BLURRED

Australia, 2003, 90 minutes, Colour.
Tony Brockman, Travis Cotton, Jamie Croft, Jessica Gower, Craig Borna, Mark Priestley, Charlotte Rees, Natalie Roy, Kristian Schmid, Veronica Sywak.
Directed by Evan Clarry.

Blurred is an Australian attempt to recreate the spring break youth comedies of the 1980s. It is obviously influenced by American Pie and Road Trip, although it is not quite as crass as those two American films.

The situation is the end of school, the final week and exams. It is alleged that 70,000 school-leavers make for the Gold Coast to celebrate in the week after the end of school. The focus is on sex and drugs and rock 'n roll. The point of this film is not the party when they get to the Gold Coast, but rather the difficulties in getting there, an Australian road trip by bus and train and car. The film tries to have its cake as well as eating it by introducing two characters who seem to be very serious, Peter and Freda. The rest of the cast have the opportunity to let their hair down.

The film is not particularly well acted or directed. It is based on a play by the screenwriter Stephen Davis.

The question is whether this is typical Australian behaviour, whether so many of the students go for this kind of Schoolies' Week - which, at least on the Gold Coast, seems to be fostered by the radio stations.

In terms of focus for discussion, there are various groups on their way:

Peter and his two friends in the bus, they have the radio on very loudly and upset the bus driver and other passengers; they are put off the bus and have to hitch-hike. The couple eventually marry and live happily ever after with twins. Peter, on the other hand, meets up with Freda on the beach and they talk seriously.

Freda, a bespectacled school leaver, very anxious with the noise of the party upstairs, which is quite crass, vomiting, hiring a stripper, trying to involve her in their activities, eventually ending up on the street. Freda, on the other hand, goes down to the beach and meets Peter.

There is a couple on the train, but he wants to be free for the week to do his own thing, but is very critical of her having the same kind of freedom. She pulls the emergency cord and gets off the train, inviting a seemingly nerdy young fellow to come and have sex with her. They go to various places to try to find condoms and eventually she abandons him. The young man on the train, however, sits opposite a drugged-out young woman and shares the drugs with her. There are two country types, who are in an old car, race a limousine, crash, try to get a lift, meet a pig man and have to escape from his mad clutches.

There are two rich girls in a limousine, intending to join up with Freda. However, they want to play sexual games with their chauffeur, eventually getting him to wear their dress and abandoning him at a service station. He finishes up being taken away by the pig man.

There is tongue-in-cheek humour in the final credits which gives an indication of what happens to all the characters afterwards.

While the Australian industry might have to have its spring break, Schoolies' Week kind of comedy, it is a pity that it cannot do better than merely ape some of the aspects of American comedy and not do something with a bit more substance.

BEAUTIFUL BUT DANGEROUS

US, 1954, 88 minutes, Black and white.
Robert Mitchum, Jean Simmons, Arthur Hunnicutt, Edgar Buchanan, Wallace Ford, Raymond Walburn.
Directed by Lloyd Bacon.

Beautiful But Dangerous is a slight romantic comedy, capitalising on the screen presence of Robert Mitchum and Jean Simmons who had appeared in the melodramatic Angel Face. Howard Hughes was a supporter of Jean Simmons and urged her working again with Robert Mitchum.

It is a daffy comedy of the sub-Capra style, a rich heiress whose life was saved by an Arkansas doctor going back after education in England and the Continent to give money to those who had helped her. Her judgment and lavish gifts make all the recipients uncomfortable. Robert Mitchum plays the laid-back local doctor. Arthur Hunnicutt, Edgar Buchanan and Wallace Ford are the even more laid-back locals.

The film is a romantic comedy, very slight, a few humorous moments - but relies on the charm of its stars.

1. Popular romantic comedy in its time? The style of the 50s? Seen in retrospect? The chemistry of the two stars?

2. The title, indication of more than was offered in the film - suggestion of melodrama instead of benign comedy?

3. Black and white photography, the atmosphere of Arkansas? The town itself, isolated, the homes, the way of life? Musical score?

4. Corby and her background, her father leaving her the money, her education, returning to America, her mission to give money to those who helped her? The drive to Arkansas, her being a city girl out of place in the country town? Her interaction with the locals? Her demands to see the doctor, ringing the bell, discovering his son? His advances towards her, going out with him, sparring? Her going to town, buying the gifts? Her being present at the birth of the baby? The doctor challenging her, her realising the mistakes she had made? His proposing, her irritation with him, her going fishing with the boy, her change of heart - and a future with the doctor?

5. The doctor, fishing, laid-back, liking the small country town, the reputation of his father? His reaction to Corby, his friendship with the boy? The visit, the meals, the birth of the baby, his reaction to the gifts? Trying to teach her a lesson? His proposal? His finding out from the files about her past? A happy future?

6. The locals, their style, drinking, sitting on the porch, doing a bit of work? The alcoholic and the owner bringing the drink to him? Corby and her buying the proper whiskey, its ill effect on him? The support of Doc? The local restaurant - seeming more stylish than the town could afford?

