killing herself?

6. Stephen Healy, the prosecutor, political ambitions, antagonism towards Andrea? Sacking Carter? The new information, rehiring them? Lieutenant Ironside (Ingram?), the decorated policeman, his relentlessness, his surveillance of the boys, Andrea trying to get him to move? His taking her to see the dead boys? His reputation, his relentlessness?

7. The boys, giving the girl a lift, her being willing to go, the rape, Ian not wanting to participate? His explanation that he was there because his brother let him drive? The gang-rape, her age, her death? The final revelation that it was Ian who had killed her while trying to help her? Joel and his surliness, arrogance, towards his father, his brother, the police? At school, his fight with one of his friends, the playing baseball? The irony of the two friends being killed after these events? His anger, his disdain of the victim? At home, his father? Going out with his brother, their being pursued, his brother falling into the river, his diving to save him, his death? Ian and his seemingly in fear of his brother? The truth, his being arrested and interrogated? The father, his complicity in the plan, his knowledge of the truth, the offer to Andrea?

8. Andrea, her work, her assistant and the help, the difficulties with Carter? The interrogation of the boys, wanting the truth, her looking at the documents, going to the scenes? Her realisation of the truth?

9. The case itself, familiar material, the twists in the plot, the personalities of the investigators, the personalities of the perpetrators? An interesting mix?

QUARTET

UK, 1981, 101 minutes, Colour.
Alan Bates, Maggie Smith, Isabelle Adjani, Anthony Higgins, Pierre Clementi, Suzanne Flon, Sheila Gish.
Directed by James Ivory.

Quartet is based on the novel by author Jean Rhys. It has been adapted for the screen by Ruth Prawer Jhabvala. She has worked for many years with producer Ismael Merchant and director James Ivory. They have collaborated on a number of films about India including Hullaballoo Over George and Bonnie's Pictures and adaptations of Henry James such as The Europeans and The Bostonians.

The film has a very strong cast and Isabel Adjani won Best Actress prize at the Cannes Film Festival.

The film was based on the experiences of Jean Rhys and author Ford Madox Ford. It re-creates the world of wealthy expatriates in Paris in the '20s. Their aspirations to art, culture, sophistication. It also highlights the tangles of their lives. An artificial entertainment but one which offers much for reflection.

1. The impact of the film? A re-creation of a period? Portrait of characters and their Interaction, emotional tangling?

2. The re-creation of Paris in the '20s? Society? Decor, costumes? Colour photography to highlight the mood and atmosphere of the period? Musical score for mood? The quality of the star cast? Awards?

3. The title and its focus on the four main characters? A quartet and the relationships between the four people -linking, opposition, collaboration? What did each give to the other? How did each affect the other, for better, for worse?

4. Audience response to Parisian society in the '20s? The expatriates and their lifestyle? Wealth, art, sophistication? Their contrast with their lives at home? An international community? Free from the restraints at home?

5. H.J. Heidler: his presence in Paris, his wealth, doing good for others? His relationship with his wife? His attraction towards Marya? Taking her into his home? The couple spoiling her? The relationship with Marya? Lois' reaction? The place in society? outings, restaurants, clubs, shooting trips? Marya and her becoming H. J's mistress? The hotel? The encounter with Theo, his work as a photographer, her discovering his pornographic photos? Marya and the letter to H. J.? The possibility of suicide? Marya asking for money, her wanting to rejoin Stephan? The background of her relationship with Stephan? Money, shady deals? Meeting him on his release from prison? The clash? His leaving with Mademoiselle Chardin? Marya's future - the encounter with Schlamovitz?

6. Heidler and his self-centredness, relationship with his wife, using of Marya, needing both women? His turning against Marya, not giving her money? His future with his wife?

7. Lois and her relationship with her husband, allowing him to go his own ways, her work as an artist? Her response to Marya? Allowing her into the household? Spoiling her? Lois' concern about her, suicide possibilities? Lois reading her letter, sending a friend to help her? Lois' strength of character, weaknesses of character, dependence?

