Q - THE WINGED SERPENT

US, 1982, 92 minutes, Colour.
Michael Moriarty, David Carradine, Candy Clark, Richard Roundtree.
Directed by Larry Cohen.

Q - The Winged Serpent is a very enjoyable animal menace fantasy. It was written and directed by Larry Cohen - whose films include similar horror fantasies like It's Alive, It Lives Again, Demon (God Told Me To) as well as The Private Files of J. Edgar Hoover.

The film uses the atmosphere of New York City excellently, has special effects for the winged serpent and its gory killing of people. It also uses echoes of such films as The Exorcist but combines them with the atmosphere of blood sacrifice Mexican religions. The film has an excellent cast, relying on Michael Moriarty as the ordinary petty criminal who sees the chance to become a hero in the newspapers because of his discovery of the serpent. David Carradine is good as the policeman.

Tongue-in-cheek and offbeat - but probably more persuasive and frightening because of it.

1. An entertaining horror thriller? Its use of the monster and menace conventions? Satire? The popularity of the film among buffs?

2. B-budget style, the sets and styles of the old serials and B films? Jokey tone?

3. Special effects and serpent (real and rubber), the murders, the subjective shots for the monster, gore? Editing and pace for flight, chases, shootouts?

4. The musical score, the songs: Let's Fall Apart Together Tonight, Evil Dream?

5. The quality of the cast and their contribution to the credibility and enjoyment?

6. The flip start setting the tone, the decapitation, the sunbathers, the worker and the sandwiches - the range of victims? Flip Callous? The variety of deaths - the flayed victims, the pool man, the police? The cinematic variations on the gore trend?

7. The picture of the police: David Carradine as the effective policeman, slightly seedy, dedicated to his work, his clashes with his assistants especially Sergeant Powell? The contrast with Powell - and his being killed? Shepard and his liking for music, the jazz, the bar, the discovery of Jimmy Quinn? His research, discoveries about the Mexican religions, reports, the city authorities and their reaction? Interrogations? Fight? The clashes with the monster? With the human villains? The clashes with Quinn, using him? The hero of the film? The contrast with Powell and his being the antagonist? The sketch of the city officials, their attitude towards the city, criticisms, meetings and authorisations, cover-ups, taxes etc.? Corruption, ego? The film's comment on the New York papers and the jibe at Rupert Murdoch? The critique of the city, its lifestyles, people, judgments, fear, social anger?

8. Jimmy Quinn as the petty thief, participation in the jewel robbery, driver, running away, pursued by fellow criminals, escape into the Chrysler Building (and the irony of the Chrysler Building and its pinnacle looking like the monster)? His discovery, going to the police, the media, his bargaining with officials about money? The sleazy criminal, ambitious, shrewd? His relationship with Joan, support, his further adventures, being caught up with the strange religions, with the monster, his being threatened, the promise to reveal the hiding place, Shepard saving his life?

9. Joan and her sharing Jimmy's experiences, trying to understand, support?

10. The monster, visual, special effects? Flying over the city? The monster's eye view of the victims, the swooping on the victims, the killing? The terrorising of the city - and the city looking upwards (as in the old B-movies of the '30s and '40s)? The aura of the Mexican religions, human sacrifice, the legends? The victims? The masks? The symbolism of the monster - serpents, devils, angels, wings, the whole aura of religion not understood?

11. Shepard and his pursuit, study, the rituals, the bodies, the chase and the confrontations? The heroics? The fanatics involved in the religion, their backgrounds, what motivated them? The bringing together of the themes of gore, religious possession, petty crook, police thriller? The irony of the resolution - and, of course, another egg being broken open and a monster emerging?

14. The popularity of this kind of nightmare adventure? Comic book style? A successful use of thriller conventions?

QUEST FOR JUSTICE

US, 1993, 91 minutes, Colour.
Jane Seymour, D.W.Moffatt, Richard Kiley.
Directed by James Keach.

Quest for Justice is a telemovie with a focus on race issues in Mississippi in the mid-'50s. It is a star vehicle for Jane Seymour, who was executive producer of the film along with her husband, James Keach, who also directed the film.

Along with Jane Seymour are D.W. Moffatt as her husband from the north and Richard Kiley as the leader of the town, a civilised bigot.

The film is the story of Hazel Brannon Smith, who ultimately won a Pulitzer Prize in the '60s for her newspaper articles on race issues. She appears at the beginning of the film as a socialite from the south, believing in segregation, but benignly so. A series of incidents raises her consciousness and she uses her paper to promote harmony between the races. However, she becomes the victim of the local racists, even with some activity from the Ku Klux Klan.

The film is designed for the popular television audience and so relies on story and strong characters rather than depth of exploration of theme. However, it is quite a moving film at its own level and would contribute to respect between the races.

1. The impact of the telemovie? For popular American audiences at home? Impact outside America? American race issues of the '50s? Their relevance to the present? To race issues throughout the world?

