NED KELLY

Australia, 2002, 115 minutes, Colour
Heath Ledger, Orlando Bloom, Geoffrey Rush, Naomi Watts, Peter Phelps.
Directed by Gregor Jordan.

It is hard to do an objective review of a film about a character who is part of one's culture and one's upbringing.
Ned Kelly, who was hanged by the Victorian colony government in 1880 at the age of 25, was a legend in his short lifetime and has continued to be a considerable figure in the Australian imagination. The first full-length film made in Australia in 1905 was a Ned Kelly film. In the late 60s, a British company made Ned Kelly with Mick Jagger (who was the exact age for his character) as Ned. It was not a success. Now, an Australian company (with overseas finance) has mounted a new version which is not only helpful for local audiences to see but goes a long way to explaining for overseas audiences just who Ned Kelly was, what he stood for, his strengths and his weaknesses.

The film is based on a novelised version of his life, from Robert Drewe's 'Our Sunshine', the name Ned's father gave him when he was a boy after he had saved another boy from drowning. The film begins with this sequence and Ned's voiceover; and these are the images that come back to Ned after he has been shot by the police.

As a film, Ned Kelly is impressive. Gregor Jordan (Two Hands, Buffalo Soldiers) directs and gives the film a legendary, if not epic sweep, assisted by marvellous photography of the Victorian countryside (perhaps a few too many shots of the flora and fauna, however). The performances are also strong. Heath Ledger (Two Hands, The Patriot, Monster's Ball, Knight's Tale) comes into his own as Ned, playing him from a teenager until his death, not making him a photogenic hero, but rather a young man who did good things and bad, including killing police). The rest of the cast is very good with Geoffrey Rush playing it straight as the pursuing officer.

The screenplay gives enough information to the attentive viewer: the dominance and wealth of the English migrants and the putting down of the Irish, many of whom were descended from convicts; the Irish trying to eke out a living on farms; the cavalier attitude of the local police and their picking fights with the Irish. Those who have seen the westerns about the outlaws like the James Brothers will recognise similar themes from the United States in the same period. However, this film does not look like a Western and the disputes are on a smaller scale with the Irish dressed like farmers not cowboys. When Ned Kelly (who had served a sentence for allegedly stealing a horse) takes a stand against the police, he robs some banks in the Robin Hood vein, makes some political declarations about rights and injustices. When he finally makes a stand, with his bucket-like armour, it is too late because he has killed, even though he repents the killing. His famous last words, with which the film ends, were 'Such is life'.

1. The place of Ned Kelly in Australian history, Australian legend, Australian films? Local issues, universal issues? A legendary hero, a legendary villain?

2. The film as an adaptation of a novel, the imaginative rethinking of history, of the legend? The overall impact of Ned Kelly as a hero, but...?

3. The re-creation of the 19th century, the towns and farms, the world of the rich, the banks? The railways, the jails? The main streets of the towns, the hotels? The costumes, décor, the distinctively Australian tone of the countryside in the 1870s, the blue-grey style of the colour photography? The effect of the insertion of so much flora and fauna?

4. Audience knowledge of the historical background: the role of the British in the Australian colonies in the 19th century, British rule? The colony with its premier, its police, its aristocracy and their wealth? The culture of the time and place? The domination of the British? The Irish and their being looked down on by the English, being seen as thieves? The families and their poverty, the selections, the lack of education? The fights against the government, their powerlessness, their pride? The experience of being put down, the consequent anger, "anti coppers"? the Catholic background of the Irish and the sectarian issues?

5. The title, the focus? Robert Drewe's title, Our Sunshine? The prologue of the film, Ned and the boy being saved from drowning, receiving the sash and the decoration and honour? His father's pride on that day, Ned Kelly remembering this during the siege of Glenrowan, when he was happy, and had saved a life? The voice-over?

6. The Kellys, Ma as the matriarch, tough? The provider? Dan and his presence and absence? Anti coppers? Memories of the past, especially the joy of the sash day? The sons of the family, the relations, the friends? The dangers for the Kellys, Ma's arrest and her sentence? Grace, young, her place in the family? Kate and her strength - and her subsequent history, writing of the Kelly history? Fitzpatrick and his attentions, at the bar, her rejection of him? The men and their reaction to Fitzpatrick, his coming to the home, the gun, his being humiliated? The blood on his hand, his lies, the involvement of the whole family and the region in the dispute?

7. The portrait of Ned, Heath Ledger's appearance and presence, age (more or less the same age as Ned Kelly when he was executed at twenty-five)? The presence of Dan, Joe, Steve Hart, Aaron? The taking of the horse, his being arrested, jail? The encounter with Jane at Glenrowan? The officer, the clash, three years in prison? His getting out, his early twenties, his being met, no lift, the farmer and his home, everybody happy at him being out, work, the fields, the horses and cows, his meeting the young wife, the bare-knuckle fist-fight? The police, Fitzpatrick, the others?

8. The presentation of the police, many of them rogues, lazy, taking the horses, stealing them back silently? The warrants and the clashes? The police and the search for Ned? Trapping him? The alert, the shooting of Lonergan, the family man, death? The watch, Ned saying he was sorry?

9. The build-up to the declarations, especially at Euroa? The issues of land, the politics, the political Act of Parliament - to shoot? The response of the media, the newspapers, in New South Wales and Victoria, the London Times? Their being branded by the media as outlaws?

10. The character of Hare, Geoffrey Rush's style and performance? The South African background, the military corps? His pursuit of Ned Kelly? His leadership, acknowledging Ned and his power? The interviews with Aaron Sherritt? The train arriving and the troops? The build-up to the siege at Glenrowan, his being warned by the teacher escaping from the hotel? The siege itself, the shooting, the casualties for the police, Ned and his helmet, the shooting? Their finally overpowering the gang, the taking of souvenirs?

11. Ned and the group, his brothers, their characters and age, travelling together, the outlaws? The visit to the young wife, her husband and his aristocratic manner, her relationship with Ned (fact or fiction?), the later sequence, the taking of the horses? The group and their travelling through the Victorian landscapes, their pact, drinking the blood? The strong bonds of Ned with his brothers, with Steve and Aaron?

12. Ned and the gang robbing banks, their gentlemanly behaviour, the woman and wanting to change her dress, her flirtatious attitude towards Ned? At Euroa, the crowds, the talk, giving the money back? The declaration - and Bud Tingwell in his role of reading the declaration and giving the particular emphases?

13. The vulnerability of Aaron Sherritt, his place in the group, his friendship with the Kelly family, his age, experience, inexperience? His marrying? The police, their taking him, the torture, his giving the information, especially about Beechworth? The reaction of the gang, the killing of Aaron, the aftermath with Steve Hart?

14. The build-up to Glenrowan, the taking of the pub, the people in the bar, Ned's treatment of them, the teacher, his escape, the warning, the beginning of the siege? The deaths? The making of the armour, wearing the helmet, Ned Kelly as an apparition? The shooting? The deaths of the other members of the group, Ned and his being left alone? Steve's death, the suicides? Ned Kelly down, the morning and his being taken?

15. The people, the horror of Glenrowan, the deaths?

16. Ned, his attitude towards what he had done, the robberies, the killings? His conscience and his examination of conscience, especially about the killings? The context in which he killed, right and wrong, age, inexperience? The Irish background, his being put down? The film not showing his death but the commentary and his final words, "Such is life"? "Such is life" as a comment on the Irish country experience of the 19th century?