7. The cheerful nature of the film, the theme of generosity and helping ordinary people, respecting them and finding out how to do it? The romantic ending?

BU-SAN (GOODBYE, DRAGON INN)

China, 2003, 85 minutes, Colour.
Directed by Ming- Liang Tsai.

Ming- Liang Tsai is a director with a minimalist style. His trademark is long takes with no camera movement. If there is any movement, it is within the frame. Some of the takes are at least a minute long, sometimes more. This makes enormous demands on the audience? Audiences who like contemplation of what they see have acclaimed him as a master. Those who become impatient when a take is long, find him very difficult to watch. This film certainly employs that long, tripod-based take style.

The theme is interesting, Saturday night at a local cinema, people watching a historical Chinese epic. The earlier session has many people. The later session has very few. Some of them watch, some of them move around. One character says, in fact, the cinema is haunted. Perhaps some of the people are ghosts. The other focus is on a limping cleaning lady whose work at the cinema we see in minute detail. Finally, the cinema closes altogether, the weather is raining, people staying inside - and the characters and director wondering about the future of cinema in China, of people coming to the cinema. To that extent, it is a nostalgic look at the cinema past with seemingly hopeless anticipation of the future. The film is beautiful to look at, excellently photographed, intriguing in many ways in its theme and its portrait of the characters who wander around the cinema. On the other hand, it is very demanding for an action-oriented audience.

1. The traditions of Chinese cinema? The action films and historical? The character studies? This kind of minimal cinema with its long contemplation of themes, characters and places? The quality of the film in this tradition?

2. Action taking place over one evening, confined to the theatre? Exteriors, the rain, the street? Interiors, the corridors, the toilets, the auditorium itself, the back stalls and balcony, the front stalls? The film seen on the screen - the action adventure, most of the dialogue coming from the screen, rather than from the characters? The overall effect of this kind of immersion in the night at the cinema?

3. Colour photography, darkness and light, shadows? Colour? The bright screen? The reflections in the rain on the street? The corridors, the garish lights in the toilet? The auditorium itself? The characters photographed within this light? Musical score - from the film on the screen? For the film the audience was watching?

4. The cinema itself, its auditorium, corridors and toilets? The woman who was limping, the meticulous cleaning of the toilets, her eating her evening meal, cooking it in the office, supervising the closing down of the theatre, walking away? The projectionist and his appearance at the end, rewinding the film, putting the rubbish out?

5. The clients at the film: the young man and his decision to go in, his restlessness, wanting a cigarette and a match, the man coming to sit next to him, the man putting his feet next to his head? His moving? Going to the toilet, the men in the toilet - for a pickup or not? The long time there? His going into the corridor, the slow approach of the other man? His warning him that there were ghosts? His return?

6. The little boy and the old man, emerging at the end of the film, the teacher and the professor and their lamenting people not going to the cinema?

7. The woman, chewing the nuts, losing her shoe, coming behind the man - and his being alarmed by it? Her disappearing?

8. Audiences? Ghosts? The ghosts of the past audiences?

9. The film's lament for the change in cinema-going in China? The possibilities for the future? The film industry?

THE BEACH

US/UK, 2000, 119 minutes, Colour.
Leonardo di Caprio, Virginie Ledoyen, Guillaume Canet, Tilda Swinton, Robert Carlyle.
Directed by Danny Boyle.

The Beach draws on the modern desire to be out of the rat-race and the contaminating of the earth, the desire to find an where all is in harmony with nature, a perfect beach. Alex Garland's novel has been very popular with younger
readers. He tries to capture the spirit of adventure (and the frequent uncertainties of the international backpackers). The movie received high-profile criticism during its production, environmentalists accusing the makers of ruining a beach – and warning that numbers of tourists going to Thailand to see where the movie was made would also upset the ecology.

However, the movie is beautiful to look at, has drawn younger audiences rather than older. Thailand is the setting. When Richard comes into possession of the map of the perfect beach from the raving man who kills himself, it should have been a warning. The movie combines the spirit of a modern Robinson Crusoe or Swiss Family Robinson with that of a naive young man trying to live in a commune, frugally and in harmony with nature.

But, as with William Golding's Lord of the Flies, human beings are not perfect and, isolated, they have a tendency towards destruction. In sequences reminiscent of Apocalypse Now, Richard discovers his dark side and the idyll comes to an end.

Leonardo di Caprio gives a fine and nuanced performance as Richard. The Beach was made by the team responsible for Shallow Grave, Trainspotting and A Life Less Ordinary.

1. Impact of the film? From the team of Shallow Grave and Trainspotting? Their going big-budget, more international, stars, locations, music? The critics being anti the film at the time and anti Leonardo di Caprio? Justified or not?

2. Audience expectations, Thailand, the beaches of South-East? Asia, the holidays, the westerners coming and intruding, the drugs and beach culture, communes, sexual freedom? The reaction of the local people, the farmers? Their doing deals? The dreams of the paradise beach? Ideal and reality?