2. The atmosphere of Mississippi in the 1950s? The train and the railway line and station? The beautiful mansions? The black areas of the town? The town itself, halls and churches, shops and printing press? Authentic atmosphere? The atmospheric score from the south?

3. The title and its focus on Hazel and her mission?

4. The film as a portrait of and tribute to Hazel Smith? Jane Seymour's screen presence, her style (and accent)? An active and extroverted young woman? Arrival home, the joy, bringing her husband? Her friends in town? The parties and receptions? Her enjoying a good time and being a hostess? Her wealth? Her relationship with her black servants? Her work at the paper? Her willingness to take advertising from black customers? The discussions with Earl about integration and reactions in the south? Her relationship with her husband, his getting a job administering the hospital? The opening sequence with the white trash on the road and the sheriff not helping? The clashes with the sheriff?

5. Hazel and her work for race issues? The black man being shot and her husband taking her to the hospital? The confrontation with Earl and his strategies against her? Invitation to the various clubs, her going to the meetings, reporting? The growing antagonism? The rednecks and their violent hostility, smashing of the printing machines, the Klan cross outside the house? The boycott of advertising, her financial ruin? Her being taken to court for contempt of court in speaking to the widow of the black man? Her willingness to help, give jobs in the renovation of houses? Her determination? The people from the north and printing their paper? Her being spied on, the printing press being smashed? The danger of going to the rendezvous - but receiving the money to set up a new press? The argument with her husband? The pathos of his death? The reaction of people in the town, her friends spurning her, taking other jobs to protect their own? The violence against her? Earl and his change of heart, bringing the townspeople to the funeral? The change of race attitudes in the town?

6. Earl, his presence in the town and his authority? His inherited racism? Yet his not wanting to be violent? Warning Hazel? Inviting her to participate in the committee? His control of the committee? Civilised strategies of racism? The boycott, the pressure for people to move jobs? His reaction against the sheriff and his violence? His losing, his change of heart, his bringing people to the funeral?

7. Hazel's husband, genial, from the north, puzzle about the initial reactions of the sheriff? His work in the hospital, his ordering the surgeon to help the black patient? His being fired - and the kangaroo court? His support of Hazel? His fear about her being trapped at the rendezvous? His accidental death? His funeral as a rallying point?

8. The people who worked at the paper? Anne and her work for advertising, racism, change of heart, supporting Hazel, her husband out of work and having to leave? The other women in the town and their boycotting her? The older woman defending Hazel in the hairdressers and shaming the others, her apology? The men in the town, the violence, the abuse of Hazel? The destruction of the printing presses?

9. The sheriff, the initial disregard of the man injured on the road? Member of the Klan? Differing views from Earl? His violence and shooting the black man? His being reprimanded? The confrontations with Hazel, his arresting her for contempt of court, the judge and his sneering attitude towards her? Her winning in the Supreme Court?

10. The servants in Hazel's household, the cook and her support but speaking truthfully to Hazel? Riley and his work at the printing press? The man out of work and the renovations - his being arrested, chased and beaten to death? The funeral and Hazel speaking to his widow and being arrested? The black campaigners from the north?

11. A film of the '90s looking back at American history? The need for this kind of film aimed at a popular audience to educate against racist attitudes?

A QUESTION OF ATTRIBUTION

UK, 1991, 90 minutes, Colour.
James Fox, David Calder, Geoffrey Palmer, Prunella Scales, Jason Flemyng.
Directed by John Schlesinger.

A Question of Attribution is a second British spy drama, a collaboration between John Schlesinger and writer Alan Bennett who had previously made An Englishman Abroad, with Alan Bates and Coral Brown, a picture of Guy Burgess in Moscow.

This film is a portrait of Sir Anthony Blunt, his relationship with MI5, his role as the curator of the Queen's pictures - and it includes a fascinating sequence where Sir Anthony Blunt meets the Queen and they have a discussion about pictures and about forgeries and fakes.

The film is brief, is elegantly written by Bennett and provides an insight into the personality of Sir Anthony Blunt and his final emergence as the fourth man amongst the British spies in contact with Moscow. He is a man of the Establishment, a man lacking in moral stance, pragmatic but able to move in English society because of his cultural background and status. James Fox gives an excellent performance as Blunt. David Calder is also excellent as the investigator Chubb, a complete contrast in style and background from Blunt. However, in the interrogations, which are done in a very gentlemanly fashion, Chubb begins to learn a great deal about art.

Bennett uses a portrait by Titian, alleged to be by Titian, as the central core of the study of the British spy. Blunt is involved in the cleaning of the picture, which gradually reveals that there are four personalities in the picture and discussions as to whether the portraits are forgeries or not. The parallel between the forged painting and the cultivated spy are elaborated with interesting detail (including the discussion with the Queen).

Prunella Scales appears to great effect as the Queen in the discussion with Blunt.