17. The film ending with the train, the information? A particularly Australian story? The links with the United States and the outlaws of the west in the 19th century? The place of these events and the execution in the British Empire? Ned Kelly as a foundation character for Australian consciousness - as well as of being a popular character in Australian movies?

THE KARATE KID

US, 1984, 121 minutes, Colour.
Ralph Macchio, Pat Morita, Elizabeth Shue.
Directed by John G.Avildsen.

The Karate Kid caught the imagination of filmgoers during the mid-'80s. The film was directed by John G. Avildsen, who had won an Oscar for making Rocky (and a number of the sequels). This time, the sport's focus is on martial arts with its training and its discipline. Pat Morita appears as Mr Miyagi, the old Japanese- American coach who trains Ralph Macchio to become the champion against all comers, especially those who are ambitious and those who double-deal in order to win competitions. The film was so popular that there were two sequels as well as a fourth film, directed by Avildsen, which focused on a young girl being a karate champion. She was played by later Oscar winner Hilary Swank, The Next Karate Kid.

This film has a lyrical and idealistic tone to it, whereas the next films played more to expected conventions. The romantic lead in this film is played by Elizabeth Shue, who was to go on to a successful career in the '90s and beyond.

1. An entertaining and popular film of the '80s? Enjoyment and message? American optimism?

2. The work of John G. Avildsen - especially his direction of Rocky? Rocky as a model for this genre of film?

3. The background of Newark, New Jersey and its crowdedness, industry? The travel through the United States? The arrival in California - a land of dreams? Television Land? The difference from west coast to east coast? Class differences, school?

4. The musical score, the contribution of the songs - especially 'The Moment of Truth' and 'You're the Best'?

5. The old story of the underdog making good? A variation on the Cinderella theme, the Rocky theme? For adolescents and parents? Impact? Audience familiarity with the story and consequent expectations, delight?

6. The film's comment on American cities, American city life? The hopes for California? The range of people living in California, racial backgrounds? The Japanese-Americans? The appeal of the film for the American public? universal?

7. California dreaming? Daniel's mother and her hopes, the description of the home and the pool, the job? The disillusionment of the pool? The promotion in her job? Wanting Daniel's support? Her bringing him up, concern about his injuries? Her taking him by car for the date - with the humour of their having to push it? The taunts by the bullies that Daniel was a mother's boy? The importance of the focus on this single parent and her bringing up the child? (The absent father - the need for father-figure?)

8. Daniel as hero - in Newark, the trip across America, his consenting to go to California but not being willing? His exasperation towards his mother after he had been bullied? The arrival, the pool, the friendship with Freddie (but the fickle touch after the fight on the beach)? The eccentric old lady? The invitation to the party, enjoyment on the beach, meeting Ali and the girls? His bouncing the ball on his knee and his soccer skills? The encounter with Johnny and the group on the bike? His defending Ali and her radio? His being pushed around, hurt and humiliated? The further bashings - at the soccer practice, with the bike? His decision to train again in karate - and the irony that Johnny was at the school?

9. Mr. Miyagi: the introduction to him as caretaker, fixing things, coming to fix the tap? First impressions? His graciousness in fixing the bike? His background: Okinawa, his fisherman father and passing on the skills of fishing, designing Bonsai trees, karate? The experience, of the war, his enlisting, the internment of Japanese-Americans?, the telegram about the death of his wife and child? His keeping the anniversary, drinking, sharing it with Daniel, the photo and the telegram? A pleasant wise old man (with the visual impact, for example, of the Yoda from the Star Wars trilogy)? His working on the Bonsai trees, concentration, helping Daniel to work on the trees, the gift to his mother? His saving Daniel with karate and the sudden change in relationship?

10. The discussion about karate? His amateur status - but his knowledge and experience? Mr. Miyagi taking Daniel to the school and making the bargain to the director? Daniel testing out Johnny at school e.g. about the history lesson? Telling Ali that he was immune until the contest? Daniel's pledge to Mr. Miyagi to obey him for training, the gift of the headband? Mr. Miyagi's Japanese house - produced almost as if by magic? The job of waxing the cars, painting the fence, sanding the floor? His wanting to give up - and then realising the meaning of the strength by the exercises? Gaining his balance in the waves, standing on the podium?

11. The quality of the bond between the two? Mr. Miyagi and his age, wisdom, dignity? His not having a son? Daniel as friend, as son? The ease between the two, their easy talk. mutual appreciation? Daniel's courtesy to Mr. Miyagi? The humorous episode of the Halloween disguise as the shower? Mr. Miyagi taking Daniel to the tournament - and not being exactly prepared but relying on wits?

12. Ali as pleasant heroine? On the beach. attracted towards Daniel. the clash with Johnny? Her friendship with Daniel at school? The outing (her wealthy home and the embarrassment of having to push the car? Daniel standing on the brick and loosening it?), the clashes - Daniel at the Country Club, seeing her dance with Johnny, falling with the spaghetti? Ali's hitting Johnny? The reconciliation? The various outings, the car? Her support at the tournament? Ali and Daniel acting like young teenagers - with ease? The background of school. Ali's friends etc.?

13. Johnny as wealthy, arrogant? Breaking off with Ali? Pushing her round at the beach? leader of the pack? The bikes? The clash at school, at the soccer practice? The group bashing Daniel with his bike? Their work at the karate school? Agreeing to the deal not to touch Johnny until the championship? The skeleton clothes for the Halloween - and Johnny being wet by the hose? The Country Club and his kissing Ali, her hitting him? His vindictiveness in the competition?

14. The presentation of teenage groups, peer pressure, the brutal touch?

15. The background of the club - Mr. Miyagi's theory about bad teachers? The ex-soldier and his vindictive training? Bad attitude, no mercy etc.?

16. The atmosphere of the tournament after the training? The heats. Daniel's ignorance, his strength and its paying off? The various bouts and the defeat of the bullies? Daniel's being hurt deliberately, Mr. Miyagi's healing power and the decision to go on?

17. The final confrontation against Johnny? Excitement? The karate theory - Daniel not having to fight but being able to defend himself? The karate philosophy of courage, balance?

18. An optimistic picture of American society, relationships, needs and hopes? A teenage hero?

JAPANESE STORY

Australia, 2003, 105 minutes, Colour.
Toni Collette, Gotaro Tsunashima, Matthew Dydtynski, Lynette Curran, John Howard, Bill Young, Reg Evans, George Sheptsov, Justine Clark.
Directed by Sue Brooks.

An Australian film for Cannes' Un Certain Regard.

The plot is fairly straightforward for most of the film: wealthy Japanese businessman is taken on a tour of Port Hedland, Mount Newman, the Pilbara and the desert by a reluctant geologist. They become bogged in the red sand and, as we anticipated, the relationship develops into something deeper. It was during this section that the men in the audience were restless. Were they identifying with the Japanese man who was manifesting a fairly inscrutable thinking manner but was obviously out of place (his formal clothes for a start) in the outback and seemed incapable of being flexible in his behaviour and decisions. He might have thought he was in command of the trip, but to the audience it was obvious that he was not.

When they became stranded, he could not lose face and use his mobile to get help. It was his error in not heeding advice. He had to rectify it. But Toni Collette's Sandy was the one who knew what she was about.

