I DON'T WANT TO TALK ABOUT IT/ DE ESO NO SE HABLAR

Argentina, 1990, 102 minutes, Colour.
Marcello Mastroianni, Luisina Brando, Alejandra Potesta, Walter Marin.
Directed by Maria Luisa Bemberg.

This is an unusual drama. It is from Argentinian, Maria Luisa Bemberg, a writer and director of seven films including Miss Mary with Julie Christie and I, the Worst of All, a period religious drama about a literary nun and her treatment by the Inquisition.

This film is about a mother who gives birth to a child who is a dwarf. The mother is passionate about her daughter and protects her. In her adolescence, she encounters a rich man of the town, played by Marcelo Mastroianni, who becomes interested in her, proposes and they marry.

So, the film is a portrait of mother and daughter and the relationship with the man. The theme is serious, sometimes the treatment has the touch of the comic, especially the behaviour of the Mayor who dies during the wedding ceremony. And, later, the rich man becomes the Mayor.

However, there is irony as the film develops, the young woman greeting the circus when it comes to town and, finding a place within the circus and leaving home.

1. The impact of the film? Reality and fantasy? Mother daughter, family, love, destiny? The moral fables versus realistic stories?

2. The Argentinian setting, the town, its detail? The musical score?

3. The title, Leonora, Carlotta, Ludovico? Why?

4. Mitch Amin, young, observer, memory, commentary?

5. We are Nora, pregnant, the birth, the birthday and the candles, the mothers and the whisper? Advice? Night, the memories?

6. Carlotta over two, small, dwarf, slow growth? Be an aura wanting her daughter to be “normal�, the piano lessons, French? At 15, Carlotta and her achievement, poise, ability, relationship with her mother? The professors? Ludovico? Life in the town?

7. The mother, shop, the priest and his power? The women? Carlotta playing? Ludovico, singing? Her proving herself? Playing, nervous? The horse, the gifts, anger? Showing her how to ride? The proposal, the expectations? The agreement? The wedding and the splendour? The dinner, the couple? The mayor, his role in the seven ceremony, dying, concealed? Ludovico becoming the Mayor? Forbidding the circus to come?

8. Marcello Mastroianni, his presence, singing, the horse and the pony, Murder and men? The horse and Carlotta? Playing? The drink, leaving, the return? Courting permission? The marriage?

9. Carlotta, growing up, the visit to the hospital, the horse, play, listening to her mother, the response to the proposal, the marriage, the ceremony? The joy? The mayor? The circus, the night visit? A future?

10. The parish priest and his influence? The mayor? The background of the military? The bar, the doctor, the opening with the dual? The background of the brothel, Ludovico’s visits, Carlotta restraining him?

11. The woman and the deaf daughter? The sake

12. the circus, Carlotta and her place, writing, leaving?

13. Her mother, the closing of that episode in her life, her disappearance?

14. Herve, as servant, observation, love, the narration?

TOO MANY WOMEN

US, 1942, 67 minutes, Black-and-white.
Neil Hamilton, June Lang, Joyce Compton, Barbara Read, Fred Sherman, Marlo Dwyer, Kate Mac Kenna.
Directed by Bernard B.Ray.

No need to see this one. As one blogger refers to it, a “dopey film�. It is a supporting feature with a touch of romance and touches of comedy. It opens with a limerick explaining the central character as a good young man with many virtues but who tells a lie, a big lie in these were the consequences.

He is engaged to a young woman who is loyal to him but does not want to marry until his financial situation is secure. At a fair, for the Red Cross, he is pursued by several of the women who feel that they are engaged to him. His lie is that he has inherited $3 million from an uncle. Word goes round. It especially goes to his grandmother who is eager to know the truth – with the doctor advising the young man to keep lying so that she will stay healthy! He also has a best friend who is a bit shocked at his telling lies.

A number of twists involving all the women trying to ingratiate themselves into his love and engagement – and a proper resolution.

CHICAGO SYNDICATE

US, 1955, 84 minutes, Black-and-white.
Dennis O' Keefe, Abbe Lane, Paul Stewart, Xavier Cugat, Alison Hayes, Richard H. Cutting.
Directed by Fred F. Sears.

In the late 1940s and the first half of the 1950s, there were quite a number of American films which looked like documentaries, exposes of criminal organisations and the details of investigations, undercover work, exposing the syndicates. While this is something of a supporting feature, it is quite effective in what it presents.

