X (THE MAN WITH X-RAY EYES)

US, 1963, 79 minutes, Colour.
Ray Milland, Diane van der Vlis, Harold Stone.
Directed by Roger Corman.

X or The Man with the X-Ray? Eyes is a horror thriller from Roger Corman. Corman began his career in the fifties as a producer and as a director of quickies for American International. With a series of horror thrillers based on Edgar Alan Poe's stories, and generally starring Vincent Price, he came to the attention of critics. During the sixties his output increased in quality although it still bore the marks of his quick techniques.

He collaborated several times with Ray Milland and this is one of those occasions, taking a science fiction plot, a man playing God with chemicals and producing a substance which on the eyes gave x-ray vision and then became a money making gimmick. Corman shows how power corrupts and torments. He caps it with a rather grim literal application of 'if your eye offends you, pluck it out'. It is rather sensational but cleverly made.

1. The significance of the title? 'X' - the unknown, the man with the X-ray eyes?

2. What were audience expectations of this film from its title? What expectations of horror, entertainment, morbid fascination? Why are films like this generally successful? Why
do they appeal to audiences?

3. Comment on the technical success of the film considering its low budget? The style of the film?

4. How well did the film use colour for its theme? For prisms, blinding colour and visions, the editing techniques, the use of colour for atmosphere?

5. How interesting was the plot itself? How well did it involve audiences? As plausible, as thrilling, as horrifying?

6. Why is science-fiction like this so popular? The aspects of science and probing the unknown? The indulgence of fantasy and imagination? The probing of fears and dangers? Did this film do this well?

7. How did the film serve as a moral fable? Man as knowing his place in the world, using his intellect, but not playing God? The vengeful persecution of nature, that nature mocks man, the inevitability of retribution? Was this convincing and moving?

8. The central role of Dr Xavier? How convincing was Ray Milland, the portrayal of his skills as a doctor the drama of the testing of the fluid, the good that he hoped to come from his inventions? His response to the potential evil, his growing ambitions, the obsessions? His high-handed behaviour towards the doctor and his inevitable dismissal? His response to the horror of the eyelids that he could see through? His fleeing society, yet his being exploited? Helping others, yet the greed for the money? What future would he have? Was his death in some way an accident? The melodrama of the plucking out of his eyes? How fitting was a punishment for this for him?

9. How did the film blend comedy, for instance, seeing through people's clothes at the party, contrast with the melodrama of the hospital? incidents and this contrast with Dr Xavier's being helpful to patients and his being exploited? Did this give a complexity to the character and a satisfying exploration of his character?

10. Audience response to Crane and his manipulation of Xavier and exploiting him?

11. The minor characters the assistants, Diane, the antagonism of the doctors, the Las Vegas sequence? What did they add to the film?

12, How well did the film create the atmosphere of the Revival Meeting, the religious experience, the frenzy, the atmosphere for the horror of the ending? The visual impact of the close-up of the eyes?

13. What is the value of such a science fiction film? How well does it illustrate Roger Corman's skill?

YOUNG WINSTON

UK, 1972, 157 Minutes, Colour.
Robert Shaw, Ann Bancroft, Simon Ward, Jack Hawkins, Ian Holm, Patrick Magee, Anthony Hopkins, Edward Woodward, Colin Blakely, John Mills.
Directed by Richard Attenborough.

Young Winston has an old world-new world fascination that keeps it audience interested despite a cumbersome framework of flashbacks. What involves us are the excellent performances of Simon Ward, Robert Shaw and Anne Bancroft, the feeling for detail of the production that makes us feel we have lived for some time in the late Victorian world, and the incredible self-centredness, ambition and drive of Winston himself as he melodramatically strives to succeed - and the Battle of Britain is still forty years off when the film ends. Admirers of Churchill will probably find the film absorbing. Younger audiences who enjoy history will respond similarly.

1. The appeal of this film? What audience was it made for? What interest? British response? Overseas response? Interest in Winston Churchill, his early years, his later years and impact in 20th century history? How satisfactory a tribute was this film?

2. How wise was the screenplay to restrict the scope to his early life? The epic look of Churchill's early life, 19th century adventure, the atmosphere of Empire,, Empire politics, building up a career, a basis for his 20th century activity? Was the film satisfying in its limited scope?