Sandy was not at such a good place in her own life. She was a talented geologist but seemed to be unlucky in relationships and was living at home with her mother. She had no wish to be traipsing off from Perth to the northwest. And she found the Japanese man quite condescending to her, considering her as merely the chauffeur. She warned him about the hazards but he took no notice. She warned him how to behave in the desert, not leave the car, keep warm during the nights.

In the isolation of the desert, with the prospect of trying to get the four wheel drive out of the sand, Sandy and Hiromitsu discover their deep need for intimacy. Sandy seems to be more affirmed in who she is, a strongly feeling woman. With Hiromitsu, he is able to let go of the formalities of his cultural norms and their expectations as well as his own very objective manner. He discovers less formal love. He discovers, especially after he humbly admits he made a mistake about this part of the trip, underestimating its rough difficulties, that he has a gentle and, especially, a playful side. When they get going, they are able to join in a somewhat off-key rendition of Willie Nelson's On the Road Again.

The executives at the mining companies show that they respect Japanese formalities and customs. Many of them have learnt to speak some Japanese. The challenge to the Australian kind of casual attitudes and behaviour is to respect a culture that seems too proper to be believed. But the challenge to the straight-laced culture is to relax and to acknowledge and be one's true self, especially the more spontaneous and carefree self.

I thought that the film was going to end here - but, when I looked at my watch, there was another 30 minutes to go. How could they fill it out? If you intend to see the film and have not heard anything of its plot, it would be better to stop reading now and resume after seeing Japanese Story. Otherwise, read on.

Hiromitsu suddenly dies, playfully diving into a desert pool, hitting his head in the shallows. Sandy is appalled. The rest of the film gives Toni Collette the opportunity to show us what emotional distress is truly like and the reality of grief. I sat up during this part of the film and was sorry that those men had left.

Suffice to say, that Sandy's wanting to be involved with the funeral, a universal need but strong for an extravert, her profound sympathy for Hiromitsu's widow and her gracious courtesy to her (which was reciprocated) is a fine dramatising of grief. When the widow looks at the photos of Hiromitsu and Sandy in the desert and then offers Sandy an envelope, we expect it to contain the photos. What is in there is a letter that Hiromitsu had written, beautifully expressing how this formal and rather sad Japanese man, this Thinking man, had discovered his inner child and would be the better husband and father because of his sharing with Sandy. It really is a tender film.

1. The romantic appeal of the film? Cross-cultures? Insight into Australians, into Japanese? Interactions? A film for a women's audience, men's audience? The initial quirky Australian comedy, the serious and sad drama in the latter part of the film?

2. The Perth locations, homes and offices? The contrast with the Pilbara, the West Australian desert, Port Hedland, Mount Newman, the desert? The small desert towns? The musical score?

3. The title and its focus, on Tachibana Hiromitsu? The focus on Sandy?

4. The focus on Sandy, her work as a geologist, her skills, software? Her private life and its confusion? Her partnership with Baird? Their working together? Her friendship with Jane? Her living with her mother, her mother's cut-out books of obituaries - and the request that Sandy put her obituary at the end? Their clashes? Her future?

5. The arrival of Hiromitsu and the request of Baird and Partners to look after him? Baird unable, Sandy having to do it? Her unwillingness? Flying north, the Hertz van, late at the airport for him? His treating her as the chauffeur? The reasons for his visit being enigmatic, the money behind him, his phone calls to his father and to the company? His company loyalty?

6. The character of Hiromitsu? Age, formality? Japanese reticence? His attitude towards women, towards Sandy? The visit at Port Hedland, the explanation of the plant, his observing it? The drive to Mount Newman and his looking at the open-cut, the explosion? His decision to go into the desert, forcing Sandy to take him? The drive, the communication? The being bogged? His reaction to the failure, his unwillingness to phone? His blaming himself - and the eventual confession and apology to Sandy? The attempts to dig out the van? Staying the night, his collecting wood? The advice that she gave about isolation, staying with the car, the heat? His reading the book?

7. Sandy, her feeling put down by him, her Australian casualness in meeting him, approach, meals (and his being unable to eat the food)? The driving, the unwillingness to go, the sand, being bogged? Her inability to get the car out of the sand? The night?

8. The next day, his apology, her change of heart, sharing, music, the beginnings of conversation between them? Photos? The build-up to the intimacy between them? The effect on each? The lyrical scenes, the driving, the scenic aspects, the photos? Her discovering that he had wife and children? The quietness, the discussions about improving English, the joke about desert and dessert? Her running into the pool, his diving and her wanting to stop him?

9. The sudden impact of his death on Sandy - and on the audience? Her inability to do anything, trying to rescue him after finding him? Dragging him out of the water, sitting and grieving? Taking him to the van? To the town? Trying to get information, the man at the bar being casual, discovering the man with the refrigerator? Her attempts at explanation? Storing his body?

10. The latter part of the film and Toni Collette's demonstration of distress and grief? Baird and the others coming with the lawyer and the doctor? The formalities? Taking the body back to Perth? Her listlessness in the office, wanting to be involved? Baird and his letting her become involved, the preparation for the funeral, the arrival of his wife? Sandy and the impact of seeing his wife? The reality of his death, sending the clothes and the camera back?

11. The funeral, Sandy's speech to his wife? The wife's courtesy? The wife seeing the photos? At the airport, giving the package to Sandy? The indications that the wife understood what had happened, especially as she looked at the photos?

12. Sandy and her reading of the letter, Hiromitsu saying that he would be a better man and a better husband and father from his encounter with her and on his return to Japan? A last testament for her? Enabling her to face the future?

13. Her return home, the relationship with Jane (and Jane's apologies for not being able to answer the calls from the desert)? Working with Baird? At home with her mother? Her perceptions changed by the experience in the desert and with the man from another culture?

1408

US, 2007, 95 minutes, Colour.
John Cusack, Samuel L. Jackson, Mary Mc Cormack, Len Cariou, Tony Shalhoub.
Directed by Mikael Hafstrom.

Stephen King seems to have a thing about hotels, the sinister potential of hotels. This was true of The Shining. It is very much true of 1408. Based on one of his short stories, this is quite eerie and frequently frightening stuff.

John Cusack is a writer, sceptical, very sceptical, who writes books about haunted locations, especially hotels which make claims for ghosts (and tourists). His signature comment to fans is, ‘Stay scared’. That is the last thing he is expecting for himself. But, of course, we know that this is what is going to happen.

He responds to a challenge to stay in the haunted room, 1408, (56 deaths have taken place in it), at the Dolphin Hotel in New York. The Manager, Samuel L. Jackson, does his best to persuade him against it.

The film builds up the tension gradually so that we experience menace, anticipation and, then, the real thing with terrifyingly effective special effects. There is a moment when we reach a climax which momentarily seems like an anticlimax and we think, ‘is that all there is…?’. And, the answer is ‘definitely not’. Back to room 1408.

John Cusack is centre screen all the time, often by himself for a long time in room 1408. He is very persuasive. This film returns us to the heyday of Stephen King films of the 1980s like Christine, Dead Zone, Firestarter.

1.The popularity of Stephen King? His novels? Screen adaptations? A long tradition? Fear and terror? Ghosts and haunted places, hotels?

2.Psychological fear, inner fear from the psyche? Confronting one’s life and one’s past? Dreams? Nightmares? Catharsis or not?

3.The authentic atmosphere, Los Angeles, the beaches and the surf? The book tours? The bookshops? The world of agents, motels and people at the desk, hospitals?