The setting is Chicago, a quarter of a century after Al Capone (who is acknowledged at the beginning of the film). It seems in the postwar years, criminals were setting up networks around the nation, capitalising on gambling, prostitution, shakedowns. (There is no mention of the Mafia – but the parallels are, of course, interesting.)

Dennis O’ Keefe is a veteran of the war in the Pacific and is prevailed upon by the leaders in Chicago to go undercover and to get evidence to expose the Chicago Syndicate. He moves fairly briskly, insinuating himself into the favour of the syndicate chief, Paul Stewart. The chief has a mistress, played by singer Abbe Lane who does get to do some songs with her then husband, Xavier Cugat, who also has a role in the film as her protector. There is also a mysterious woman, played by Alison Hayes, who has quite some connections, working undercover herself, and helping in the final expose.

The film uses the city of Chicago itself quite expertly. The audience feels that it has been there. The film has a brief running time, capitalises on the undercover work of the accountant, shows the syndicate leader with some kind of human background, his doting mother, his having looked at the Capone type of criminal in the past and determining to do otherwise.

The voice-over does admit that this with a not the last of the syndicates!


1. Contemporary crime story? The 1950s? The memories of Al Capone and the initial images? The memories of the 1930s?

2. The intentions, exposing syndicated crime, cleaning up syndicates?

3. The Chicago settings, the use of the city itself, streets, buildings, warehouses and factories, offices, clubs? Seedy districts? The musical score, the songs – and Abbe Lane and Xavier Cugat, and as part of the plot?

4. The accountant, coming to the editor, willing to expose the syndicate, his being shot on the sidewalk? The narrator, the editor? His gathering together the city leaders, their finding the money to pay an investigator?

5. The recommendation of Barry Amsterdam, his role in the war? Setting up his own legal and financial company? His being wary of the offer, his saying he was being shamed into accepting, the $60,000? His personality?

6. Going into action immediately, going to the club, getting in via Susan? Her gambling, his reactions? Looking in the open door? His being followed, setting people up? Indicating that he could identify the killer? The interrogation? His being shrewd, the discussions with Arnie Valent? Pretending that he was after money? Ingratiating himself? Valent taking a liking to him? Giving him jobs, accounts, going to the firm, the issue with the insurance and the necklace, using a police contact as cover? $5000 fee, accepted into the syndicate?

7. Arnie Valent, his background, his visits to his mother, explanations about his growing up, looking at the gangster models of the 30s, deciding to follow a different line? His success? The secrecy of his books, kept at home? Kern, the exposure, ordering his killing? His range of thugs?

8. Barry, being followed, at the Museum and the quick interchange of information? Contact with the bosses? Barry becoming impatient, feeling they would never get the
evidence?

9. Connie, with Benny, her performances? Arnie having her as a mistress? Her drinking, her jealousy? The clashes with Barry? The rivalry with Susan?

10. Barry and Susan, her anger at him as a thug? Her being told the truth? Change of heart, collaboration? Getting her father’s documents? The issue of the microfilm and finding who collected it? The plan, Valent’s interest in her, the jealousies and the plan for Connie to break reveal the truth?

11. Valent, the plan for Barry to be a partner, his being covered with Barry to take the blame? His interesting and Susan?

12. The ways of making Connie jealous, the drinking, outbursts, fights with Susan? Susan ringing the police, Connie being bashed, allowing her to ring?

13. The microfilm, Barry making the decision, hitting Valent, taking the microphone, the pursuit through the streets, the shootings? Valent being shot, the arrest?

14. Mission accomplished – but the voice-over and the threats of more corruption?

THE LAIR OF THE WHITE WORM

UK, 1988, 93 minutes, Colour.
Amanda Donohoe, Hugh Grant, Catherine Oxenberg, Peter Capaldi, Sammi Davis, Stratford Johns, Paul Brooke, Imogen Claire, Gina Mc Kee, Christopher Gable, Lloyd Peters.
Directed by Ken Russell.

The Lair of the Whitecap worm is based on a novel by Bram Stoker, one of his last, after his successful career with vampire stories and Dracula. It has been adapted by writer-director Ken Russell in his highly idiosyncratic style, lavish, loud, over the top, visually arresting, the range of music, the pagan symbolism, the Christian symbolism, with touches of blasphemy.