3. The importance of Panavision. colour, Indian African locations? The importance of the themes of England and Churchill? The importance of a star-filled cast? Appropriate casting, the distraction of having so many stars? The star cast as a tribute to Churchill?

4. How satisfying was the structure? The opening in India and its build-up and the revelation of these as flashbacks? The importance of flashbacks to Churchill's earlier life? The technique of having interviews with Churchill,, his mother and his father? The structure based on the autobiography and the importance of Churchill's commentary? The success of Simon Ward in capturing Churchill's voice and intonation? At varying stages of his life? The portrayal of a success story?

5. The important sequences of Churchill as a child? What did they communicate about him? Especially in view of the scenes already seen of his young manhood? The boy as a loner. stately home. the harsh school and its severity of teachers,, headmaster? His exams and failures? The distance between his parents and himself? His looking out at them from a distance? His attachment to his nurse. as signified in the scene of her death? His going to Sandhurst? His attitude towards his parents and theirs' towards him? Did the family background explain Churchill's ambitions?

6. The portrayal of Land Randolph? Robert Shaw's style? What kind of man was he in himself? As a noble, parliamentarian? His gruff manner, brusque relationships with his wife? A man wanting success? Disappointment in his son? Not brooking failure? The importance of the few intimate scenes of himself with Winston? especially about Winston's ambitions to be a soldier? His attitudes of severity,, punishment? His illness? His behaviour seen in the light of his illness? The fact that he was dying of syphilis and the 19th century doctors' reticence in this matter? The response of Jenny Churchill? What was revealed about Lord Randolph in his interview with the unseen interview with the unseen interviewer? Was this a rounded portrayal of this man?

7. The characterisation of Jenny Churchill? As an attractive woman? As a mother? Her love for Winston., yet her distance., place in society? American background? Her support of Lord Randolph,, her ambitions and her ambitions for Winston? Her advice when he returned from South Africa? Her threatening him and yet her supporting him? Distance and closeness with her son? Her effect on him? How much of herself did she reveal in the interview?

8. The Indian sequences: the atmosphere for the opening, British Empire and danger, the siege, sudden death, violence? Churchill and his role as a correspondent, his impetuous heroism? Its effect on people? An explanation on his ability to rally loyalty?

9. The ambitious young man and his book, the effect on Kitchener? How credible was Kitchener's response? How satirically presented?

10. The change of atmosphere to the Sudan? Kitchener's role here? Churchill's impetuosity and brashness? His exhilaration in participating in the charge? The visualising of the charge?

11. The portrayal of British society in the 19th century? The world of politics? The various politicians; Lord Salisbury and his associates? Success and failure in politics? The portrayal of the leisurely way of life in garden parties, social events?

12. The contrast with South Africa at the turn of the century? Churchill's involvement, his being caught, association with Haldane, the plans for his escape, the ordinary people giving him help, the miners? The exhilaration of his escape? His autobiographical comments and his exhilaration as the train passed the border?

13. The transition to Parliament and his wanting election? His success? His meeting the people of Oldham and the miner's wife? A visual presentation of Churchill and his seeking popularity?

14. How wise was he in daring and risking his parliamentary career in his speech? His mother's pleading, Lloyd George's attitude?

15. A fitting climax to the film? The speech in itself, the response of politicians, especially George and Chamberlain? Lloyd George? His mother's pride? The beginning of his career?

16. How well did the film lay the foundations for his future, his final comments, the marriage to Clementine Rozier?

17. The strength of the minor characters and the stars who portrayed the-m? At school, in English society, the army? Buccold and the portrayal of the newspaper response to Churchill?

18. How important a 20th century figure was Winston Churchill? How adequately did this film introduce us to his life and its meaning?

Z

France/Algeria, 1969, 128 minutes, Colour.
Yves Montand, Irene Papas, Jean-Louis? Trintignant.
Directed by Costa-Gavras?.

Z is a political thriller from a novel based on incidents in Greece. In fact the film is an attack on the right-wing government and its repression in Greece, While the film takes a left-wing stand on politics and behaviour, it is presented as a reasonable left against dogmatic, self-righteous, right-wing stances. Extremists in the left are criticised as are extremists in the right. The extremists of the right appear as the worst because they base their plots and manoeuvres on their sense of God being on their side and their mission of cleansing and purifying.