4.The hotels, Michael as sceptical? His investigations, his books? Visiting the motel with no ghosts? The book-signing, the readers and their questions, his sardonic remarks? His slogan, ‘Stay scared’?

5.The letters, collecting them, his attitude, reading them? The card about not entering room 1408? His making the decision, the booking, through the agents, the discussions with them, the legal advice, the threat of legal action?

6.Michael as a character, age, experience, the writer, his back-story, his wife, his daughter’s illness, her death? Belief in God? His disbelief? His vanishing?

7.The meeting with Olin? The staff at the hotel, Olin and his argument against 1408? In his office, the argument, the drink, the challenge? Surviving one hour? His later appearance as Mike peered into the cupboard? The argument, his final congratulations to Mike?

8.1408: its history, the newspaper research, 1938, the suicides, an evil room, the electrician not going in, the staff and the phone calls? An ordinary room, his taping his responses?

9.The build-up for the terror: the heat in the room, the Carpenters song continually coming on, pulling out the plugs, the clock and one hour to go, the countdown, the open window, coming down on his hand, the blood, the towel? Seeing himself in the opposite window? The locks breaking and the key? The pictures on the wall? His drinking, the cigarette in his ear? Going outside, along the ledge, his fall and grasp, the ghost jumping out of the window, his feeling welcomed back into the room, setting up the computer, talking to his wife, the room icing over? Seeing Kate, his memories, talking with her? The ship in the painting, the flood in the room? Taking him back to his accident in the surf, hitting his head, the lifeguard, going to hospital, waking up and finding his wife? In Los Angeles?

10.Writing his story, his wife’s advice, his memories, going to the post office, the men breaking the walls, it becoming room 1408? Trapped, the Groundhog Day syndrome? His collapse? Going to the hospital, in New York, his wife visiting him?

11.The character of his wife, her devotion? Mystery of his departing? Kate, her illness? His packing, the computer, hearing the tape recording – and Kate’s voice? His wife hearing it? The sudden ending of the film?

12.Audience experiencing and sharing the fears and the terror?

HUD

US, 1963, 110 minutes, Black and white.
Paul Newman, Patricia Weal, Melvyn Douglas, Brandon de Wilde.
Directed by Martin Ritt.

Hud is a contemporary western about the clash between a slick, go-getting son and his traditional, cattle-man father. It is vivid in its presentation of what happens on today's ranches, the life, cattle, diseases. The fact that it is modern - the town, its bars, shops, cinemas - help an audience identify more readily with the values the film stands for.

Paul Newman is Hud, to-day's selfish young man with a chip on his shoulder, tarnishing everything he touches. His status symbol and his weapon is his car. His stern and highly principled father is shocked by his son's ruthlessness. To highlight the generation gap, Hud's nephew, Lonnie, veers unsteadily at times between imitating Hud and following his grandfather's principles.

Martin Ritt always gives a strong sense of the social background of his films (e.g. A Man is Ten Feet Tall, The Spy Who Came In From the Cold, The Brotherhood, The Molly Maguires). It is true of Hud. The widescreen photography of the arid ranch and the cattle is excellent, especially the moving sequence of the destruction of the cattle. Ritt also directed Newman in Paris Blues, The Long Hot Summer, The Outrage, Hombre. Newman was nominated for an Oscar for his performance here but did not win it. However, Patricia Neal won the Oscar for the Best Actress of 1963 for her portrayal of the tired housekeeper, Alma. Melvyn Douglas won the Oscar for best supporting actor in his role as Hud's father. It is a fine performance.

1. What does this Western have in common with other Westerns as regards story and theme?

2. Does the fact that it is a contemporary Western (and therefore, different, while in many ways similar to other Westerns) make us alert to its themes and values?

3. The main characters speak of principles, that Hud "couldn't give a damn" and that this was his main failure. Would you say that 'principles' is a major theme of the film?

4. What does the film say about the generation gap? This seems to
centre on Hud in so far as "Daddy" is too old and Lonnie too young. Is this true?

5. Hud is selfish. Whose fault is this? Does Hud like himself? Why?

6. Is Hud too self-centered or his father too hard? Hud says his "Daddy" was so good that he himself had to be bad. What does the film say about Hud and right and wrong?
- the substitution of the car as status symbol and weapon?
- drink and his brother's death?
- sex and other men's wives?
- about selling diseased cattle?
- the attempted assault on Alma?
- manoeuvring Lonny to like him?
- getting property?
- honesty, Hud winning the pig chase?

7. Is Hud a hero? is he meant to be one?

8. Does the fact that Paul Newman plays Hud make any difference to your reaction?

9. Is his father likeable? His patience and goodness, and principles?

10. Does Lonny form an adequate contrast with Hud - he is good, likeable, conscientious, while Hud is 'mean'?

11. What function does Alma play in the film? As a women? As the housekeeper?

FACE/OFF

US, 1997, 140 minutes, Colour.
John Travolta, Nicolas Cage, Joan Allen, Gina Gershon, Allesandro Nivola, Harve Presnell, Dominique Swaim, Nick Cassavetes.
Directed by John Woo.

Face/Off is an extraordinary tour-de-force of spectacular action adventure from Hong Kong's John Woo. However, Woo is also interested in the psychological dimensions of his thrillers. With FBI agent, John Travolta, pursuing terrorist, Nicholas Cage, and then, defying credibility, changing places (and faces) with each other, there is a great deal of interest in the complementarity of the two mirror image characters.

Woo also used religious icons in his Hong Kong films and the final shootout here is in a church with crucifixes, candles, flowers and doves in slow motion to give symbolic dimensions to this confrontation between good and evil. Action with panache and psychological flair.

1.The success of the film at the box office? Worldwide? Its action appeal? Imaginative appeal? Psychological?

2.The work of John Woo as an action director? His Hong Kong films? His Hollywood films? The transferring of the Hong Kong style and conventions to Hollywood films?

3.The impact of the action sequences, their choreographed and balletic style, the special effects? The musical score backing the action?

4.The Los Angeles setting: the city and its buildings, homes, the offshore prison, government offices, the church, the harbour? Los Angeles as a background character to the film?

5.The significance of the title? The face-off between the two? The literal surgical operation?

6.The introduction to Sean: the killer and having Sean and his son in the gun's sights, the merry-go-round, the affection between father and son, the death and the grief? His own injury and scar and keeping it? The passing of the six years, his continued obsession? His relationship with Eve and her wanting him to move out of his work and come home? Jamie and her dress, teenage attitudes, rebellion? His tough stances with his staff? His upholding the law? His vengeance for Castor?

7.The introduction to Castor: the killing and his attitude towards the death of the child? His attacking Sean? The passing of the six years? His disguise as a priest, putting the bomb in place, the choir with Handel's Messiah, his lewd dance and sexual behaviour with the member of the choir? The irony with his appearance? His relationship with his brother, caring for him, tying his shoelace? His blend of terrorism with glee?

8.The plane, the agent on the plane and the sexual encounter - and Castor kissing and killing her? The pursuit, the pilot, his being killed? The cars and Sean chasing the plane? The tension for the crashes? The plane crashing into the hangar, the chase, the confrontation, the face-off, the shootout? Castor and his injury? Being taken into custody? Pollocks and his arrest? The death of the agents? The visualising of the shootout - the bullets and Woo's using slow-motion and effects style? The huge blast?