8. The background of Stephan and his relationship with Marya, his being in jail, his posing as an art dealer, his trafficking in drugs, his being in prison, unable to provide for Marya? The reuniting? Having to leave France? The suspicions? His reaction when he discovers the truth about her, his violent response, his taking up with the other woman?

9. Theo and his charm, background as a photographer, the pornography? Relationship with Marya, using her?

10. The background detail of this Parisian world - the sequences in nightclubs, restaurants? The background of the songs sung by Armelia McQueen? The dance by Les Oiseaux? The audition of Marya to the entrepreneurs who ignore her?

11. The film's great attention to detail, accuracy, sense of period? How persuasive?

12. Characters moving in a sealed and isolated world, interacting with each other, not allowing others to move out of this world? A stifling quartet?

QUICK LET'S GET MARRIED

US, 1966, 96 minutes, Colour.
Ginger Rogers, Ray Milland, Elliot Gould, Barbara Eden.
Directed by William Diertele.

Quick Let's Get Married is a mid 60s comedy that sat on the shelf for many years. It was directed by veteran William Diertele (The biographies of Emile Zola, Louis Pasteur, Juarez).

The film is odder in so far as it has an Italian setting with actors like Ray Milland and Ginger Rogers meant to be Italians. However, the tone is farcical, plays on Italian religion - and love for miracles. It also has Gospel overtones with the reformed prostitute as well as the reformed money dealer.

Ray Milland and Ginger Rogers are veterans at this kind of thing (a quarter of a century after The Major and the Minor and Lady in the Dark). Barbara Eden and her husband Michael Ansara appear at the beginning of their careers (soon to be so successful in television). The film also introduces Elliot Gould as a mute.

1. Entertaining comedy? Farce? Americans impersonating Italians?

2. Italian locations? the village? The churches and statues? The sense of realism with the American cast counterbalancing it? (And the film sitting on the shelves for many years?)

3. The title, the focus on Pia and her condition? The relationship between Mario and Madame Rinaldi? The prostitutes and their suitors?

4. The basic situation: Mario, petty criminal, his self-importance, the contact with the news about the treasure, the deals, his decision to go? Arriving in the town, setting up base, relationship with Madame Rinaldi, attractions, clashes, her bedroom, the affair? The digging in the church? The discovery of the coins? Hearing Pia and her prayer - and his compulsion to be the voice of St Joseph? The consequences? Telling Madame Rinaldi? The Mayor going - and their listening to him speaking to him? The banker and the toppling of the statue? The confusion in the town, Mario and his concern for Pia? His relationship with Madame Rinaldi and their deciding to take, the coins as well as the treasure? Driving out of town, the car, going over the cliff and loosing everything? The nonchalant ending? Ray Milland and this kind of comedy?

5. Ginger Rogers as Madame Rinaldi, the brothel, her role as the Madame, tough, heart of gold, treatment of the girls. visitors? Her harshness with Pia and her pregnancy? Suspicions of Mario? Welcoming him, listening to the whole story, the religious and non-religious touches? Confronting the Mayor? The treasure, listening to the prayers Going off with the treasure? Losing it all?

6. Pia, the innocent prostitute, pregnant by her boyfriend? Not wanting to be a prostitute, praying to St Joseph, sleeping in the open, being heard by Mario, prayers being answered, hearing the voice, getting the coins? Taking them to Madame Rinaldi? Her conversion, the transformation of the town? Trying to persuade her boyfriend not to go to America? Her influencing others, the realization of the hoax, explanations? The happy marriage and the boyfriends' change of heart? The boyfriend, man about town, his friendship with the mute, wanting to go to America, ticket, the money, changing his mind? Elliot Gould as the mute friend?