At the centre of the film is Lady Sylvia, played with assurance by Amanda Donohoe, beautiful, dominating. And she is the priestess of the local monster, the White Worm, a snake-dragon creature. Her neighbour is Lord James, played at the beginning of his career by Hugh Grant, bringing some foppish style to his being The Lord of the Manor. There are two young girls, Eve and Mary, Old Testament and New Testament names, played by Catherine Oxenberg (whose voice was dubbed) and popular actress at the time, Sammi Davis.

There is also a Scottish archaeologist who unearthed the monster. He is played by Peter Capaldi (later to be Dr Who). Rising stars like Gina Mc Kee and, Ken Russell favourite, Christopher Gable, are in supporting roles.

Audiences prone to take everything seriously will find the film quite absurd. Audiences in the know about Ken Russell will appreciate what to expect and those who like his films will relish his being over the top, the film being something of a hoot!

1. Ken Russell film? A Bram Stoker story? Horror, the Russell treatment, kitsch and over the top? For many audiences, a Hoot?

2. Bram Stoker, 19th-century writing, English country traditions, pagan and Christian traditions, his writing on the supernatural, vampires? The adaptation from his 19th-century story, update?

3. Derbyshire, the mansions, the countryside, caves and cliffs? Authentic atmosphere? The musical score and range and its tone?

4. Special effects, for the fantasies, the dreams? The insertion of the effects, their style, Christianity, the convent, the nuns and violation, symbols, the Romans and brutality, Jesus on the cross? The reaction of Lady Sylvia?

5. The title, the simple, the story of the Lambton Worm, adaptation? Wyrm in old English meaning snake or dragon? The paintings, the caves? The worm imagery? The songs and ritual dances?

6. The plausibility of the plot, the horror in the English countryside, the Christian tradition, confidence, myths, again, Christianity, rituals? Life and sex? Blood and death? Vampirism and the priestess of the worm?

7. The household, Lord James, the Hugh Grant style? The two daughters, Eve and Mary, the old Testament and new Testament names? Life in the household? The place of the daughters? The threats to Eve? Her sufferings, rescue?

8. Lady Sylvia, her place in the countryside, her house? Her personality, strong, beautiful, dominating? The encounters with the Lord James? With the daughters? The revelation of who she was? The priestess? The personification of the snake? Her behaviour, rituals, anti-Christian, the crucifixion? The erratic behaviour, biting the Boy Scout? The build-up to the confrontation? The snake being cut in half by Lord James?

9. Angus Flint, Scottish, archaeologist, his excavation work, his discoveries, the effect on him personally? Friendship with James? The battle with evil and his place? The final confrontation?

10. The supporting cast, the locals, members of the household, their contributions?

11. The overall tone of the film, exaggerated, kitsch, the touches of the blasphemous, the colours and design, the fantasies and dreams, the rituals – and the Ken Russell tradition?

FORT BLISS

US, 2014, 116 minutes, Colour.
Michelle Monaghan, Ron Livingston, Pablo Schreiber, Emmanuelle Chriqui, Oakes Fegley, John Savage, Freddy Rodriguez, Dash Mihok, Gbenga Akinnagbe, Manolo Cardona.
Directed by Claudia Myers.

Fort Bliss is a film about American presence in Afghanistan, but with a difference. There have been many serious films, quite a number of satiric comedies.

This film focuses on a medical Staff Sergeant, Maggie Swan, played with some intensity by Michelle Monaghan. Almost immediately the audience sees a patrol, and assault, Maggie having to exercise her medical skills and succeeding. However, she is on her way back home after 15 months, returning to her home in Texas to her five-year-old son.

The special perspective of this film is on women serving in Afghanistan, especially mothers, expectations of them to be like the men in their ability to move and move around, underestimating the needs for mothers and children to bond. When Maggie returns, her son does not recognise her, pining for his stepmother who is the mother-figure for him, and the support of his father.

The film shows in some detail the lack of progress in bonding and then the boy gradually getting used to his mother and her presence. However, moved by dissatisfaction, Maggie reenlists, joining the training of the squad who are to go to Afghanistan for nine months service. And the question is would it be like the last time?

In the meantime, Maggie forms a bond with a Hispanic man working at a service station. Her son becomes more used to her presence. Her former husband is upset at her leaving for Afghanistan again and the issue of divorce, child custody.

When the deployment is advanced, Maggie relies on a friend, staff Sgt Malcolm (Dash Mihok) to get her a different position, in Korea, where she could take her son. However, there are complications in the squad and Maggie has to go – at this time, making sure she bonds well with her son before she goes.