The film was made in the early '90s after the break-up of the Soviet Union, whereas An Englishman Abroad was made earlier. However, they form companion pieces highlighting the nature of British attitudes towards espionage and also towards Russia and the changing of the Soviet Union and the Cold War in the early '90s.

1. An interesting telemovie about the British? About the nature of British espionage over many decades? Of the relationship between the Communist students of the '30s and their diplomatic work and espionage in the '40s and '50s? Their effect on Britain in the '30s and in World War II?

2. The collaboration between Alan Bennett and John Schlesinger? Bennett and his inventiveness, his literate screenplay, his imaginative reconstruction of sequences and invention of sequences? John Schlesinger and his eliciting polished performances as well as providing a smoothly presented movie? For the television audience?

3. A film depending on audience knowledge of the British spies and their motivations, their careers? Knowledge about Sir Anthony Blunt and his being protected and not being unmasked? The importance of knowing about espionage, the role of moral judgments on the spies by the audience?

4. The background of Britain in the '30s, the attraction of socialism and communism? Of the Soviet Union under Stalin? The recruiting of spies? The Old Boys' network, the elite? The bonds of homosexuality? The three spies escaping to the Soviet Union? Blunt and his information and his indemnity? His ultimately being named?

5. The focus of the film: MI5 and the investigation, their attitudes, secrecy and publicity? The welfare of Great Britain? The focus on Blunt, in himself, character, his past, his present, self-protection? The focus on the interaction between Blunt and Chubb? Class differences, cultural differences, moral differences?

6. The title and the references to artwork and artists? Art, fakes, forgeries? The distinction between fake and forgery? Truth disguised? The background of Renaissance art and Blunt's expertise? His own appreciation of paintings - and his theoretical background? The portraits of Titian? Titian as a character, his family, sons? Authorities? The faces, material painted over and blacked out? The cleansing of portraits? Unmasking? Enigma and identity of characters? The third man and the appearance of the fourth man? The discussion about the animals in the painting, dogs and wolves? The context for an analysis of Blunt and the spies? The effectiveness of the allegory? The picture being cleaned, the decision to remove it from the art gallery and for it to be studied, the Annunciation replacement? The Queen and her discussions? Art imagery and talk? Blunt's lectures on art to the students, to Chubb, to his assistants?

7. Painting and the conventions of the time? Blunt's justification for his behaviour? His distinction between forgery and fake?

8. The character of Chubb, the other officials at MI5, the failure to get any information from Blunt? The insider and his discussions with Blunt in the park? The demands made on Chubb? Chubb's appearance, manner of speaking, smoking? His wife, home? The meetings with Blunt? The nature of the interrogations, his shrewdness? The looking at the stills and the photos? Identity of spies? The homosexual background? Blunt's comments on the men in the pictures? His typist(?) seeing the nude man on the screen? Blunt and his fastidiousness, his sexual sensibilities?

9. Chubb and his art lectures? Interest in art? Reading and study? His shrewdness in interpreting Blunt? The build-up to a confrontation? The naming of Blunt? Blunt and his deals, his emergence, the press in pursuit?

10. The portrait of the art students? Their admiration for Blunt? The guard in the gallery and his detailed and expert knowledge? Their relationships with Blunt?

11. The build-up to the removal of the Titian from the gallery? The Queen's pictures? Her arrival and the corgis? The students hurrying for cover? The character of the Queen, insight into her daily routine, expectations, her knowledge of her paintings? The various gifts from different countries? Her discussions about Titian, her seeming ignorance, her shrewdness in communicating to Blunt her understanding of his dilemmas? Her humorous remark about the man under the sofa? An interesting insight into the Queen? The comments from everybody else asking Blunt what she was like in reality?

12. An individual, society? Moral stances and values? The 20th century and ideologies? Espionage and morality?

QUIGLEY

Australia/US, 1990, 119 minutes, Colour.
Tom Selleck, Alan Rickman, Laura San Giacomo, Tony Bonner, Chris Haywood, Ron Haddrick, Jerome Ehlers, Ben Mendelsohn.
Directed by Simon Wincer.

Quigley originated as a western planned for Steve Mc Queen but did not progress after his death. Australian director, Simon Wincer - Phar Lap, The Lighthorsemen, Lightning Jack - took and interest in it and took it to the historian Ian Jones who had written The Lighthorsemen. They developed into a 19th century Australian action film, the settling of Western Australia and the landowners not understanding the aborigines and trying to kill them - especially by hiring American sharpshooters.

Tom Selleck is a Civil War Veteran who answers an advertisement for killing dingoes and then refuses to kill when he finds out the truth. Alan Rickman is the owner and has some lines which dramatise 19th century racism.

The film was shot in the Northern Territory near Ross River and at Warrnambool. There are some critical sequences of massacres of aborigines, especially one on the edge of a cliff which needs to be seen by all Australians to face the reality of such massacres.