9.Sean and his return to the office, his applause? His concern about the dead agents and his stern attitude? His discussions with his boss and responsibility? The possibility of retirement, going home, the bond with Eve, his love for her, the facial gesture over his wife's and daughter's face? The promise that he would come home? Jamie, her rebellion and his reaction?

10.The build-up to the bomb situation? Information about the bomb, the interrogation of Castor's associates, Sascha and her hostility towards Sean, her brother and his friendship with Castor? The stand-off and the defiance? The official coming with information about the bomb, the tape, the proposal for the changing of faces, the credibility of such literal undercover activity? The point of no return? His going to see his wife, her disappointment in his change of heart? Dr Walsh and his skills, the visuals of the literal operation?

11.Sean, the surgery, the computer techniques, the laser surgery, the face coming off, Sean becoming Castor? The face and the emotional change? His wanting the wound kept when he returned? The irony of Castor awaking, the phone call, without his face, bringing the doctors back, forcing them to transfer Sean's face? The brutality of his killing and burning of the staff and agents?

12.Sean and his going to prison as Castor, the scorn of his fellow agents? The theme of the wrong man? The nature of the prison, the magnetic boots, the computer control? The encounter with Pollocks, trying to persuade him that he was Castor, the discussion about the pills? Establishing trust? The fights, the brutality, imitating Castor's mania? The guards and their brutality and Sean's response? The fight in the dining room? Sean asserting Castor's supremacy? Credibility? The criminals and their support of him? The exercise yard, the cigarette? The irony of Castor visiting him with Sean's face, Sean in a more desperate situation? Getting the information from Pollocks about the bomb? The futility with Castor's visit? The setting up of the escape, the guards and their reaction, the mayhem? The associate and his help, his violence and his death? Getting out into the air, discovering that the prison was offshore, on top of the rigger, the helicopters and their pursuit, the dive into the bay?

13.Castor impersonating Sean? Imitating Sean's manner but his entirely different attitude, wanting to be the celebrity with his staff, their reaction to him? The interactions with his boss? His persuasiveness in getting Pollocks out of the jail? Treating Pollocks as an informer, yet feting him with a special dinner? Setting himself up as a hero, the melodrama and the flair of the defusing of the bomb, the split-second timing? The television interviews and his address to Sean in prison? His going home - missing the house and having to go back? His impersonation of Sean at home, audiences knowing his lewd background and the menace to Eve and to Jamie? His discussions with Jamie, invading her room, the cigarettes? Her trying to understand the change? His trying to be a father - and the brutality of his bashing the boyfriend who made advances on Jamie? Eve and the seduction? Manipulation of her? His success at home and at work, the applause? The authorities wanting him to tone down his investigations - and his brutality in killing the boss?

14.Sean and his escape, the desperate phone calls to Eve, visiting Sascha, the background of Sascha and her son Adam, the irony that he was cast as son and the parallel with Sean's own dead son? The lavish house, Sascha's brother and the drugs, the thugs and the girls? Sean and his trying to get some base to attack Castor? The information and the SWAT team attacking the mansion, the mayhem and the action, the effects? Sean and the confrontation with Castor? His going home, talking to Eve, her fears, the blood information, Eve and Castor in bed, her taking the blood, going to the hospital and testing the blood? Sean and his disappearing as Castor came with the authorities to the hospital?

15.The funeral, Jamie not being at the funeral? Castor being there as Sean and officially mourning? Eve and her presence? Sean and his hiding at the back of the church? The Latinate ceremony and the hymns? The religious milieu, the focus on the crucifix? The altar and the candles? The build-up to the confrontation between the two in the church? Castor and his talking about eternal myths and the confrontation between good and evil? His mocking the crucifix in his body language (and the irony of his own death, crucified and pierced)? The taking of Eve as hostage, Sascha and her not being sure of what was happening, the shootout, her death and asking Sean to look after Adam? The background to Castor giving Jamie the knife for her self-defence, her stabbing him with the knife and disabling him? Her shooting her father?

16.The anticlimax of the church finale and then the harbour chase, the explosions, the police, the boats, special effects, the pacing and energy of the chase, the final confrontation, the harpoon and Castor's death?

17.The final surgery, the explanation of the team coming from Washington, Eve at home, Jamie back to normal, Sean coming home as himself? The reunion and apologies? Adam and the family's acceptance? The theme's coming full cycle in terms of the child, death and life, good and evil, family split and family reunion?

18.The plausibility of the plot? Plot and style over the top? John Woo's delineation of characters - with Nicholas Cage and John Travolta in themselves, with the face-off change and their imitating each other's style and mannerisms? Audiences believing that each was in the other and that building up to dramatic and psychological confrontation? The strength of Joan Allen's performance as Eve giving credibility to the film? 1990s action entertainment?

LITTLE ASHES


UK, 2008, 112 minutes, Colour.
Javier Beltran, Robert Pattinson, Matthew Mc Nulty.
Directed by Paul Morrison.

Here is a film about the early adult years of poet and playwright, Federico Garcia Lorca, and the eccentric artist, Salvador Dali. Film director Luis Bunuel also appears in many of the sequences, their friend, falling out with them, and a reconciliation with Lorca before Lorca’s death.

The film was directed by Paul Morrison, a psychiatrist, who went into documentary film-making and made some feature films including Solomon and Gaynor, in Welsh, a nominee for best foreign language film for the Oscars. It was a Romeo and Juliet-style love story set in a Welsh village. He then directed a warm-hearted film about anti-Semitism in London in the 1960s as well as the plight of migrants from Jamaica. It was also about cricket, Wondrous Oblivion, with Delroy Lindo.

This film is very different. It was lushly photographed in Spanish settings. The dialogue is in English although some of Lorca’s poems are spoken in Spanish with an English voice-over.

The film recreates the atmosphere in Madrid in the early 1920s, the young intellectuals, their sense of revolution against church, government, military dominance. This was to bring Lorca into great difficulty with the government during the 1930s, his socialist sympathies, his being arrested and executed during the Spanish civil war.

The film recreates the artistic atmosphere as well as going out into the beautiful Spanish countryside of the north as well as Andalusia where Garcia Lorca came from.

Javier Beltran, who had appeared only in a Spanish television series, is quite persuasive as Garcia Lorca. He is pensive, creative. However, gradually he becomes aware of his sexual orientation and his love for Salvador Dali which was rejected. (Dali in his later years admitted to some kind of relationship with Garcia Lorca, an ambiguous confession, which forms the basis for the screenplay of this film.) Luis Bunuel was well known as condemning homosexuality and his critique of Garcia Lorca.

Robert Pattinson (from the Harry Potter films and Twilight) portrays Dali in a most interesting way, his complete self-absorption, his eccentricities, his vanity as well as his creativity. While the film focuses on his ambiguous relationship with Garcia Lorca, it shows the influence of Bunuel in taking him to Paris (where they collaborated on Bunuel’s famous short film, Un Chien Andalou), his marriage to the Russian Gala and the intimations of his subsequent career.

Bunuel, however, while in the film is more on the periphery than the playwright and the artist.

The film moves into the 1930s with the rumblings for civil war, the consequences for Garcia Lorca, his taking his plays to the people and their public performances and the popular support for his work. It is a tragedy that he was abducted so quickly and at the beginning of the civil war and his immediate influence ended. However, his reputation lives on. Dali and Bunuel, because they lived longer and created a greater body of work, are much better known than Garcia Lorca.

1.Audience knowledge of Garcia Lorca, Dali, Bunuel? The atmosphere of Spain in the 1920s and 30s?