A synopsis might make Z sound like a boring piece of propaganda cinema. On the contrary, Z is engrossing and exciting. The central figure of the Professor holds the film together - in the harassed preparation for his address, in his assault and death and in the investigations into his death. Yves Montand invests the character of the Professor with a fine dignity and this helps audience sympathy and concern.

The second part of the film has much of the interest of a court drama as the objective and somewhat anonymous investigator, played by Jean-Louis? Trintignant, probes the witnesses and the generals. The screenplay was written by Jorge Semprun, who also wrote Alain Resnais' Le Guerre Est Finie with Montand. Costa-Gavras?, Semprun and Montand worked after Z on The Confession, this time a critical look at the double-think of Communist countries.

Z is a very fine piece of film-making. It won the Oscar for best foreign film for 1969. It also won the Best Film Award from the National Catholic Office for Motion Pictures in the United States.

1. An engrossing film? Why?

2. Was its political bent the reason for its success or its thriller technique - or both?

3. On which side of the political spectrum did the film come down? Was it in favour of extremes or did it stay nearer the centre?

4. Why was reference to living people and situations intentional? What did the filmmakers hope to prove by this? What did they expect to achieve? (This applies also to the end of the film with the narrating of the punishments and the list of things banned from Greece.)

5. How was the Deputy presented? Was he sympathetic as a person, as a politician, what he said, as a martyr?

6. Do you agree with the C.E.O.C. lecturer's analogy of the virus of mildew with 'left-wing' civil liberties' moves? Why?

7. Do organisations, such as C.R.O.C., have the right to exist, even secretly? Do they have the right to protest against the policies of the left? Do they-have the right to use violence? In the name of God, the nation and morality?

8. What impression did the riot scenes have? Why?

9. How do you explain the logo and Vago and C.R.O.C. 's and the police's hiring of them for the assassination?

10. What examples of 'double-think' from the film, especially concerning Russia and America, Communism and Capitalism, the nature of freedom?

11. How convincing was the structure of the film as it showed bashings and the Deputy's speech? (the Deputy's question of why the moderate left's ideas always provoke violence)?

12. How did the Army and the police emerge from the film? Why?

13. What dramatic role did the Deputy's wife play in the film? Was her appearance necessary?

14. What was the significance of the sequence with the poor witness, his family's fear and the attacks on him?

15. What role did the Investigator play in the film? Why was he presented as neutral in manner and vocabulary and in dark glasses? Did he conduct the enquiry properly? when his career was placed as the alternative to his conscience? Was he right to proceed with the investigation?

16. Shock at the widespread membership of the conspiracy? At the planning and the story prepared? Are such conspiracies possible? Are they entered into in good faith?

17. What emotional impact did the investigation of the generals have on you - and the symbolism of their trying to get out the locked doors?

18. Shock at the persecution of the group after the military coup?

19. Was the film pessimistic at the end?

20. What political attitudes would the film form in audiences? C.R.O.C. was for authority, a nation where the pillars were Monarchy and Religion, national, united, clean, anti-intellectual, making war not love, on corruption and liberalism and too many liberties.

21. Must there be continual change in society? Or no change at all?

22. Why did the U.S. National Catholic Office for Motion Pictures gave it its Best Film Award in 1970 in conjunction with the National Council of Churches?

QUO VADIS

US, 1951, 170 minutes, Colour.
Robert Taylor, Deborah Kerr, Leo Genn, Peter Ustinov, Felix Aylmer, Norman Wooland, Marina Berti, Patricia Laffan, Rosalie Crutchley, Norah Swinburne, Ralph Truman, Buddy Baer.
Directed by Mervyn Leroy.

Quo Vadis was the biggest ancient spectacle of its time, directed by veteran director Mervyn Leroy (whose range includes Little Caesar to Blossoms in the Dust to Gypsy over thirty years). Its box office success was enormous, a spectacle on the small screen just before the use of the wide screen.

The film is enjoyable - Hollywood style in its way, with heavenly choirs at various times. However, there are many good things in it which still make it worthwhile. Peter Ustinov's eccentric Nero is excellently convincing in his imperial tantrums; Leo Genn is an elegant Petronius (the author of the Satyricon).