1. The origins of this film as an American western? The genre and its conventions? The transposition of the plot to Australia in the 19th century? The property, the gunman, the tracking and killing of aborigines, racial issues?

2. Panavision photography and the locations, the Ross River area of the Northern Territory, the Victorian coast for the town? Authentic atmosphere? The beauty of the Australian landscapes? Rugged? The musical score - rousing, dramatic (especially for the sequences with the murdered aborigines at the bottom of the cliff)?

3. The international cast? The impact of Americans in the Australian Outback in the 1860s? The Americans calling the film Quigley Down Under?

4. The background of American history, the Civil War, the sharpshooters and their skills, their weapons? Australians advertising in the United States? The shooters sailing to Australia, the way that they were received, jobs? The Americans and their western background and civil war in the Australian Outback?

5. Audience knowledge of Australian history in the 19th century? The landowners, their claims to the land, their wealth, running cattle and sheep? The workers on the property? The wealth, the house, servants? The clash with the aborigines and the massacres? The landowners despising the aborigines? `Pacification by force'? The background of convicts? The harshness of the desert, survival in the desert? Wealth? Racism? The coastal towns and their lifestyle?

6. The aborigines and the 19th century, in the towns, on the properties, as servants in the households? The massacres of white people - and the story of the property owner talking about his family and his mother's death? Retaliation? Aborigines and their rights, going into the desert, being persecuted and massacred, heroics, the Spirit Warriors?

7. Tom Selleck as Quigley and his presence in Australia? The laconic type? His background in the Civil War and his shooting skills? Arriving in Australia, the wharves, the fight? The encounter with Cora and her calling him Roy? Riding on the wagon, arriving at the homestead? The demonstration shooting and his skills? The landowner and the shooting of the deserters? His meal, the discussion, the aboriginal old man as servant, the landowner's despising him and talking about the aborigines as the least civilised people on earth? The discussion about the wheel and American native Indians? Quigley's clash, the fight? The aborigine knocking him out? His being left to die? The shooting, being taken in by the aborigines, their healing rites, the mystical experience, teaching Quigley and his learning? The encounter with Cora, riding through the desert? Hearing the shot, the massacres on the cliff, his shooting the horseman? Cora and her grief at the dead children? His hearing Cora's story, why she called him Roy? The arrival in the town, the friendly people, the meals, somewhere to stay, caring for Cora? His return, the clash and the ambush? The face-off in the Outback, his strategies and tactics? The workers from the homestead and trying to trap him? His being taken, the confrontation with Marston, his being quicker on the draw? The old aboriginal man leaving? Quigley returning to the town, with Cora? A future?

8. Marston and Alan Rickman's style, his story, being born on the wrong continent, hiring of Quigley, his control over his workers? The meal, the disparaging talk, spitting the cigar end, the talk of civilisation? The fight with Quigley? His shooting the deserters? His anger, setting his workers onto Quigley? The siege in the hills? The final confrontation, his arrogance, his death?

9. The workers on the property, the Scot and his control, O'Flynn and the other men? Their duties? The encounter at the wharf, the fights? The gunman and their confrontations with Quigley? Deaths? The final siege and their taking him? Their participating in the massacre of the aborigines?

10. Cora, her being in Australia, her madness, her story and the horror of the siege of the Indians, her husband blaming her for the death of their child when she was trying to stop it crying? With the aborigines, her horror at the massacre, going to the children at the foot of the cliff? Being left by Quigley with the baby, the dingos and her fear, not wanting to repeat the death of the baby, her surviving? The dress, the town, calling Quigley by his name?

11. The portrait of the aborigines, the old man working at the homestead, his being humiliated while serving, his walking away and stripping at the end? The men, women and children in the massacres, at the cliff, being pursued by horse? The pathos of the dead children at the foot of the cliff, the music?

12. The people in the town, settlers, their work, friendliness? The contrast with the clerk and the gun?

13. Life in the homesteads of the 19th century, the towns, the pioneers?

14. The tradition of the American western and the clash between whites and Indians? The moral perspective? The comparisons with the Australian experience?

THE QUEST

US, 1996, 95 minutes, Colour.
Jean Claude Van Damme, Roger Moore, James Remar.
Directed by Jean Claude Van Damme.

Significant for fans of Jean Claude Van Damme and of martial arts films as the directing debut of Van Damme. It is a routine film, the main point being an Asian competition to the death in martial arts. Roger Moore is along for the ride.

1. Jean Claude van Damme action film? The martial arts? The story of the quest for the best fighter in the world? A film for action fans only?

2. The re-creation of New York City in the '20s? Sequences at sea, in the Asian islands, the Thai landscapes? The hidden kingdom and the landscapes for the trek to the kingdom? The impact of the colour photography and scenery? The atmospheric score and the tones for the martial arts, the quest and the competition?