2.The reputation of Garcia Lorca in his time, his plays, his poetry? The influence of his popular productions? Social comment? Later reputation? Dali, the beginnings of his art, his eccentricities and vanity? Bunuel and his beginnings in cinema, Un Chien Andalou?

3.Spain and the introductory comments about the church, government and the army? The rise of fascism? Censorship? Uprisings leading to the civil war? The history of Spain in the early 20th century?

4.The settings, Madrid and the city, the students’ world and the artists’? The countryside of the north and its beauty? Andalusia? The countryside? Poetic photography of its beauty?

5.The inserts of Paris, the Moulin Rouge, the collage of Dali’s activity in Paris?

6.The world of cinema, using newsreel clips of the period, film clips? Clips of Paris in the 30s? The clips from the civil war? The clips from Un Chien Andalou? Showing Dali’s style?

7.The portrait of Garcia Lorca, a sympathetic person, his personality, as a writer, imaginative, his social life, his personal life, the discovery of his sexual orientation? His change with the rejection by Dali? His work from the 20s into the 30s? His social commitment?

8.The portrait of Dali: young, eccentric, vain, self-centred, the nature of his art, his relationship with his friends, his friendship with Federico, the bond between them, sharing, love, Dali saying he was unable to respond, Bunuel and his friendship, his condemnation of Lorca, his taking Dali to Paris, Dali’s success? His affectations, manner, accent, speaking French? His marriage to Gala? The return to Spain, his dismissal of Spain at art? His work, wanting to be apolitical? The meeting with Federico, his rejection of him, the impact of Federico’s death?

9.The sketch of Bunuel: the 1920s, his friends, sceptical attitudes, critique, his friendship with Garcia Lorca, taking Dali to Paris? His influence, the film? His going back to Spain, signing the document in support of Garcia Lorca? Bunuel’s future? Away from Spain? Finally returning in the 60s and 70s?

10.The group, their age, young, enthusiastic, revolutionary, the attitude towards the status quo in Spain, creative in the arts, the artistic movements of the time, surrealism, Dadaism? The influence on Dali? Their growing up, getting jobs, relationships, opportunities, their stances in Spain, politically? Beyond Spain?

11.Federico and Andalusia, his poetry, his dramas, his belief in God, the family and his visits? Dali and the holiday in Andalusia, sharing, joy? The lyrical scene of the swimming and their affection for each other? Garcia Lorca with Dali in the north? Federico’s reserve, sexuality, Bunuel and his talk, going to the haunt of the homosexual men, the encounter, his brutal kicking of the gay man? His friendship with Magdalena, her love for him? Her coming to the room, drunk, the sexual encounter, Dali watching and his behaviour? Federico hurt? Dali’s vanity, leaving and the effect on Federico? Writing him letters, the passing of eight years? Federico’s activity and politics, his speech about freedom, Bunuel signing the document? Dali returning, Federico meeting Gala, their talking, Dali’s vanity, his proposing to work with Lorca? Lorca’s final comment about Dali as a genius? Federico’s sense of duty, family?

12.The return home, playing the piano, his family, the brutal abduction, Federico in prison, being taken out, blindfolded, the young execution squad, the shooting of the hostages, Lorca’s death, not immediately dying, the contempt in the man saying ‘Queer’?

13.Dali’s character, his later appearance (and the growing of the moustache and cultivating it), his façade, the nature of his art?

14.Magdalena, the women in the group, her love for Federico, her frustration, getting a job with the paper, her drinking, the sexual advance, her later reaction, supporting him in the 1930s?

15.The civil war, the images and their meaning?

16.The group listening to the radio, the news of Federico’s death, Dali and his painting in black, grief?

17.The poetic aspects of the film, the whispers with the views of the crops? The beginning of the end? Garcia Lorca’s comment about contributing little ashes?

18.A film of portraits, backgrounds, insight?

ELMER GANTRY

US, 1960, 145 minutes, Colour.
Burt Lancaster, Jean Simmons, Arthur Kennedy, Shirley Jones, Dean Jagger.
Directed by Richard Brooks.

Elmer Gantry was one of the best American films of 1960. It received a number of Oscar nominations and won the award for Burt Lancaster in the central role and for Shirley Jones as best supporting actress. Elmer Gantry was written and directed by Richard Brooks who had adapted many novels and plays in his career eg. The Brothers Karamazov, Cat on a Hot Tin Roof, Lord Jim and In Cold Blood to name but a few.

The film was based on Sinclair Lewis's famous novel, and its exploration of a particularly American phenomenon of a revivalist religion. The point of view taken by Lewis was antagonistic towards this kind of religion, although he conceded that some of the people involved in it were sincere as in the character of Sister Sharon, played by Jean Simmons. The film re-created the atmosphere of the 30s, the people yearning for this kind of religion, the hysteria that came over people in the praying and healing ceremonies, and the way that people could be caught up. However, it showed the world of religion as bait for charlatans whether deliberate or undeliberate. Burt Lancaster invests a lot of energy in the portrayal of Elmer Gantry who becomes a symbol of the sincerity and hypocrisy of this kind of religious involvement. The film is quite powerful in its way as a study of America and of human relationships.

1. The overall impact of this film? Its way of retaining audience interest? How enjoyable? As an insight into America?

2. The length of the film, its colour, sets, stars? How well did they combine for effective drama?

3. The importance of the prologue and the warning about Revivalism? Did this make the audience pre-judge the film? How much did response to the film depend on attitudes towards Revivalism before the start?

4. How much sympathy for people involved in Revivalism was there? Or was it merely a strong expose of these people and their methods? Was the film just in its presentation of this aspect of American religion?

5. How well did the film focus on Gantry? Burt Lancaster's style for this character? The initial presentation of the American salesman, the 30s, his story, 'hail.fellow, well met', his drinking, the night with Lulu? How did we see things through Gantry's eyes? How important was this?

6. How did the film evoke interest in Sister Sharon? As seen by Gantry? His attraction towards her, his pursuit of her on the train etc.? His confidence tricks in using Morgan and Lefferts on the train? His use of Sister Rachel? How did he impress Sharon? The nature of his patter, of his acting religiously, the effect of his success in Revivalism, the growing conviction that he was right, his belief in his own powers, his hallucinating himself? The reason for his personal involvement in Revivalism, the effect on himself, and others?

7. The background of money and Revivalism: the Babbitts and their manoeuvrings, the hypocritical American businessman, the spectacle and the attraction of people by the bizarre, the police supervision and regulations on Revivalism? The effect of this kind of background on the impact on the people?

8. The contrast with Sister Sharon and her ways of prayer and communication? The simplicity of the milk-maid, her sincerity, a complex character? Her fascination with Gantry and her growing love for him? Her common-sensed attitudes and the compatibility of her love with her profession? The film's visualising of her performance, of her prayer, of the impact on people's lives?

9. The film's presentation of Sister Sharon's entourage? The sincerity of William Morgan and his being caught up in Gantry's enthusiasm? Sister Rachel, her conversion, friendship with Sharon, love for Gantry, helping him, her contribution to the religious Revival?

10. The religious convictions of Babbitt and the ministers? The fact that Babbitt could be terrified by public opinion? His hypocrisy in drinking and gambling and public religion?

11. The importance of Jim Lefferts? The sceptic and the audience seeing things through his eyes? The importance of his travelling with the group? His quizzical and amused regard for Gantry? Was he right in writing his articles? Their impact? The reaction of Gantry? The reaction of Sister Sharon? The business people and the ministers?