7. The Mayor, his wife, the committees, their wanting to get rid of Pia? The money deals? The Mayor and his change of heart, praying at the statue, the speech and giving all his money back? Peace of mind? The deals with the banker, the banker and his shrewdness, his wanting peace of mind, his prayer and the collapse of the statue? The irony of the discovery of the cross?

8. The presentation of the girls at work in the brothel, in the Italian town? The psychiatrist coming in to examine Pia - and his being ambushed by the girls? The farmer suitor and his proposal to Gina, the marriage?

9. The Bishop, his not being too bright, his advisor, the discussions about the coins, the treasure, the visions? Going in procession - and the discovery of the cross?

10. Light hearted caper - satisfying or not?

THE QUIET EARTH

New Zealand, 1985, 91 minutes, Colour.
Bruno Lawrence, Alison Routledge.
Directed by Geoff Murphy.

The Quiet Earth is a New Zealand science fiction film about the end of the world. It received international box office and critical acclaim. It is very similar to the end of the world films of the '50s and '60s like The World, the Flesh and the Devil and The Last Man on Earth (The Omega Man).

The film uses New Zealand settings in an arresting way, a blend of the normal and the extraordinary. Bruno Lawrence (Smash Palace) has to hold the film - the end of the world is seen from his point of view. He is joined by Alison Routledge as Joanne, one of the survivors and Maori Pete Smith as Api. This means two men and one woman at the end of the world, a scientist with skills in technology and a modern Maori warrior. The film capitalises on the isolation as well as the strange threesome. The film ends enigmatically - seeming disaster, possible rebirth. The special effects are good and the film excels with sets and decor presenting New Zealand bereft of people but still looking as if the people were about to come back.

An interesting work directed by Geoff Murphy, director of Goodbye Pork Pie, Utu, who then went to the US.

1. The impact of this science fiction? From universal appeal? Popularity and acclaim?

2. The use of New Zealand locations: the countryside, the city, homes, shops? The empty city? Sets and decor for the apocalyptic tragedy - the laboratory, the crashed plane? Special effects? Stunts? Musical score and atmosphere?

3. The title, the end of the world - or humanity? The same Earth? The finale and the new dawn? The opening with the sun - normal but-seeming apocalyptic? The finale with the new planet?

4. The theme of the end of the world, the responsibility for the experiment and its failure, human responsibility, experiments, technology? Human victims? The clean world - the irony of the normal and the technologically normal world?

5. Zack and the opening, on his bed, naked, the time? The experience? The effect? His search, homes, shops, visits? The laboratory and the explosion and his escape? The radio and his messages? His drinking, depression? Changing his style: clothes, the wealthy house, living it up? His taking control? The setting up. of the cardboard cut-outs of the dictators, his fascist speech and taped cheers? Playing God and taking control?. The effect on him? A move to lower-key ordinariness? The irony about the experiment and technology? The fact that he had committed suicide - and had missed out on the transcendent experience of death?

6. Joanne and her appearance, Zack's fright, her surviving, her death and the accident? The flashback illustrating this?- Her journey experience? Friendship with Zack, fear? Changing, sharing? Ordinary husband and wife style? Api and his appearance? Her being fascinated by him? Together? Tensions? The laboratory, the danger? Being with Api at the final explosion? The last woman on Earth?

7. Api as Maori, Maori warrior. survivor, the flashback and his being murdered, his mystical experience of death, return? His frightening Zack and Joanne? Relating to them, sharing, surviving? The final danger and his plan? Zack outwitting him?

8. The plan, the car, the truck, the explosives? Dangers? The attitude Of each? Api and Joanne watching? Zack going in?

9. The final explosion? Transformation of the world?

10. The apocalyptic theme: life on Earth, its quality, technology, nature, human ingenuity? The role of the U.S.? The parallels with nuclear destruction? The transformed Earth? The disappearance of humanity?

11. Themes of human life, values, the effect of the annihilation of humanity? Themes of coping, survival? Ordinariness and heroism?

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?