The film has the women’s perspective, written, directed and produced by Claudia Myers.

1. The title, the military fort, Texas? Action in Afghanistan? Home life in Texas? Military training in Texas?

2. The Afghan locations, the desert, the patrols, the attacks, medical work on-site? The contrast with Texas, the town, homes, outings? Fort Bliss, the offices, accommodation, drilling? The musical score?

3. The impact of the opening, camaraderie of the military, on patrol, the attack, the wounded soldier, the weapon, Maggie and her decision to extract it? Difficulties under fire? The success of her treatment? The later reprisal of the action sequence and its place in Maggie’s memory? And the behaviour of Sgt Donovan?

4. Maggie, 15 months away, the return home, the acclaim, the parade? Richard and Paul not present? Tracking down Richard, her estranged husband? His reaction about not meeting her? Taking her home, Paul and his ignoring of his mother, not having the memories? Is a devotion to Alma and her role as his substitute mother? Relationship with his father? Maggie insisting that he go home? His surliness, seeing Alma as his mother-figure? Maggie and her stern treatment of her son, commands, the meal, his knocking the food off the table, her making him pick it up?

5. The film highlighting the difficulties of those serving in the military, absences from home, the role of mothers? Easy for men to be away? Women being blamed? Her way of bonding with her son, stern, commanding, buying gifts, his saying they were for little ones, taking him to see Alma and Richard? The episode of his sleepwalking? Her gradual mellowing, his becoming more used to her?

6. Trying to cope, her decision to reenlist? Richard’s reaction? Accusing her of being selfish? Having time enough to train with her troops, the encounter with them, and Carver, his own family and his own experience, being severe with Maggie? The other officers, Butcher and his sternness, her recommending him as substitute, the phone call, her going to his house, the smashing, his angers, her withdrawing her support from him?

7. Maggie, the car breaking down, Luis at the garage, borrowing his bike, Paul riding with her? The return, the attraction, the sexual encounter, her resistance – and the memories of Donovan’s attempted rape? The development of the relationship, his staying at the house, the meal together, bonding with Paul and his love for football? Maggie telling Luis about going to Afghanistan?

8. The advancing of the date, Maggie’s friendship with Sgt Malcolm, his attraction towards her, his marriage? The meals, the discussion about a placement in Korea? Maggie making the decision, phoning him, to his house, the successful bid? Carver and his reaction? Richard and his reaction? Processes for divorce and custody?

9. Maggie, the memories of Donovan and his attack and assault? Her feeling she must go to Afghanistan?

10. Her better handling of the situation, talking it over with Paul, the watches and their respective times, the linking? Her sad farewell? Hopefully keeping bonds with him?

11. In Afghanistan, back at work, her talent for medical work?

12. A different perspective on American involvement in Afghanistan?

SIN TAKES A HOLIDAY

US, 1930, 81 minutes, Black-and-white.
Constance Bennett, Kenneth MacKenna?, Basil Rathbone, is a soup it's.
Directed by Paul L.Stein.

This is a Pre-Code? film, reflecting quite a moral and some immoral behaviour amongst rather decadent men and women in New York society. It is a kind of drawing room comedy, somewhat in the Noel Coward vein, though lacking its wit. The film was directed by Austrian-born Paul D. Stein, and director in Berlin who then moved to the United States and for a career in Britain.

The star of the film is Constance Bennett, playing something of a demure secretary to a highflying lawyer, involved in all kinds of divorce cases, in some of which he participates personally. There are many scenes at the beginning where the secretary sits and observes this so-called smart set, their chatter, their fickle relationships, the many divorces, the going to the theatre…

She is a touch of dowdy in her manner, boards with a girlfriend played by comedian Zasu Pitts. But, she has an attachment to her boss, Kenneth MacKenna?. He gets the bright idea of avoiding entanglement with one of his clients who has set her sights on him. He proposes a contract for marriage, for one year, Sylvia, the secretary, getting an allowance and being absolutely free. He urges her to go to Paris.

Timid at first, she finds she is taken up by society. One of her boss’s friends, Reggie Durand, is curious about her, attracted to her, offers her company and accommodation, finally intends to marry her. She decides she has to get back to the United States and test out her love for her boss who, in the meantime, is keeping company with a divorcee who becomes very jealous when she hears the news of the wife. She is quite hostile when Sylvia returns and there is something of a showdown at a social reception. Reggie decides to leave and give up the fight for Sylvia. Sylvia decides to stay with her boss. Actually, given the characters of each and the way the screenplay develops them, this is not entirely credible and one could wonder how long it will take before their divorce!