3. The Thai locations, Bangkok and its crowded streets, the travellers' hotels? Travel within Thailand, buses and trains? The location of the island, the sea, the beauty of the beach? The images of Paradise?

4. The focus on Richard, representing the western tourist, American background? Age, experience, breaking up, his family? The voice-over and his tone? The travel to Thailand and audiences identifying with the jetlag and the difficulties of the trip? Arrival, hustlers trying to get him to spend his money, his decision to drink the blood? The theme of blood throughout the film? Going to the hotel, being locked out, meeting Francoise and Etienne, the friendship? The American travellers? The encounter with Daffy, Daffy's madness and intensity (later to haunt Richard in his dreams)? The map, the ideal, Daffy giving it to him? Daffy killing himself, cutting his wrists, the blood all around the room? The interrogation by the police? Richard and his decision to look for the island, having Francoise and Etienne accompany him? The curiosity of the others? His decision to copy the map and give it to them - and the repercussions?

5. Richard and his own personality, age, relating to people, his quest? The travel to the coast, the island, the decision to swim? The games as they swam, Etienne and the pretence of the shark, Francoise disappearing? Their arrival, seeing the marijuana fields, going through the fields, coming to the waterfall, the angry clashes? Francoise and her jumping, their following suit? Their meeting the man from the commune, his commending them for their jumping? His own story?

6. The commune, the dropouts from western society, their ability to live together, the regime, taking turns for work, fishing, the cook, the work of cleaning? Sal and her being in charge of the commune, people accepting this? Her relationship to Bugs as partner? The introduction to the other members of the commune, their standing as if in live photos explaining themselves, their backgrounds, nationalities and their interests? Life continuing at the commune? Richard and his relationship with Francoise, her relationship with Etienne? Her decision to go to Richard, the sexual liaison, Etienne wanting only Francoise's happiness? Fishing, Richard's success, the shark and his escaping it, his narrative for the gathered commune and the themes of blood? The irony of the other men attacked by the shark, the one dying, the other being sent out from the commune so as not to disturb the people, the grievousness of his wounds, Etienne and his looking after him? Richard's comments about how easy it was to banish this man from their consciousness? Yet the sense of guilt? The scenes of them playing on the beach?

7. Running out of flour, Sal and her decision that Richard should accompany her to town, the variety of orders - and the worldly requirements of toothpaste etc., that the young people wanted despite their isolation? The journey, Richard and his reaction to the town, feeling alienated? Sal's confirming this? Buying things, meeting the Americans, Richard confessing to Sal that he had shown the map to the tourists but not told her about drawing a copy? The sexual relationship, the effect on Richard, her explanation that Bugs was her partner and he was merely a sexual partner? His denying everything to Francoise on the return? Her later finding out the truth and her anger with him?

8. The characters on the island, the Englishman and his love of cricket, Bugs and his domination, hostility towards Richard? The two men who were wounded by the shark? The young women? Their being followers rather than leaders?

9. Sal's anger with Richard because of the map, putting him on guard duty on the heights, his being alone, his dreams, the effect of Apocalypse Now (and his seeing the scenes earlier in the film)? His confrontation of the farmers, putting the scarf around his head? Themes of blood? The tourists, his wanting to warn them, the confrontation with the farmers, explaining themselves, Americans, offering money? The accidental shooting and then the killing of all the others? The effect on Richard and his running away?

10. The commune meeting, Richard explaining things, Sal and her domination? The farmer, his explanation to the group, the deal that he had made, his wanting them to go? His offering the loaded gun to Sal so that she would shoot Richard and show her genuine wanting to be there? Richard pleading, the close-up, her pulling the gun, it being empty? The others in fear, running away?

11. The end of the commune, Sal staying there, creating a world of her own? The return to Bangkok, the final scene with the young people all going to the computers and getting their email?

12. The theme of Paradise, the Garden of Eden, the ideal community, a sense of goodness? Yet evil in the human heart, dominance and power, freedom and responsibility, irresponsibility? Serpents in the Garden of Eden - and the symbol of Richard hissing like a snake to the American tourist just before she was shot? An allegory of the struggle between good and evil, idealism and realism?

BASIC INSTINCT

US, 1992, 128 minutes, Colour
Michael Douglas, Sharon Stone, George Dzundza, Jeanne Tripplehorn, Leilani Sarelle, Chelcie Ross, Dorothy Malone, Wayne Knight, Daniel von Bargen, Stephen Tobolosky.
Directed by Paul Verhoeven.

Basic Instinct has acquired cult status as well as a great deal of notoriety. On its first release, it was the subject of discussion because of a high, three-million-dollar, pay given to writer Joe Eszterhas. Eszterhas had already written such films as Jagged Edge, Betrayed, Music Box. He was to collaborate with Paul Verhoeven on the ill-fated Showgirls - and his writing career went into decline after this, although he wrote such films as Burn, Hollywood, Burn and he and his wife appeared in the film.