The presentation of Christianity is interesting, especially the glimpses of Peter and Paul. An enjoyable spectacle with some interesting themes.

1. Was this an enjoyable religious spectacle? What were the best features of this film? Why? Did it offer much insight into human behaviour?

2. Its insights into Rome and Roman life; the legions and the soldiers, commanders like Marcus, Roman parties, the status of slaves. cruelty. the role of the emperor, the quality of life in the Empire, civilised men like Petronius, the potential for revolution, the impact of early Christianity?

3. Its insights into early Christianity - the short flashbacks to the life of Christ (too superficial). the personalities of Peter and Paul. the authority of the preaching of Peter, Christian families. Christian attitudes to slavery. Christian values contrasting with Roman values. the reality of martyrdom, the impact of the martyrs and their courage and convictions. conversions. the effect of Christianity on the Empire?

4. The characters:

a) Marcus - Roman arrogance and pride. love for Lygia. Nero's giving Lygia. his disillusionment with Nero, his disgust: the burning of Rome, conversion and imprisonment, living happily ever after?

b) Lygia - as a woman, as a noble, as a Christian, her love for Marcus, her revulsion at Nero's intervention at the banquet, caring for Marcus, the imprisonment, her ordeal in the arena?

c) Petronius - as a noble Roman. his position in Nero's court. his affection for Marcus. his love for Eunice. his disillusionment with Nero. his letter to Nero. his death? Was suicide his only option?

d) Nero - Peter Ustinov's performance, his insanity, his vanity (singing), his ambitions (the burning of Rome), his callousness, his tantrums at the time of Petronius' death, his cowardice at the victimising of the Christians. his fear of death, his death?

e) Poppaea - as a person, as empress, lascivious and cruel?

f) Seneca and the Romans should they have withstood Nero? Why didn't they?

g) The Christian family as Christians, as Romans, in their martyrdom?

h) Eunice - as a slave, as a freed person?

i) Acte - her protection of Lygia, her love for Nero, her killing Nero?

j) Peter - as witness to Christ, his sermon; Paul?

This was the first ever written of these discussion sheets in October 1969 - the style and amplification has increased over the decades.

SATURDAY NIGHT AND SUNDAY MORNING

US, 1961, 89 minutes, Black and white.
Albert Finney, Shirley Anne Field, Rachel Roberts.
Directed by Karel Reisz.

Saturday Night and Sunday Morning, based on a novel by Alan Sillitoe, was produced during the early sixties, at the height of the 'kitchen sink’ dramas. John Osborne began the outcry against smug and mindless society and its drawing-room drama with Look Back in Anger (1956). The Establishment was the target of the continuing protest along with the growing industrialisation of our environment. Once more the intention was to show things as they are, the work, poverty, sweat and sins. Tony Richardson directed some of Osborne's work: Look Back in Anger, The Entertainer; he produced this film.

Set in a provincial industrial city, the film shows the hum-drum work-life of Arthur Seaton and the weekend getting away from it all in drinking, brawling and having an affair with another man's wife. Arthur's irresponsibility is looked at in the dreary industrial environment, two testing factors are his falling in love with a local girl and the pregnancy of his mistress.

The film is a well-acted character study of Arthur, but it is also notable for its evocation of the mood and atmosphere of an industrial city and the life and interests of its people. It serves as telling comment on contemporary Britain and the attitudes and values of its working-class.

1. How typical is Arthur Seaton of the young factory worker in the English environment?

2. Is he an exception?

3. How typical would he be of his counterpart in other countries?

4. How likeable is he?

5. Would you say that he is an 'outsider'?

6. What are his values?
- he talks about 'having a good times, everything else is propaganda'.
- he continually asserts that he'll get by. Does he like other people?

7. What are his standards? Would you say that he knows right from wrong?

8. Has he a chip on his shoulder? If you think he has, then why has he?

9. Could he be accurately described as 'despairing'? Why?

10. What hopes or attritions did he have?

11. What effect did the film have on you through its presentation of a way of life that is work all week, with weekends that mean alcohol, sex, and throwing your weight around?