Kenneth MacKenna? is the boss and, rather surprisingly, in an early role in Hollywood, South African born Basil Rathbone plays Reggie. In fact, it would seem that he plays Basil Rathbone who could be very much the same be it Sherlock Holmes or a villain sword fighting from the 1930s Warner Brothers action show to such parodies as Danny Kaye’s entertaining The Court Jester.

THE ROAD TO RUIN

US, 1934, 62 minutes, Black-and-white.
Helen Foster, Nell O' Dea, Glenn Bowles, Robert Quirk, Paul Paige.
Directed by Dorothy Davenport (Mrs Wallace Reid), Melville Shyer.

The main reason for seeing The Road to Ruin is for its comparative shock value. It was a remake of a 1928 film, also starring Helen Foster and also directed by Mrs Wallace Reid. It was released in the year that the 1930 Motion Picture Code came into force. It could be said, given its subject and treatment, just in time! It is certainly a Pre-Code? kind of film.

One of the questions about it is how much is it a reflection of morals and mores of the early 1930s and how much is it a moralising warning against excess. The answer seems to be that it is both.

It starts in a very lively way with students coming out of school, even a contemporary look and feel. And, many of them are wild, drinking, smoking, parties, and some permissive sex. The parent generation tends to be very strict, even censorious.

The focus is on two girls, friends, one very prim and destined for an enormous fall, the other a bit more permissive and destined to survive. Friends give Ann, the prim and proper girl (Helen Foster) a lift home, leading to her going out, liking a young man who is over-fond of drinking, a scene of implicit sexual activity and the repercussions. However, she is also attracted to a suave older man (whom the audience has seen planning to seduce her). She succumbs, drinks, smokes, is attracted to him sexually. Eventually, she is pregnant. And, rather shockingly, given the history of abortion on screen in the succeeding decades, she goes to a shady doctor with the man pacing outside, the bed is seen – but the abortion goes wrong, she becomes ill and, eventually, dies. The initial young man comes to visit her strict parents wanting to do something for her.

There is a rather long scene of a very wild party with people jumping into a pool, raucously loud, censorious neighbours sending for the police, everyone rounded up and a woman official, played by Mrs Wallace Reid herself, talking to the girls and to Ann’s mother who blames herself.

As a film, not particularly good – but something of a reminder eye-opener to American society and the felt need to create the Motion Picture Code – while also moralising about the lack of morals.

SLAVES OF NEW YORK

US, 1989, 124 minutes, Colour.
Bernadette Peters, Chris Sarandon, Mary Beth Hurt, Madeleine Potter, Adam Coleman Howard, Jsu Garcia, John Harkins, Mercedes Ruehl, Bruce Peter Young, Michael Schoeffling, Steve Buscemi.
Directed by James Ivory.

Probably best appreciated by New Yorkers or those who are involved in the art work and society of New York, in the city galleries, life around the city, Greenwich Village. It is based on short stories by Tasma Janowitz.

The film as a series of episodes involving a group of eccentrics, their hopes, disappointments, attempted creativity. The film was directed by James ivory who had made a name for himself with adaptations of novels by Henry Joyce, by Heat and Dust and adaptations of E. M. Forster. It is unusual to seeing him work in a more contemporary setting and more modern style than in his period films.

It has its moments of humour, human interest, but it is not easy to enter this world of such an in-crowd, despite a very strong central performance Bernadette Peters.

1. The title, Eleanor and Stash, the relationship, people depending on one another?

2. The New York settings, the 1980s, the world of art, seeming more than a touch surreal, yet its reality – and also aspects of parody? Art, fashion, sexual relationships, gay style? The musical score?

3. The visual aspects, atmosphere, costumes and decor, hats? The apartments, studios, galleries?

4. Bernadette Peters as Eleanor, her age, experience, the normal aspects of her life and personality, her making of hats, the world of millinery, her work produce, Wilfredo and his intervention, exhibition? Her living with Stash, the relationship, his age, self-absorbed, unfaithful to Elealnor, their are ups and downs?

5. Stash, the encounter with Daria, her interest in art, her wealth, relationships?

6. The cameos for the range of New York characters, the actors and the creation of types?

7. Success and failure, ups and downs, reputations – in New York, beyond New York?

8. Social life, the final party, Eleanor and her comment on the normal noise of her life, Tasma Janowitz as the party character alone?