The film is basically a murder thriller. It is also an erotic thriller. Where it received its notoriety was from the interview scene with Sharon Stone and disputes about what underwear she was wearing or not wearing. This scene occurs comparatively early in the film and, once it is got out of the way, it is no longer a distraction and the film can concentrate on the characters of the writer who is a murderess, cold and calculating, charming, who is writing another novel using a burnt-out detective, Michael Douglas, as the model for her character. As he continues to investigate, he is seduced by her, falls in love with her, begins to believe that she could not have done the murders.

The film is a tour de force for Sharon Stone and, in retrospect, she gives a very skilful and calculated performance as Katherine Tranell, who probably had killed her parents, her professor, other people just to see whether she could do it and then used these incidents as models for her writing. It gives her the opportunity to look extremely glamorous in glamorous settings. Michael Douglas is adept at this kind of role, and one remembers his behaviour in Fatal Attraction. George Dzundza gives strong support as his close friend and fellow detective. Jeanne Tripplehorn is the ambiguous police psychologist. There is a cameo from Dorothy Malone as Sharon Stone's friend.

As a murder mystery, the film is very graphic. As an erotic thriller, it is also quite graphic. This is the work of Dutch director Paul Verhoeven (The Fourth Man, Spetters, Soldier of Orange in Holland before coming to the United States with Robo Cop, Total Recall - with Sharon Stone). His Dutch sensibility makes him much more direct in communication of images and themes than the average American director.

The plot is quite complicated, the deceit on the part of the Stone character, the burnt-out collapse of the Michael Douglas character, the ambiguity of the Jeanne Tripplehorn character and the indications that it is entirely plausible that she could have committed the murders. Although, by the end, it seems with her death, she was one of the intended victims.

It is difficult to separate the film itself from all the controversy. If it were possible, it would mean that it is a glamorous and intriguing murder mystery and investigation.

1. The impact of the film? Its graphic style? Its glossy settings? The ambiguity of its characters and themes? Murder investigation?

2. The controversies, Joe Eszterhas's writing, payments? The Sharon Stone character, the controversial sequence and the consequent discussions? The film as the basis for Sharon Stone's successful career?

3. The San Francisco settings, the police precincts, the clubs and apartments, homes? The sea and the home by the sea? Affluent atmosphere? The musical score?

4. The title, the music and the visuals of the credits sequences, prurient, intriguing, mysterious? Basic sexual instincts and their being dramatised? Basic violent instincts and their being dramatised? Basic instincts for deception, self-deception?

5. The portrait of Nick as a burnt-out policeman, the background of his marriage and divorce, the accidental shootings and their consequences for him, being investigated by Internal Affairs, having to go to the psychiatrist? His drinking, smoking, womanising? His affair with Beth Garner? His friendship with Gus, Gus's continued support? The hostility of Nilsen and the investigation, the taunts, the clashes? His investigating Katherine Tranell, going to the scene of the crime, the interview, visiting her house with Gus, her fencing verbally with him? The interrogation? His being provoked by Katherine, even to smoking again? His being intrigued by her? His interviews with Beth, the hearings, his anger? The relationship with Beth? In the bar, Nilsen's taunts, Beth's arrival, his going off with her, his vicious sexual activity and her being repelled? His further involvement with Katherine, the discussions, trying to investigate her? His being the subject of her novel? The proposed ending and the violence? Roxy and her watching, her jealousy, her pursuing Nick in the car, knocking him down, his pursuing her in the car, her death? His interest in Hazel Dobkins, the information on the Internet, his glimpsing of her twice with Katherine? Her murderous background, Roxy's murderous background? Katherine being friends with them? The revelation about Beth, her relationship with Katherine, Katherine's version, Beth's version? The further investigation and his walking out from the psychological assessment? Gus and his warning Nick? The build-up to the denouement, Katherine finishing her novel, discarding Nick? Gus and the appointment with the college friend of Beth, the apartment, Nick watching, Gus's murder? His encountering Beth, thinking she was going to shoot, her death? His going back to Katherine, in the bedroom - and her not using the ice-pick?

6. Katherine, the initial sex scene, the vicious murder with the ice-pick? Her being the girlfriend of the victim, her being interviewed in her house, her provocative attitudes in changing her clothes, the underwear/not? Going to the station, her playing with the interviewers, leading them on, sexual provocation? Nick and the cigarettes? His driving her home? Her writing the novel, his being the central character?
7. The background and her past, information about her parents and their death, her wealth, her publications, their relationship to dead families, dead professors, dead rock stars? Her relationship with Roxy? The past relationship with Beth, each's story, the truth? Her friendship with Hazel Dobkins? The lesbian overtones? The association with violence? The affair with Nick, his thinking it was wonderful, her taunting him? The scenes on the beach, their conversations, the writing of the novel? The further investigation about the professor, her study days? Her studying psychology and literature? Gus's warnings? Her finally discarding Nick? The finale, the ice-pick?