3. The title, the fighting championship and the championship of the world? Chris DuBois' personal quest?

4. The prologue: Chris as an old man, his friendliness and the barkeeper? The thugs and their attack on him? His capacity for fighting? His telling his story? The ending and his sense of personal achievement?

5. Chris as a young boy, being left in Central Park, abandoned? His growing up with the children on the street? His being a busker and a clown? The interaction with the moneyed men and the gangsters in the New York streets? His capacity for fighting? The taking of the money, the pursuit by the gangsters, the injuries to the kids? His escape, his going to the east, his determination to return to the kids? The overtones of Oliver Twist - the robbery, the children, their living together, but a benign twist?

6. Chris and his eluding his pursuers, the chase through the streets? On the boat? His being discovered? His being made to work on the boat? His fate? The arrival in Asia, the encounter with the pirates? The attack, Chris's defence, his life being saved by the captain? His being taken ashore, sold to the martial arts chief on the island? His being abandoned there? His going through the training, his emerging abilities? The sequences of military arts training and self-control?

7. The invitation to the various fighters to participate in the quest? The Japanese in the baths, Max and the American gym? The internationality of the quest? The competitors and the conditions, the scroll and the invitation, the map? Making their way to the hidden city?

8. Chris in Bangkok, his encounter with the captain and his pretending to be a Scottish lord? The reconciling of differences? The fights? The idea of participating in the quest? The encounter with the New York journalist? The plan, the escorting of Max, taking his documentation?

9. The journey and its hardships, the range of terrain? The clash with Max, his conceding that Chris was more talented? His supporting him?

10. The arrival at the hidden city, the rivals? The discovery of the truth about Chris? Max and the condition that Chris win the first round? The build‑up to the fight itself? The long sequences of the fights - the editing and pace, brutality, variety of fighting styles? The Spanish flamenco style, the Brazilian athletics, the Chinese like the monkey, the Sumo Japanese wrestler, the Greek and his force, the brute strength of the Mongolian? The contrast with Chris in his singlet and shorts? The fights, the eliminations, the brutality of the Mongolian killing his opponent? The grief of Chris's former trainer, Chris's intervention and wearing his thong band?

11. Max and his survival and his support? The captain and the plan to steal the golden dragon, getting the balloon - but getting caught and imprisoned? Chris and the final confrontation with the Mongolian, the brutality, out of the ring, into the courtyard, tactics and determination, skill and his winning?

12. The character of Chris, Jean Claude Van Damme's enigmatic style, a genial touch, strength, choreography of the fights? His return to New York to save the kids?

13. Roger Moore as the captain, a variation on his gentlemanly James Bond style? His associate? The attacking of the ship, piracy, not keeping his word to Chris? Bangkok, pretending to be a lord, the encounter with Carrie? The plan, the trip, relying on Harry? Watching the fight, getting Chris to throw the championship, stealing the dragon? Imprisoned? The happy ending? Harry as his sidekick - the variation on Don Quixote and Sancho Panza?

14. Max, the tough American, accepting his limitations, supportive of Chris?

15. Carrie, the New York background, journalism, her father owning the paper, going on the expedition? The happy ending - with her book?

16. The career of Jean Claude Van Damme as martial arts star, fighting star, the world-wide popularity during the '90s? The quality of this film as part of his style and presentation?

QUEEN OF THE ROAD

Australia, 1984, 90 minutes, Colour.
Joanne Samuel, Amanda Muggleton, Chris Haywood.
Directed by Bruce Best.

Queen of the Road is a small-budget Australian movie from the producers of the successful television series A Country Practice. The central character is based on a Country Practice guest appearance and developed into a movie. It is an Australian truckie story, much milder than its American counterparts. Joanne Samuel (Mad Max) inherits her father's truck - and, despite her assurances, drives it rather like a drip. However, she is meant to be the heroine of the movie. Amanda Muggleton as the country and western singer-truckie is far more effective. The cast has appeared in many television series.

The film is predictable and corny - but done with a kind of country and western verve.

1. Entertaining truckie story, country and western singing, a bit of crime and violence? Popular ingredients?

2. The Sydney settings, the highway to Brisbane? Tamworth? The Australian countryside? Musical score, country and western songs?

3. The title - and the touch of irony at Rosie's ineptness at driving?

4. Portrait of Rosie, the death of her father, the cemetery, trying to drive the truck - and knocking things flying? The repossessor and the money? Driving the load, the small accidents, picking up Gayle? Travelling together? Stopovers, the singing? Getting the load to Brisbane, wanting a return load? The encounter with the policeman - and the attraction? Continually meeting him? The criminals, the money, the bears, the pursuit? The final confrontation? The happy romantic ending?

5. Gayle, singing at Circular Quay, hitch-hiking, helping Rosie? The songs - and the audience reactions? Driving the truck? The bear, the clash, finding the money? Helping Rosie? Signing the cheque?

6. The policeman, his encounters with the women, strict - then romantic?

7. The truckies: owners, managers? Shady deals? The law of the road? CB? Women truck-drivers, men? The camaraderie of the road?