9. A slice of life, made in the 1980s – the 1980s as seen in retrospect?

THE DRUMS OF JEOPARDY

US, 1931, 75 minutes, Black-and-white.
Warner Oland, June Colyier, Lloyd Hughes, Clara Blandik, Walter MacDonald?, Mischa Auer, Ernest Hillyard.
Directed by George B.Seitz.

Quite a title – it is the name of jewelry. The film was made in silent times and this is an early sound film, rather creaky in its performances and presentation and in its acting.

Of topical interest is that it opens during the reign of the Czars and moves then to the period after the Bolshevik revolution and aristocratic Russian refugees moving to Western Europe.

The film opens with a young woman having attempted suicide and not wanting her father to know. He is a scientist and, as we watch, a mad scientist played by Warner Oland. He was later to achieve fame as Charlie Chan in so many films. His assistant is played by the actor Mischa Auer, sometimes serious, sometimes comic in films throughout the 30s and into the 1940s. The father gets news that his daughter is dying, comes to see her, very contrived death scene and his overwrought grief. However, she has some jewels, the Drums of Jeopardy. She is trying to conceal the identity of the man who seduced her.

The doctor’s character name in the film is of all names, Dr Boris Karlov. He makes it his life work to pursue the actual family, the father, the two sons, one of whom has to be the target of his vengeance. A message with a jewel will presage death.

He sets up a laboratory outside Russia, the Petroff family come as refugees and the film is mainly about the doctor’s confrontation with the Prince, abducting him, and the two sons. One takes flight and is sheltered by a young woman who is sympathetic whereas her aunt, a harridan, is upset at being disturbed during the night. And the police are also involved.

The film builds up to a climax, one brother betrays the other, the police and the aunt go to the laboratory and confront the mad doctor, he imprisons the younger couple and threatens to kill them. He calculates that the young man will try to escape, try to break through the wall which actually opens onto a huge tank of water which then will drown them.

There are some exciting shenanigans in the confrontation, the role of the police, shootings – and the rescue of the couple as well as preventing the mad doctor from further violence is all handled by the aunt and the handle of her umbrella!
Historical curiosity item.

OLIVIA NEWTON- JOHN: HOPELESSLY DEVOTED TO YOU

Australia, 2018, 180 minutes, Colour.
Delta Goodren, Morgan Griffin, Kate Kenkinson, Robyn Malcolm, Richard Bright, Richard Brancatisano, Paul David Goddard, Alicia Banit, Gyron Grantley, Anthony Brandon Wang.
Directed by Shawn Seet.

Biopic’s of show business people, made for television, have been very popular over the decades, biopics of Molly Meldrum, Johnny O’ Keefe, Paul Hogan…

This focus on Olivia Newton- John, the subtitle taken from one of her most popular songs, Hopelessly Devoted to You, was screened over two nights. The first half reminded audiences that she was born in England but moved to Melbourne as a small girl, her Professor father moving back to Oxford, leaving mother and daughter in Australia. It shows her friendship with Pat Carroll, her auditioning for television and winning a recording contract in the UK. The record was not a success and she was humiliated by the producer. Nevertheless, she stayed in England, Pat Carroll coming to join her, becoming friendly with bands and going on tour, the two girls singing together.

Pat Carroll’s fiance, John Farrar, was a significant song composer, writing quite a number of very successful songs for Olivia Newton- John. She becomes successful, tours, popular in the UK, popular in the US, going to America, singing concerts, going on television – and, eventually, joining with John Travolta in making Grease, which was a great box office success and a cult film.

She continues to sing, makes Xanadu which was not a success (the famous review being Xanadon’t). There were security issues, the threat of a stalker and her returning to stay in Melbourne for the time being. The film also shows her relationship with her original producer, his devotion to her but her feeling constricted by him, something repeated in her relationship with the businessman who took over the management.

Her breast cancer was most significant and she became a campaigner for women suffering from breast cancer, raising a great deal of money for the Austin Hospital in Melbourne, becoming something of a role model as she recovered after surgery. She had married Matt Lattanzi whom she had met on the set of Xanadu and, eventually, they married, having a daughter, Chloe. He stood by her during the cancer years but was not very successful in his film and television career, the family going to Byron Bay while he filmed for television series which was a failure. They grew apart and eventually divorced.