12. The importance of the sequences of verbal clashes between Lefferts and Gantry? The drama of Gantry condemning Lefferts by his own words, especially about the Gospels and God? How enjoyable was this? What points were being made? Lefferts' withdrawal?

13. The character of Lulu and her integration into the film? The initial presentation, the relationship with Gantry, the prostitutes and receiving the vengeance of the enthused Revivalists? (The impact of this kind of vigilante approach as regards brothels etc.?) Her humiliation, her relationship with Gantry and his getting her off? Her humiliating him, deceiving him with the photos? The fact that he was deceived? Her enjoyment of his humiliation, her change of heart? How credible was this? Lulu as bringing a better side out of Gantry?

14. The impact of the scandal on Sharon? Her disappointment in Gantry but her fidelity? The buying of the negatives from Lulu? The importance of this confrontation of the two women for the themes of the film? The climax sequence and Sharon going out, the contrast with the few when the scandal was raging? The importance of the miracle? How convincing, how convinced was she?

15. The film's commentary on the public and their fickleness? Their love of spectacle?

16. The importance of the climax of the fire? Its destruction of a way of life and religion? The fact that Sharon died?

17. Gantry at the end? His saving people? A certain nobility? His future?

18. The social themes in the film, American society, capitalism, the Press, organised religion etc.?

19. The film as a study of relationships?

20. Could the film be described as religious? its insights into true and false religions? The value of religion in society?

E.T. THE EXTRA-TERRESTRIAL

US, 1982, 109 minutes, Colour.
Dee Wallace, Peter Coyote, Henry Thomas, Drew Barrymore, Robert Mc Naughton.
Directed by Steven Spielberg

ET was one of the surprise movies of the 1980s - and one of the most popular and financially successful movies of all time.

Steven Spielberg had made Close Encounters of the Third Kind in 1977, showing an interest in space and extraterrestrials - an optimistic perspective on other worlds beyond this one. Spielberg also professed his delight in children and wanted to make a movie for them.

He chose the Peter Pan story, again a story that delighted him. He commissioned Melissa Matheson (An Indian in the Cupboard, Kundun) to adapt the story to outer space. Matheson, interviewed later, said it was when she went to the studio to watch production that she realised the Gospel resemblances.

Spielberg was to move from this Peter Pan phase with his spectacle about mid-life crisis: Hook, where Robin Williams' Peter had forgotten his childhood and had to find it again. It was after this that Spielberg was able to make Schindler's List.

Henry Thomas is Eliot (ElioT) and a little Drew Barrymore is his sister, Gertie. The voice of ET was supplied by Debra Winger and technically modified for his now-familiar rasp.

1. The delight of the film, its universal popularity? A long-lasting fantasy?

2. The work of Stephen Spielberg? His vision, technological interest, fantasy, love for the childlike? His career and its success? E.T. within the themes of all his films, especially Close Encounters? The child in Spielberg making films for children everywhere? Achievement - technological, delight?

3. The California suburbs, the universal suburb? Location photography: the twinkling lights of Los Angeles from the forest, the spacecraft, the streets, home, the medical and anti-radioactive swathings and uniforms? The use of the small screen? The special effects for the spacecraft, the levitation, the poltergeist effects, the children riding in the sky? The creation of E.T. himself - appearance, movement, voice? The humorous effects? The special effects absorbed by the plot and its feeling?

4. The contribution of John Williams' score? Themes, atmosphere?

5. Audience response to aliens, outer space, close encounters? An encounter which is not frightening? Which is first recognised by children and then by adults? Gentleness and humanity? Personal communication? Shared values? Learning, communicating, love and the bonds of love? illness and dying shared? The presence of the alien changing Earth for the better?

6. The popular ingredients for the story of the American family: the style of the American family, mother and her work and worry, the kids and their friends,, playing. talk, crude touches etc.? Boys and girls? Home, affluence, school and education, the absent father and his being off in Mexico with a girlfriend and the effect on each member of the family? The fairy story transforming the family? The basic plausibility for the plot? The development of each of the characters? The development of fear, the bonds with E.T., love, fun, the growing menace, the climax, death and resurrection?

7. The age-old ingredients of the plot? Of extra-terrestrials visiting Earth? Their knowledge, values, parallels with human beings? Knowing more than humans but needing to learn? The appeal to children rather than adults? Adults (as Mary) not understanding or (as the police and scientists) hunting? The alien identifying with the child and his experience? Sharing it, transforming it? The alien's search for home? The homecoming and departure? The fear, agony, death, rising, the quest, ascension after transforming and bringing love? The suggested patterns of the New Testament? Allusions to Mary as mother, being like little children, coming from another world, in constant communication with it, the ability to heal, to know what was inside human beings. hunted, dying, rising etc.? The suitability of considering E.T. as 'a Christ-figure'?

8. The nature of the Earth mission at the beginning, its being nonthreatening, the stars and the galaxies? E.T. being left behind? Wanting to phone home and return? The benign mission to rescue E.T.?

9. E.T's curiosity about the lights of Los Angeles, his delight, his anxiety as the cars and the searchlights turned on him, his hiding? His being caught and his fear - from the hunters, in the shed, with Elliott? Trying to decide what to do. Hiding, taking the sweets and meeting Elliott? Hunger? The fearful encounter - the ball thrown back, the sweets and E.T. coming into the house? The bond immediately between Elliott and E.T. (noting the E and the T in their names)? The importance of Elliott being fatherless and his immediately relating to E.T. (and E.T's father-figure role as well as companion)? E.T. being the child in Elliott?

10. The atmosphere of the family: the boys playing cards, ordering pizza, going to school, mother getting the kids ready, taking them in the car, the school scenes of Elliott (and his being drunk in sympathy with E.T.), the frog-dissection and the humour with the girls scared of the frogs, the liberating of the frogs? Elliott's friends and their slinging off? Michael as the older brother and the relationship with Elliott? His being introduced to E.T. and his shock, coping? Gertie and her directness? Her screaming at E.T. but befriending him and actually helping him to speak? The tensions in the family - Mary's upset about her separated husband, tact and tactlessness at the table etc.? The absence of the father and its repercussions for the children? The response to E.T.?

11. The film's focus on Elliott? Henry Thomas's sympathetic performance? Befriending E.T. after searching for him, hiding him? The devices of his sickness and temperature to deceive his mother? The facial imitations and gestures? The empathy between the two? His leaving E.T. at home - with his discovery of television, eating, drinking and being drunk? The initial animosity of the dog and then the friendliness with E.T.? The programmes on television - cartoons, the sequence from John Wayne and Maureen O'Hara and The Quiet Man (and the parallel with Elliott's treatment of the girl at school as E.T. watched the television)? Spielberg's love for television - its influence in the home, effect on people and their behaviour? The attachment between E.T. and Elliott? The quality of the bond? The discussion about where E.T. came from, the imps and the globe? Searching for the material to Hake the phone? E.T's looking at the Buck Rogers comic and deciding to make the phone call home? Keeping E.T. hidden from Mary?

12. The Halloween episode and the kids getting dressed up, Mary dressed up and photos? E.T. walking down the street - and the jokes of the disguises e.g. from The Empire Strikes Back and Yoda? The going out into the forest. the setting up of the phone and E.T. calling home? The background of the friends and their disbelief about E.T.?