8. The criminals, their pursuit, violence - comic strip villains and their comeuppance?

9. A comic strip kind of story - for the broadest possible audience?

QUEEN'S LOGIC

US, 1991, 112 minutes, Colour.
Kevin Bacon, Linda Fiorentino, John Malkovich, Joe Mantegna, Jamie Lee Curtis, Ken Olin, Chloe Webb, Ed Marinaro.
Directed by Steve Rath.

A drama in the Big Chill tradition, similar to such films as the Return of the Secaucus Seven and Peter's Friends.

The setting is the Borough of Queen's in New York City. The film focuses on a group of middle aged men, their past friendships, their macho style, their getting together for the wedding of one of them. The women are seen more or less on the periphery of this male bonded group.

The reunion for the wedding raises difficulties with the group, among themselves, with their women. The screenplay highlights the conflicts and brings them to some kind of catharsis and some kind of reconciliation and asking for forgiveness.

The film is well acted, especially by Joe Mantegna in the central role of Al (with Linda Fiorentino effective as his wife, Carla). Ken Olin, from 30 something, gives a suitably anguished performance as the artist about to marry. He is well matched by Chloe Webb (Sid & Nancy) as his girl friend. Also in the cast are Kevin Bacon as a would-be Hollywood musician, John Malkovich as a reserved homosexual, Jamie Lee Curtis as the eccentric woman who suddenly befriends Joe Mantegna and is the catalyst for his liberation.

The story of the film is by Tony Spiridakis who co-wrote the screenplay and co-produced the film. He appears as one of the friends, Vinny the aspiring actor.

The film is of particular interest to Americans, particular as it is in its environment, questions, lifestyle. It may not have quite the same impact for non-American audiences. The direction is by Steve Rath whose other films include Under the Rainbow and Can't Buy me Love.

1. A New York story? The Borough of Queen's? The American style of the film, characters and concerns?

2. The tradition of films of reunions, buddies, relationships, clashes, resolutions?

3. The use of Queen's, the river, the bridges, the streets and homes, work places, bars? The range of songs in the musical score?

4. The title, the focus on Queen's, the people belonging to Queen's? Logic and the contrast between head and heart?
5. The prologue, saturated colour, Al as a boy, climbing the rope, the bridge and his achievement, support of his friends? The bridge and the rope, space in Queen's, the possibility for freedom? Its later being used as the place for freedom, the release of tension and angers?

6. The focus on the men, macho style, the bonds between them and the film's comment on male bonding? The qualities of the men, their strengths, weaknesses? Protecting one another? Women on the periphery, the poor relationships with them? The place of women: friends, lovers, wives, sex objects? The strange presence of Grace and her effect on Al - and liberating all of them?

7. The context of the weekend and the wedding, relationships to Ray, the introduction of Monty, the bar, selling the ring, getting the invitation? Setting up expectations?

8. The atmosphere of the men getting together for the reunion, drinking, at their apartments, at the airport to meet Denis, the lively action and extroverted behaviour, driving, the swim, dressing in Denis's clothes, going to the bar, raging? Contrast with the workplaces? The final party, relationships? Al and his encounter with Gracie, the dancing, the cemetery? The climbing of the bridge? The reconciliation, kneeling for forgiveness? The preparation for the wedding and the film ending with the wedding?

9. Al as the centre of the group, tough, lively? His work at the Fish Market, his consciousness of the smell? His wariness about the Mafia types - and his finally pulling the knife on the young man, only to find that he wanted to video the wedding? The buying of the ring from Monty, well-off, drinking, talking with Ray in the bar, three hours late for Carla, the clash, wanting her to dance? Her departure? His visits and pleading? His mother in law and her hostility? With the friends, participating in everything? The chance meeting with Grace, dancing with her? Going off, the driving, the cemetery? Her wanting to liberate him? The attempt at the climb, not being able to, getting on to the girder, throwing everything away including the lollipops? Going to Carla, kneeling for her forgiveness? Carla, the memories of her marrying Al, the anniversary and her waiting, her anger, clashing with her mother, love for the children, taking them? Al's visits and her rejecting him? Her friendship with Patricia, the phone call, getting her hair done and dyed? Going to the bar, meeting Monty? Looking for Al, going to the party, his absence, at home, forgiving Al?

10. Ray, tortured personality, his skill in his art, selling his paintings, even at the bar? His love for Patricia, their relationship? Anticipation of the marriage? His anguish, ambitions, worrying about the commitment of the wedding? The discussions with Patricia? Discussions with his friends, going out with them, sharing their experience yet serious? Discussions of fear with Al? The clash with Denis? His party, melancholy, in the room with the girl, Patricia seeing him? His attempts at explanation? His taking Al's place and asking Patricia's forgiveness? Ready for the wedding? Patricia, anchored in Queen's, the past with Denis - meeting him again and the gentle rejection? Love for Ray, supporting him in his art, hurt by him? At work, her clients? Friendship with Carla, doing her hair? Being philosophical about Ray, the marriage not going on? Finding him, her disappointment? Her wanting to support him with his art no matter what? Accepting his forgiveness? (And the incidental visit in the bar to the fortune-teller, her fortune - but Carla reacting angrily about hers?)