The latter part of the film shows Olivia Newton-John’s? continuing her career and her singing, her relationship with a photographer and his eventual disappearance, her marriage to a businessman, John Easterling. A great deal of campaigning on behalf of cancer – with a dramatic finale to the film, a concert in the Sydney Opera House.

It is noted that there was no consultation with Olivia Newton- John or her family in the making of this film.

1. Popularity of Olivia Newton- John, audience knowledge of her, her singing, films, her career, her suffering from cancer, her campaigns? From the 1960s to the present?

2. The film made for television, Australian settings, the UK and London in the 60s, the US, Hollywood, holidays in France? The international tone?

3. The actresses impersonating Olivia Newton -John? Their appearance, look, Styles? The singing, the acting, being a celebrity?

4. The opening, the filming of Grease, the song, Olivia Newton- John and John Travolta together? Alan Carr, the producer? The cast, setting a tone, audience familiarity with Grease and liking it? Its being reprised in the middle of the film?

5. Olivia Newton- John, in Melbourne, her family, her father the Oxford professor and his returning to Oxford? The later meetings with him – and his touch of always criticising? Her mother, the German background, her mother protecting her? Her talent, her age, her friendship with Pat, going to the audition, the competition, the song, winning, winning the record opportunity?

6. The issue of going to the United Kingdom, the difficulties, money? The mother going? Her singing, recording, the putdown from the producer? Pat and John and their coming to London, support?

7. The link with The Shadows, Cliff Richard? The musician, his skill in management, the girls and their performances, the musician helping, managing, bookings? The tours, the effect on the girls, their success, popularity?

8. The atmosphere of the times, London and swinging London in the mid-60s? Success, performance, range of songs? John Farrer, friendship, with Pat? Compositions?

9. Olivia and her solo career, the songs, growing popularity in the UK? The buildup in the US, friend Helen Reddy, becoming more popular? The US of the shows, on television, going to Nashville? Promotion? The pressure on her relationship with her producer, his desperation, her wanting to be free and self-assertive? The break?

10. In America, the businessman and his attraction, offering to manage, her hesitation, his demands, the two clashing? The situations in the US, the bookings, the issue of her performing in Grease or not?

11. Grease, opportunities, John Farrer and the range of songs, the records, top of the charts? Her becoming a celebrity? Making her own career? And the continued friendship and support from Pat and Jon?

12. The opportunity to perform in Grease, Alan Carr as producer, meeting John Travolta, the rest of the cast? Make up, costumes? The songs, herself as an Australian character? The performance, the exhilaration?

13. The making of Xanadu? Performances, cast, Matt Lattanzi in the background, her choosing him to be the partner? Their being together, falling in love, their living together?

14. The proposition to sing Physical, her reaction, wanting to send it up, the burly beefcake in the background?

15. Security issues, the stalker, his reputation, murders? Kevin and his concern for her? The return to Australia, his being arrested while she was there?

16. With Pat, the establishment of Koala Blue? The reporting, its success? Expanding too quickly? The later question of the contracts, the lawyer, separate lawyer for Pat? Wanting to be together? Bankruptcy and the news reports?

17. Performances, Las Vegas, her success?

18. Her mother, 1983, her father having tests?

19. The wedding, celebrations, the birth of Chloe, the family life?

20. Issues of Cancer? Matt and his not having jobs? Her becoming interested in environmental issues? Raising funds?

21. The invitation to go to Caesar’s Palace, the issue of the lump, her intuition, the fact that she had cancer, not being able to go to her father’s funeral? The experience of the surgery, host-operation? Matt and his being attentive? The issue of chemotherapy or not? Having it for Chloe’s sake, not telling her what had happened?

22. The return to Byron Bay, Matt and the TV series, his considering it a failure? Chloe, the fight at school, Olivia having to reveal that she had cancer?

23. Matt, the failure of the marriage, his own self-image, the separation, the pain for Chloe?

24. The Austin Hospital, the issue of the campaign about cancer? The raising of the funds, American support, at home? Performances in Australia?

25. The relationship with Patrick, photographer, separated from his wife, sharing a celebrity, but wanting to be quiet – his wife, the news of his disappearance? The investigations?

26. At home, the progress of the hospital, the title, Olivia talking with the cancer patient in the corridor? The performances, the buildup to the Sydney Opera House?

27. Olivia Newton- John and her life, career, her cancer experiences, her campaigning on behalf of cancer sufferers?