8. Gus, investigation, robust, friendly, understanding Nick, supporting him? The interviews, his exasperation with Nick's affair? The final lead, the brutal death with the ice-pick?

9. Beth, her relationship with Nick, her dead husband and his being shot, her relationship with Katherine, the lesbian overtones, her explanations? The interviews with Nick, professionally? Going home with him, his violence towards her and her being repelled? Her desperation with Nick, her past? Her being in the apartment block, Nick thinking she was going to shoot him, the toy in her pocket, her final words of love to Nick, her death? The possibility that she could have been the killer given the circumstances?

10. The police department, the chief and his investigation, exasperation with Nick? The mayor's representative and his presence, supervising? Nilsen, Internal Affairs, his antagonism towards Nick? His death and the money in his possession?

11. The psychological background of the film, Katherine and Beth having studied psychology, the psychological expert being called in to speculate about the possibility of Katherine being the murderer, using her novel as an alibi? The panel for Nick?

12. The tradition of film noir - but given the affluent glossy tone of the 1990s?

BED AND BREAKFAST

US, 1990, 88 minutes, Colour.
Roger Moore, Talia Shire, Colleen Dewhurst, Nina Siemaszko, Ford Rainey, Stephen Root, Jamie Waters.
Directed by Robert Ellis Miller.

Bed and Breakfast is a light romantic comedy, a star vehicle for Talia Shire from her producer husband, Jack Schwartzman. (And the musical score is composed by Talia Shire's former husband, David Shire.) The film is a showcase for Talia Shire, Colleen Dewhurst and Nina Siemaszko, three generations of women who are living in a Maine bed and breakfast. They have fallen on hard times, Shire a widow whose senator husband has been exposed as a womaniser, Ruth her mother-in-law getting older, Cassie her daughter wanting to leave home with her boyfriend to study music in New York. Into this household comes a stranger, Roger Moore.

The film is similar to those which have a stranger coming into a household or a community and transforming people's lives. This he does, the older woman coming to terms with her ageing and relationships, the middle-aged woman forgetting her husband and the past and finding new love in her life, the young daughter getting her mother's permission to leave. There is a melodramatic subplot concerning Moore and his identity which, ultimately, is easily disposed of. The strength of the film is in the performances, the strength of the dialogue which is light (and sometimes more sexually explicit and frank than this kind of comedy usually has) and has some serious undertones.

Direction is by veteran Robert Ellis Miller, who made a number of quite interesting films in the 1960s as The Heart is a Lonely Hunter, Sweet November.

1. A popular film of romance and comedy? The serious undertones?

2. The setting in Maine, the coast, the town, the house? Scenic? Attractive? The brisk and bright musical score? The title of the film?

3. The three women, their relationships, the mother-in-law, the daughter-in-law and widow, the daughter and granddaughter? Their interactions amongst themselves, loving, friendly? The clashes? Especially mother and daughter?

4. Each character in herself: Ruth, widow, mother of a successful man who turned out to be a personal villain? Her bringing her daughter-in-law and granddaughter back to her house in Maine? Her description of herself as a tough old broad? Her declaration about age, relationships? Her hiring Adam after throwing the mud through the window? Her friendship with Amos, the dances, the attraction to Adam, resignation to a relationship with Amos? Her thinking of moving out? Her bringing peace to the household, support of Cassie? Clare, her breakdown, her marriage, the biography of her wayward husband and her angers, her gifts for sale at the shop, Randolph and his support? Her irritation with Cassie and giving her lectures? Her timidity, not having any boarders? The arrival of Adam, her initial hostility, not wanting him there? Wanting him to do the work, buy the pipes? Her gradually understanding him, seeing him with her mother-in-law and daughter? The talks, the walks along the beaches? The sexual relationship and its effect on her? His words of advice? Cassie finding her in her bedroom, their frank talk together? Her change of heart and letting Cassie go? Cassie, her age, her skill at the violin, her anger with her mother, going off with Mitch? Her wanting Adam in the house, her threatening him if he hurt her mother, her friendship with him, his advice about making decisions? Her not wanting to hurt her mother? The change, her ultimately leaving for New York?

5. Adam, the melodrama of his going overboard, the background of his womanising, con tricks and getting money? The vengeful antagonist, his young yuppy henchman? The arrival at the house, the threats? Adam's shrewdness in pretending to phone their boss, finding a way for them to save fact? The characters, their ambitions, their fears, the man who exercised and did not want smoking - and the other blowing smoke in his face after hitting him?

6. Randolph, the store, helping Clare, coming to the house, disappointment with Adam being there? Amos, called(?), talking about lobsters and fishing, friendship with Ruth, their relationship?

7. The touristic couple, Adam and his devices for making their bed and breakfast upmarket, full of antiques, higher prices? The couple who enjoyed being there?