11. Denis, the arrival from Hollywood, loud, clothes, with the girls, picking them up, the dancing? His relationship with his friends? Memories of Patricia, wanting to talk to her before the wedding? The rejection at the party, sad, telling the truth about himself as a failure in Hollywood?

12. Vinny, the would-be actor, trying to pick up girls? With the group? The psychic woman, the talk, trying to be sincere? Their howling together - and a possible relationship?

13. Elliot, at work with Al? Boarding with Ray and Patricia? His friendship and support of the group? His understanding of his own homosexuality, his being unsympathetic to the Gay culture and style? Meeting the man, his coming to the party, trying to lead him on - and his plainness in telling him off and asking him to leave?
The friendship with Martin, Martin as a piano player, at the Algonquin? At the party, sharing with the rest of the group? The end - and he and Martin looking for an apartment in New York City?

14. The atmosphere of the bars, Monty and his talk, dealing with stolen goods? The parties? Men and women, ordinary style, yuppie style?

15. How much insight in the film, truth, men and women, relationships, reconciliation and forgiveness?

QUEEN OF THE STARDUST BALLROOM

US, 1975, 100 minutes, Colour.
Maureen Stapleton, Charles Durning, Michael Brandon.
Directed by Sam O'Steen.

Queen of the Stardust Ballroom is a gentle telemovie of the mid-'70s. It is an excellent star vehicle for Maureen Stapleton. A young Charles Durning is good in support - illustrating his skills as a dancer (which he was before turning to acting).

The film has a New York flavour (contrasting with California). It is a story of a widow, middle to old age, the opportunity for a new life. However, the relationship between Bea and Al is complicated by the fact that he is married (and is not resolved except by the surprise ending).

There is a gentleness about the film, a deep humanity (with the comic American style and its extraverted nature). There is a special device whereby Bea and eventually Al sing, or speak words to song melody, giving the film a poignancy with its stylised communication. The film was directed by Sam O'Steen, who has acted mainly as an editor for many films and telemovies.

1. Entertaining telemovie? For American audiences? Universal audiences?

2. New York City, the Bronx, the contrast with California? The neighbourhoods? The Stardust Ballroom? The musical score?

3. The device of the songs, the lyrics? Stylised within the naturalistic presentation? The effect on revealing character and themes?

4. The title, the focus on Bea, on the Stardust Ballroom and its impact on its clientele? Her achievement?

5. The portrait of Bea and Maureen Stapleton's screen presence and style? Waiting in the hospital, the death of her husband, the reaction of her children? The collage of scenes of her at home? The lyrics and her song? Devotion to her husband? The reaction of her children, the visits? Her decision to set up a business, the junk? Diane and her primness, wanting her to live with them? David as genial, supporting her ideas, moving to California? Her work in the shop, generous towards the clients and giving them cheaper prices? Her friendships - and being persuaded to go to the Stardust Ballroom? Awkward, the dancing partners? The queen? Meeting Al, resisting him? Deciding to dance, the friendship? Helen and her scolding of her sister, the Chinese meal, busybody, taking her to task for going out, the phone call to Diane? Bea's decision to go out, dye her hair, the yellow dress, going out with Al? Dancing, in love, the affair? The reaction of Diane - but mellowing and the meal together? The visit to California and the support of David and his wife? The return, the bond with Al? The complication of his marriage? Going to the ballroom, the dance, preparing for the competition, being named Queen? The return home - and the quietness of her death?

6. Al, the mailman, married but not telling Bea? Lonely, the ballroom, the dancing? Going home with Bea, the continued dancing, at home, the coffee? The lyrics of his songs? The affair? Separation in California and his eagerness on her return? The competition? The sadness of finding her dead?

7. The friends, the middle-aged women, the Stardust Ballroom as a refuge, joy? The Queen and her morale-boosting? Helping others? The dancers, competition?

8. Diane and her husband, the prim family, looking after Bea? The contrast with David, more open? California, the professorship, his wife pregnant?

9. The portrait of people in middle age, audiences identifying with the characters, the experiences? The new life during widowhood?

QUACKSER FORTUNE HAS A COUSIN IN THE BRONX

US, 1970, 90 minutes, Colour.
Gene Wilder, Margot Kidder, Eileen Golgen, Seamus Ford.
Directed by Waris Hussein

Quackser Fortune Has a Cousin in the Bronx is a pleasant Irish comedy, probably designed for an American and international audience. However, it was all filmed in Dublin, using the city to great effect.