12. Discuss Arthur's attitudes to Brenda's wanting an abortion and then wanting to keep the child.

13. Arthur is cheeky, spiteful, childish, says loony laws are to be broken, snarls at all those who want 'to grind you down'. How typical are his views of life and attitudes today? Of your attitudes? Of those you live or work with?

ROXANNE

US, 1987, 107 minutes, Colour.
Steve Martin, Daryl Hannah, Rick Rossovich, Shelley Duval, Fred Willard, Damon Wayans, Matt Lattanzi, Michael J. Pollard.
Directed by Fred Schepisi.

Roxanne is an updated version of Edmund Rostand's Cyrano de Bergerac. The screenplay was written by Steve Martin who also served as Executive Producer as well as, of course, star. He capitalises on his own ability for mime, comic timing, deadpan humour. He makes quite a sympathetic C.D.Bales, the local Fire Chief with the extraordinarily long nose.

The title focuses on the woman of his dreams and love, Roxanne. Here she is played with great charism by Daryl Hannah who had made an impact in Blade Runner, Splash, Legal Eagles. There is a good supporting cast and the film has the atmosphere of a small American town.

The film was directed by Australia's Fred Schepisi (Devil's Playground, Chant of Jimmie Blacksmith, as well as Barbarossa, Iceman and Plenty in the United States and England). While he does not exhibit a great flair for comedy, he nevertheless presents Martin and Hannah effectively.

There is some sentiment, some humour, some gentle wisdom.

1. A Steve Martin movie? Comic, romantic? Wise?

2. Familiarity with the story of Cyrano de Bergerac? The 1950 film version with Jose Ferrer? The updating by Steve Martin? Appropriate adaptation? Making the characters and plot plausible?

3. Canadian locations, British Columbia, the town, its style, natural beauty, contemporary atmosphere? Bruce Smeaton's score?

4. America, the '80s, life in the town, comic, serious, human foibles and pretensions?

5. The introduction to Charlie, Steve Martin's presence? The revelation of Charlie's appearance, his nose? (The expert make-up for the nose?) The encounter with the sportsman on the street, the mock duel with the tennis racquet and Charlie's winning? Making him a hero of chivalry and romance? His work with the Fire Department? With the fat boy on the roof, luring the cat down with the pet food? His team, their hopelessness, comic scenes of training them? His friendship with Dixie and his being able to talk with her? The first encounter with Roxanne? Helping her back into her house? His athletic prowess in scaling the house? Having something to eat? His wit? Hearing her story? Helping her with the telescope? The attraction? His falling in love with her? The attack by the man in the restaurant? The Steve Martin wit and comedy and comic timing of the 20 sayings about his nose? Roxanne confiding in him, his mistaking her intentions? His deciding to help with Chris? The encounter with Chris and his nose? The writing of the letters? The courting - and his being in the van and supplying the words to Chris? The letters written while Roxanne was away? The crisis on her return and his wanting to tell Chris? The real fire and its being put out? Dixie and the truth? Roxanne confronting him? Clash? The happy ending? In himself, his appearance? The shadow, the doctor and the noses, the self-consciousness, his true worth? His love for Roxanne and his expression of it?

6. Roxanne, her presence in the town, her beauty, predicament, her getting Charlie's help, meeting him, going out, her friendship with Dixie? The passes made by the fireman? And her critique of him at his shop? Her Infatuation with Chris? Setting up the telescope, her ambition to find the comet? Confiding in Charlie and getting his help? The experience with Chris, her romantic response to his letter? The courting sequence? His failure when his connection with Charlie was broken? His reverting to himself? Her forgiving him, the night together? With whom was she in love? The going to the university, her success? her getting the letters and her rapture? The return? The clash with Chris? His letter and the truth? The confrontation with Charlie? The happy ending? The humorous comment during the final credits?

7. The firemen and their awkwardness, gawky, work? Life in the town? their recreation, success in putting out a fire and working according to the drill?

8. Chris, his appearance, arrival, with the girls, his friend? Being sick with nervousness with Roxanne, escaping through the toilet window? With Charlie, the awkwardness about his nose? The long day writing the poor letter? The ear phones and his courting Roxanne? His going to her after Charlie's courting? His awkwardness, friendship with Sandy at the bar? The mix-up when Roxanne returned? His final letter? Going off with Sandy?