8. Popular comedy, portrait of relationships, portrait of women? The stranger who transforms their lives?

THE BIG SHOT

US, 1942, 82 minutes, Black and white.
Humphrey Bogart, Irene Manning, Richard Travis, Donald Crisp, Stanley Ridges, Henry Hull, Arthur Kennedy, Susan Peters, Howard de Silva.
Directed by Lewis Seiler.

The Big Shot is a routine Humphrey Bogart programmer. It would not be high on the list of must-see Bogart films. This is surprising insofar as it was made around the time of High Sierra, The Maltese Falcon and soon before Casablanca.

The film is a brief gangster thriller reminiscent of so many of Warner Brothers' films in the 30s. The city locations are familiar, the inner city black and white photography, the cafes, the bars, the rich apartments. The action sequences are as predicted. Nevertheless they are, in their Warner Brothers way, solid Hollywood entertainment.

The film is in the form of a flashback. Bogart is a dying criminal - called Duke. As he is about to die, he remembers the incidents in which he was embroiled. As a multi-convicted criminal, he ran the risk of life imprisonment by embarking on a new robbery. He was goaded into it by the taunts of former co-gangsters and the patronage of a shady lawyer. However, his former girlfriend (played by Irene Manning) has married the lawyer. She tries to persuade him not to go to the robbery. He doesn't - she is with him and is seen by one of the jealous gangsters. When the case comes to court (Bogart has been identified by an old lady knocked down in the attempted robbery) he is brought to court. The cab driver who gave him an alibi is brought in and his testimony proved to be false - with the manipulation of the lawyer. The young man toes to prison. (He is played by Travis, he is a sympathetic character, as is his girlfriend, Susan Peters.)

Duke eventually dies, the lawyer is exposed, his wife killed. Typical 40s Hollywood poetic justice.

This is the kind of material that Bogart did so well - almost without trying. Not by any means an important film or a great one, but historically interesting.

BIRD ON A WIRE

US, 1990, 105 minutes, Colour.
Mel Gibson, Goldie Hawn, David Carradine, Bill Duke.
Directed by John Badham.

Bird on a Wire is a comic thriller directed by John Badham (Saturday Night Fever, Blue Thunder, War Games). He showed his abilities with this kind of action adventure in the enjoyable Stakeout. However, while this film is glossy and full of chases and special effects, the story is quite slight.

It is a film for the fans of Mel Gibson (in his Lethal Weapon style) and Goldie Hawn (in her old-style giggling comedy). David Carradine is a nasty villain.

The film focuses on a man caught up in the witness protection scheme who is exposed by corrupt FBI agents and is pursued for his life - with his former girlfriend whom he has met by accident. The film has many colourful American locations - and a touch of nostalgia for the 60s with the title song and echoes from musicals like Hair.

1. Entertaining comedy thriller? The tradition of the chase, comic thriller? The duo on the run?

2. The range of American locations, Panavision photography? A colourful film? The zoo and the spectacular finale? Special effects and stunt work cars, aerial photography? The musical score and songs?

3. The title, its references, the original song? The 60s and Hair? The hopes for the Age of Aquarius - dashed? Memories of the 60s, nostalgia, youthfulness, the Vietnam War, drugs, police corruption? The 70s and the 80s?

4. The introduction to Sorenson, his emerging from prison during the credits, dirty feet, long hair, criminal? The irony that he was a policeman? Diggs meeting him? Tough, the experience of prison, revenge? The link with the FBI agents? Drug lords? The information, the request to kill Rick? The chase, the threat at the service station, the killing, the burning? Their appearing at the hotel, the pursuit, their agents in helicopters? At the zoo? The style of the flashbacks, the drug activity, the plane, the shooting? Callous?

5. The introduction to Marianne; Goldie Hawn's glamour and comic style? The lunch meeting, her behaviour, erratic, bringing Paul? The business meeting? Detroit, getting the gas, seeing Rick, questioning him, going back, the binoculars, the attempt on his life? Her becoming involved, questioning him, the car pursuit? In the hotel? The danger in the hotel, the pursuit, up above the buildings? Listening to his story? The car and the pursuit, the police, driving, screaming, in the tunnel, the train? On the boat and relaxed? The hundred dollars to the beggar? Sparring with Rick, learning his story? Her memories of their relationship, hopes? Meeting the hairdressers and her laughter, the bank and the pursuit, going on the bike? Going to see Rachel, the animals, her jealousy? The helicopter and the pursuit? Landing, Rick carrying her, weary, the motel and the cockroach, the reconciliation in the motel? The truck, going to the old FBI agent, the zoo, the pursuit, the lights flashing, the action adventure and the dangers, the proposal and the happy ending?