13. Mary and her running the house, her sadness. her being deceived. getting Elliott from school when he was drunk and freeing the frogs, Halloween, getting the police in, Elliott's return home, her not believing about E.T.? The humour of E.T's being in the room learning from Gertie as Mary put goods in the refrigerator? Her change of attitude on discovering E.T.? The fears of losing Elliott in illness? At the end and his possibly going with E.T. to the planet?

14. The friends changing attitude, being outside the house. their bikes and the effectiveness of the bike chase, their skill in eluding the police. the police and their guns, boys and the simplicity of the bikes, their being taken into the sky as previously Elliott had? The symbol of the bikes silhouetted against the sun and the moon?

15. The film's emphasis on the detection and surveillance? The impersonal nature of the hunters? Their suits, masks, fear of radioactivity? Car searchlights? The torches? Their continued pursuit and the way this was edited in? The surveillance of the home? Listening to Michael and Elliott search for the parts for the phone? Their entering into the home? Their setting up the house and cocooning it - for a new birth? Their change in sympathy when audience saw their faces? The contrast with the focus of the midriff of the pursuers and the rattling of the keys? The humanity of the medical team? Their attempts to heal E.T.? The noise and the scientific fuss? The sympathetic pursuer - and his having the same dream as Elliott? The irony of his dream not being fulfilled whereas Elliott's was? His understanding at the end?

16. E.T's illness and audience sympathy? His being found in the drain? The change in the technological atmosphere? Elliott ill and pleading? The bond between the two and E.T. giving his life for Elliott to live? His death? Elliott's mourning him after he was buried in the coffin? Elliott's declaration of love and E.T's glow? The communication from home (the touch of his father from the heavens?)

17. The plan for E.T's escape, Michael (previously driving the car and now the ambulance van)? The elaborate chase? The men trying to get out of the tunnel? The bike-ride? The spacecraft? The presence of the boys, the family, the scientist? E.T's bequest to Gertie to be good, his promise to be always in the mind and heart of Elliott? Resurrection and ascension images? The sadness of Elliott? Yet his being able to let E.T. go home?

18. The sadness and happiness of the ending? The delight? The transforming of the family? Fairy-tale and fantasy? The age-old themes of fairy-tales in modern dress?

DOUBLE INDEMNITY

US, 1944, 107 minutes, Black and white.
Fred Mac Murray, Barbara Stanwyck, Edward G. Robinson, Tom Powers, Porter Hall, Jean Heather, Byron Barr, Richard Gaines.
Directed by Billy Wilder.

Double Indemnity is one of the Hollywood black thrillers. It received many Oscar nominations in 1944. It was co-written and directed by Billy Wilder, a refugee from Nazi Germany who spent the '30s writing many scripts in Hollywood. His collaborator was frequently Charles Brackett. His first directorial role with the comedy The Major and the Minor. He then made the war film Five Graves To Cairo. The present film was followed by The Lost Weekend, for which he won his first Oscar. His second Oscar was for The Apartment in 1960. Billy Wilder has a rather bleak and sardonic outlook on life - he focuses on the offbeat and sometimes the bizarre. Several of his successful films are: Sunset Boulevard, Ace In The Hole, Stalag 17.

Fred Mac Murray was popular lead in light comedies and romantic dramas in the '30s and '40s. He was cast against his popular image to great effect in this film. Barbara Stanwyck had had a versatile career up till 1944 in all kinds of films. Here she effectively incarnates the evil woman. Edward G. Robinson, who had played many gangster roles, plays the insurance investigator. The film is very effective in involving the audience with the characters, in the perfect crime, in the falling out and the vengeance.

The story is based on factual incidents written up by James M. Cain, author of The Postman Always Rings Twice. Novelist Raymond Chandler collaborated with the screenplay. Originally the film was longer. There were cuts of up to 20 minutes of sequences with Fred Mac Murray going to the gas chamber.

Double Indemnity is a very fine example of the best in Hollywood film-making. There was a television remake with Samantha Eggar and Richard Crenna and Lee J. Cobb, directed by Jack Smight.

1. The classic status of this film? Its particularly American tone and style? The crime drama, detection? The collaboration of Raymond Chandler and Billy Wilder on a James M. Cain story?

2. Black and white photography? The Miklos Rosza score and its atmosphere? The editing for pace and suspense?

3. The standards of the Hays Office at the tine? The presentation of a crime, the leads as initially sympathetic? The demand of the Office that crime not pay? The casting of the stark., audience expectations of them at the time, their playing against these expectations? To what effect?

4. The audience involvement in the screenplay: the initial sequence with Walter Neff speaking to the tape recorder, the flashback and the description of the crime, the ironies? The importance of Neff's talking to the tape and therefore the voice-over technique throughout the film? The voice-over addressed to Keys? The development of the plot and the value
judgments being made throughout? The ironies being highlighted - and yet the final solution not known? The Raymond Chandler style of story and narrative?

5. The significance of the title, the focus on insurance, money and greed? The credits?

6. The portrayal of a crime in detail, the evil of the crime, the motives, the possibility of choice especially for Walter? Phyllis and cold evil? The seduction of Walter? Walter and his weakness, fears, passion and greed? The husband as victim - not sympathetic, wealthy?

7. Fred Mac Murray's character portrayal of Walter: the introduction, the speaking to the tape, the tone with which he addressed Keys? The first person narrative and voice-over? His effectiveness as an insurance man? Weakness, greed - an ordinary worker? The visit to Phyllis, the attraction and his description of her? The subsequent visits and allowing himself to be led on? The tentative discussions about policies, the possibility of murder? Walter's attitude towards Dietrichson? Lola? The deeper involvement, the discussion about policies and his knowledge, the artifice for getting the signatures? The plan and the tensions? The car and the timing, the train trip, Walter's disguise? The pushing of Diedrichson and carrying him through the plan? The effect after the crime? Phyllis and her coolness? Lola and her anxiety? Nino and the truth? The build-up to the confrontation with Phyllis, her intent to kill him, his killing her? The portrait of an ordinary weak man, his death and the possibility of assessing his life?

8. Barbara Stanwyck's style as Phyllis? Blonde, cool? The explanations of her past and marriage to Diedrichson, Lola’s suspicion? Lola’s antagonism? Her smooth talking, her wiles, seduction? Passionate involvement? Her work with Walter for getting the signature, taking out the policies? Making the plans? Her lies? The effect of the death? Nino? The final confrontation with Walter and her death? A personification of evil with no redeeming features?

9. Diedrichson: the wealthy type, his manner, business background, brusqueness, signing his death warrant, the murder? The lack of audience sympathy - and therefore not so much blame for Phyllis and Walter?

10. Lola and her love for her father, her genuine concern, suspicions of Phyllis? The humane aspect of the family?

11. The attention to detail, signatures, time, the train and the dropping of the body, the irony of Walter being seen? The suspense with the car and the ignition not starting etc.? How well did the film blend character study and suspense?

12. Edward G. Robinson's portrait of Keys: his efficient work, friendship with Walter, his comments on his behaviour, his theories about the murder, the seeking of evidence? The interviews with the witness? (The comic touches with the witness and his being brought south, the possibility of identifying Walter?), his following Walter, the final confrontation?

13. The fascination and appeal of looking at the perfect crime? A portrayal of evil, weakness? Victim? The perfect crime and the falling out of criminals - mutual betrayal? Why is the film a classic of its kind?