9. Dixie, her friendship with Roxanne, listening to Charlie, her, giving the truth to Roxanne?

10. The comedy sequences, in the restaurant, Charlie's manner and timing, Roxanne locked out, the fire drill, the fire?

11. An old story: appearances and reality, the truth about love?

ON THE WATERFRONT

US, 1954, 105 minutes, Black and white,
Marlon Brando, Eva Marie Saint, Karl Malden, Lee J. Cobb, Rod Steiger.
Directed by Elia Kazan.

On the Waterfront had a great impact when it was first released. Although audiences are familiar with it now, it nevertheless is a strongly moving drama. Throughout the history of the movies, there has always been social concern. D. W. Griffith made it explicit 1n his early films. Charlie Chaplin's little man also made social comment. During the Depression and the war, moods were not always open to social films, although the Russians and Germans, for instance, were strong in this area.

Since On The Waterfront, many American films have been more courageous in exposing evils. This was not new for director Elia Kazan who won the Oscar for Best Director for this film. He had previously made A Tree Grows in Brooklyn, Gentlemen's Agreement, Boomerang, A Streetcar Named Desire and Viva Zapata (the last two with Marlon Brando). Marlon Brando shows how good an actor he is in his portrayal of the young pug on the docks who is forced to face up to some responsibility. He is matched by the supporting cast. Eva Marie Saint won the Oscar for Best Supporting Actress in this, her first film. Karl Malden is in control as Fr Barry, and apart from some over-tough mannerisms, makes the priest a convincing character. Malden had won an Oscar for Kazan's A Streetcar Named Desire. This is early Rod Steiger, but his improvised scene with Brando in the taxi is still famous.

Veteran photographer, Boris Kaufmann (The Pawnbroker, The Group etc.) captures the New York waterfront vividly and makes the film more convincing. The story is melodramatic and somewhat triumphant at the end (and this has caused some criticism) but it has a sense of reality and urgency that overcome these possible deficiencies. On the Waterfront should be seen by most audiences for its own sake and as a fine example of films in the 50's.

1. How did the murder of Joey Doyle and Terry Molloy's involvement in it set the mood for the whole film?

2. How was Terry a victim of his circumstances, looked after by Charlie and used by Johnny Friendly, a pug who knew nothing else but this kind of life and what he was told? How did Marlon Brando make Terry Molloy a living person?

3. All commentators note the use of the pigeons during the film and their symbolism. Comment on the role of the pigeons for Joey Doyle, for Terry, for Edie, for the boy Jimmy, the overtones of 'stool-pigeon'.

4. What is the symbolic meaning of the passing on of Joey Doyle's jacket?

5. What kind of woman was Edie? How had her convent education formed her? How was she changed by the events on the waterfront?

6. What kind of man was Johnny Friendly? Why had he sought power? How did he get it? How did he keep it? Did he have any concern for the social conditions on the wharves? How different was he from a gangster?

7. Comment on Friendly's 'court'. How did they keep in favour with him? Why was Charlie part of this 'court'?

8. Why did Fr Barry get involved in the waterfront problem? How sincere was he? What did he learn by the reaction to his call for a meeting?

9. What was the impact of Fr Barry's sermon in the ship's hold after the murder of Kayo Dugan? Did it make Christ 's passion and suffering relevant to the hard life of the waterfront? Did Karl Maiden act this sequence convincingly? Did Fr Barry come across as a good priest, in showing what a priest might do?

10. Why could Terry talk to Fr Barry? Was Fr Barry right in advising Terry to tell Edit the truth? What was the effect of filming this confrontation from a distance?

11. Why could Charlie not kill Terry? What was the impact of their final talk in the taxi?

12. Why did Terry talk to the law? Was this weakness or strength? Why did Friendly lose control in the courtroom?

13. What was the significance of the short sequence with the man up-stairs watching the court proceedings on T.V.?

14. What was the effect of the ignoring of Terry for work after the trial?

15. Why did Terry have to fight Johnny Friendly?

16. Why did Terry have to walk by himself to work? What was the significance of this? What kind of victory was it?

17. Was the ending too triumphant and moralising or was it necessary for the completion of this kind of film?

18. Was the film a drama or a melodrama? Was it a religious film? Why?

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?