6. Rick and his background, the practical joker, the encounter with Marianne, calling the FBI, his file being destroyed, the shootout, the escape, reconciliation with Marianne, the hotel, his being shot? His story of the past, friendship, the drugs, the plane, Mexico, the encounter with Sorenson and Diggs? The arrest, prison, her marriage? The scheme and his being concealed, the range of identities? The car chase, the tunnel, the boat, thinking that she was spoilt, giving a hundred dollars away? The meeting, the hairdressers again, the bank, taking the money, giving it back to the hairdresser? Going to visit Rachel, the buckshot being removed, the relationship and her proposal? The helicopter, the derring-do, the landing, carrying Marianne, the motel? Trying to find the FBI agent, going back to the zoo, controlling the chase, the fights, the proposal, a future?

7. The FBI agent and his double dealing, the computer, getting the information from Paul, participating in the shootout? Sorenson and Diggs as his associates?

8. Rachel, friendship with Rick, tough, the animals, her equipment, the proposal, shooting and helping him get away?

9. Paul and his relationship with Marianne, concern, the phone call and the FBI agent?

10. The old FBI agent, his loss of memory, his sister, helping them to the zoo?

11. The camp comedy with the hairdressers and their reaction to Rick, campy style, the money and the destruction of the door?

12. In the tradition of the romantic chase films - and paying homage to such films as Hitchcock's Thirty-Nine? Steps, North By Northwest?

BLADE RUNNER

US, 1982, 112 minutes, Colour.
Harrison Ford, Rutger Hauer, Sean Young, Daryl Hannah, M.Emmett Walsh, Brion James, Edward James Olmos, Joanna Cassidy.
Directed by Ridley Scott.

Blade Runner is now considered a science fiction classic. The film comes from a Philip K. Dick story, the author of Minority Report. His focus is on humanoids in a futuristic American society.

The film's set design and production design is quite outstanding. The film creates a futuristic American city, in the style of Metropolis but given much more technical flair in its visuals, in its portrayal of transport and movement in the city as well as the continued darkness, neon lights and rain. In this way, it is as if the traditions of the film noir were transferred into the future. This is confirmed when the central character is a detective, played by Harrison Ford. He has to investigate the replicants who are wreaking havoc in the city. The irony is that Ford himself may also be a replicant.

The film is directed by Ridley Scott who had emerged on the directing scene, after working on commercials, with The Duellists and Alien. He was to continue to have a successful career for many decades with a wide range of films with Thelma and Louise, Gladiator and Hannibal standing out. There was a voice-over in the original release of the film, voiced by Harrison Ford. In the director's cut, this voice-over was removed. Critics agreed that the removal of this voice-over, stating things so explicitly, enabled audiences to have a deeper appreciation of the plot line and the characterisations. It also led then to the speculation that Ford himself was a replicant.

The film's editing and pace is significant, especially in the battles between the replicants. These replicants are performed by Rutger Hauer, Sean Young, Joanna Cassidy and Daryl Hannah. Each of them creates a significant character, has been implanted with false childhood memories so that they seem human, which gives their mission and their characterisation a pathos that it might otherwise not have.

The popularity of science fiction, the popularity of Harrison Ford, the skills of Ridley Scott and the insights of Philip K. Dick about what real humanity is and how humans control replicants and try to replicate human nature, offer quite a significant contribution to intelligent science fiction.

1. Interesting entertainment? The mixed reaction of critics and audiences?

2. Futuristic science fiction conventions blended with the private eye conventions? How satisfying a blend? Interest in themes, treatment, styles? sympathy for characters? Situations? The credibility of the plot?

3. The work of Ridley Scott: advertising, science fiction with homage to old horror stories in Alien? The influence of American private eye thrillers and their visual conventions, voice-overs etc.? The huge budget and ambitious nature of the film? Los Angeles in the future: smog, gloom, rain, the opening panorama of the vast sky and buildings - yet an enclosed city? The ruins, the crowds, Chinatown, the neon signs reflecting the rain, the huge advertising - and invitations to migrate, the scavengers and the garbage, the apartments, the wealth of the Tyrell Building, J. F. Sebastian's derelict apartment and the toys, police station, the entertainment joints, the laboratories? The visual impact of the production? Its feel? The colours of the '40s and the shapes of the future? Special effects: transport, robots, technological development. the advertisements for migration? The visual presentation of violence: pace. effects, stunt work? The contrast with the landscapes and the natural countryside at the end? The Vangelis score?

4. Structure of the film: the voice-over and its tone, corresponding to the private eye thriller, the supplying of information, describing the situation, Deckard's character, experiences, feeling, moral choices? The case, the crisis, the police chief, the detective investigations, difficulties, falling in love, confrontations? Escapes from death? The irony of the human confronting the replicant at the end? The romantic ending? How well did the film capture the films of the '40s for science fiction future?

5. The picture of the replicants: the information about their construction, the prologue about their execution and retirement? The role of the blade runners? Future technology, the skill in the workmanship of the robots, their emotions? The title 'replicants' - avoiding 'androids'? The personality and personhood of the replicants? The Nexus Six group? The almost-perfection in Rachel? The prospect of death, rebellion for survival, the search for the maker - and Roy treating Tyrell as his father and God-figure? Comparisons with the humans? The experience of death? The significance of the title?