The film was also a star vehicle for Gene Wilder, early in his career (after Bonnie and Clyde, The Producers, The Twelve Chairs). He was to emerge during the '70s as a strong comedian and writer. Margot Kidder is a pleasant lead - she was also at the beginning of her international career.

The film has a lot of humour, the light touch and emotion, some Irish eccentricity. Direction is by Waris Hussein, director of a number of films but, more especially, television movies and mini series - Divorce His, Divorce Hers, Callie and Son.

1. Enjoyable Irish comedy? The human touch?

2. The picture of Dublin, the city, its drabness, its beauty? Ordinary life in Dublin? The musical score and songs?

3. The title, the nickname for Quackser, the ducks? The American reference? America as the promised land, the hallowing of the Bronx? The bequest at the end and its results for Quackser?

4. Gene Wilder's performance as Quackser? In himself, his following the horses, collecting the manure, helping the women with their gardens? The scenes at home, his room, getting up, the family? His meeting Betsy and the sexual relationship? His meeting the American girl, speeding past in the car, her apology, on horseback? Their talking, his opening up to her, the meetings? His philosophy of life? Learning from her about the city? Going out? The invitation to the dance: his getting the suit, riding the bike, getting drenched in the rain, at the door, dancing with the wallflower girl, with his girlfriend, the snobby students and their reaction against him, the fight, rolling him up in the carpet? His going home, being looked after? His clash with the girl in the street, their reconciliation? His going home, learning from her? Setting the horses free? Going to Betsy?

7. Going home, the family waiting, the news of the fortune - and his investing in the car, becoming a guide, using the information from the American girl?

8. The American girl, studying, fascinating Quackser, being fascinated by him, talking, accompanying him, love and affection, their clashes, her embarrassment at the party, her student friends, her sympathetic treatment of Quackser, going home?

9. The sketch of his family, the parents, the sisters, their treatment of Quackser? The details of ordinary life?

10. Portrait of a young Irish man, in his environment? In the spirit of the times? The humour with his occupation - but the times changing?

A QUIET PLACE IN THE COUNTRY

Italy, 1969, 106 minutes, Colour.
Franco Nero, Vanessa Redgrave.
Directed by Elio Petri.

A Quiet Place in the Country is a blend of horror story, mystery and psychological drama.

Franco Nero is an artist who undergoes a time in the country, analysing himself, his dreams, his imagination and memory. He is in an emotional confrontation with his mistress, played by Vanessa Redgrave.

The quiet place in the country contrasts with the industrial spirit of the city. However, the house in the country has an eerie and bloodthirsty background which impinges on the consciousness of the artist.

The film was directed by Elio Petri who was to win an Oscar in 1971 for Investigation of a Citizen Above Suspicion. Petri had a strong career with melodramas with psychological and political overtones.

The film is a fantasy, done in something of the psychedelic style of the 1960s – but Italian style.

1. The significance of the title with its irony? What expectations did this give to the film? And the fulfilment of the expectations?

2. How successful were the director's attempts at style? The swirl and movement, the garish colours, the portrayal of swirling madness? The medium was the message for this presentation of madness. How successful in its bizarre nature? Could the film have been made differently as regards style?

3. How intelligible was the film in its direct narrative line? The story of the artist, his mistress, their relationship, his breakdown, the people preying upon him? The destructive nature of the story? Was this well communicated? The basic message?

4. How well did the film communicate the modern need to get away from the industrial background of the city, its atmosphere, away to the country and its peaceful serenity and atmosphere?

5. How did the house in the country with its murderous background and history form an ironic comment on getting away to quiet places in the country? How well was this communicated and visualized?

6. How intelligible was the story of Wanda killed against the wall of the house, the flowers put there by Attilio? The fascist and war backgrounds of this story? The Italian significance of this story? The heritage of the war and the past still living in the present? The memories of the past haunting the present etc.?

7. Did you understand the murder of Flavia after the seance to bring back Wanda's spirit? The relationship of Flavia and Wanda? The effect on Leonardo?

8. The significance of the damaging of Leonardo's paintings? The accidents that had happened to Flavia?

9. After commenting on the direct narrative line, is it possible to ask what really happened? Did anything really happen or was it all in Leonardo's mind? How did the film give criteria for judging this?

10. How was the asylum 'a quiet place in the country'? The irony of this?

11. In what did Leonardo's madness consist? His art, the past, Italy, Milan, the war, art, sexuality, spirits? Comment on the details of the portrayal of this madness.

12. The significance in the film of the artist as exploited by society, as the focal point of interpreting reality? The details of the parties, agents, the need to escape?

13. The film as an allegory of artists exploited at the hands of society? An allegory of the inter-relation of the modern city to art and to nature and the past?

14. How seriously should the film be taken? Was it seriously dramatic or was it dramatically comic? Did it exploit its material? In blood, madness, sexuality?

15. How genuine a communication by a cinema of themes of madness was this film? How successful!