6. A future world of violence: Deckard and the work of the blade runners? The verbal violence, the interrogation of Leon, the report of the replicants massacre? Pressures on Deckard? The dancer and the violent chase, smashing through the shop window. Rachel shooting Leon after his bashing Deckard, Priss and her martial arts, being shot, Roy and the cat-and-mouse chase. the climbing over the building, breaking Deckard's fingers? The impact of the violence, audience feeling it? What was achieved by immersing the audience in violence?

7. The portrait of Deckard: his career as a blade runner, his wandering the city, the police chief picking him up, his detective work, research, the empathy tests for the replicants and his skill at it, testing Rachel, discussions with Tyrell and understanding the replicants? His tracking down the replicants? His being hurt by Leon, the shooting? The chasing of the dancer, Priss and the toys, the violent death? Roy and the build-up of the cat-and-mouse chase? The emotional response to Rachel, falling in love, the puzzle about love for an emotive replicant? His pondering over Roy's letting him live? His decision to go back to Rachel? Character, type? Personality shaped by environment? The nature of his work? How human was he - in comparison with the replicants?

8. Tyrell and his work, skill, playing God, constructing Rachel and giving her memory and emotions, using Rachel for tests? The human becoming dehumanised? The decor of his apartment? His clothes? Isolated affluence? His playing chess with J. F. Sebastian? The final confrontation with Roy? His seeming a God-figure explaining the limits of his creation? The sudden death at Roy's hand? A symbol of future power, creation, manipulation by technology? How human in comparison with the replicants?

9. Rachel's replicant, as human, the initial meeting, her being made up to look like the heroines of the private eye films of the '40s - the Joan Crawford hairstyle, shoulders, fashions? Her memories, the piano, the photos? Her puzzle about what was real or not? Her not wanting to be a replicant? The awakening of affection, falling in love? Her being hurt by Deckard? Shooting Leon to save him? Her being presented as a Sleeping Beauty? Her letting down her hair appearing more human? Her being taken off by Deckard at the end the uncertainty of her life span? Love - but doomed to die? How human compared with the humans?

10. The work of the police - perennial role of the police, the redneck boss - and his reference to 'niggers'? Agents and their surveillance, picking up Deckard, transporting him, testing him? The police rules? Curfews etc.?

11. The humanity of the replicants? The skill of the actors portraying them to make them machines as well as human? Leon and the opening test, his eyes, his reactions, ignorance, cover story, killing his interrogator? The suave humanity of the interrogator - and sudden death? Leon's house, story? His meeting the others? Confronting Deckard in the street? Violence? Rachel killing him? Zhora and her type, snake-dancing, confrontation with Deckard, the fast-paced chase, the shooting, the smashing into the shop window? Priss as a pleasure unit, the hiding in the garbage, finding J. F. Sebastian, going home with him, relationship with him, hiding with the toys, her relationship with Roy? The attack on Deckard, her death and Roy's grief? Roy and his leadership, going to see the technician who made eyes, J. F. Sebastian, going to the Tyrell Corporation, pleading with Tyrell, killing him, discovering Priss dead, the chase with Deckard, fist through the wall, his being wounded, climbing the rooves? The importance of his explanation of himself, threats to Deckard, breaking his fingers, saving him - and the explanation of impending death?

12. J. F. Sebastian and his premature ageing, working for the Tyrell Corporation, encountering Priss, taking her home, explaining his toys - the lifelike toys, the dwarfs etc.? Chess game with Tgrell? Affection for Priss?

13. The influence of science fiction films, private eye genres? How well did the film pay homage to other films and use conventions?

14. The film has been criticised as lacking humanity - its portrait of the human future, replicants as human?

BLAME IT ON RIO

US, 1984, 95 minutes, Colour.
Michael Caine, Joseph Bologna, Valerie Harper, Demi Moore, Michelle Johnson.
Directed by Stanley Donen.

Blame It On Rio is a sex comedy of the '80s - more frank and permissive in style, middle age crisis and some young ex-models turned actresses to ogle at. The atmosphere of Rio - all glitter and affluence rather than poverty or Brazil of the Third World, offers an atmosphere of escapism. However, the comedy is firmly based on the screwball farces of the '30s - and is ultimately a comedy of morals and manners.

The film is sustained by Michael Caine with a strong and gentle performance - with the device of his confiding in the audience. Model Michelle Johnson has a similar device for communicating her point of view. Joseph Bologna is very good as the unsympathetic playboy. Direction is by Stanley Donen - of such excellent films as On The Town, Singin' In The Rain and of such mixed pieces as Lucky Lady. Co-writer of the screenplay is Larry Gelbart, responsible for many amusing comedies including Oh, God and for the television series M*A*S*H. A lot of froth - but with its heart in the right values and moral place at the end.

1. A romantic screwball comedy? Farce? The echoes of television situation comedies? Attraction for the wide audience? In terms of manners and morals?

2. The style of the 80s: frankness - yet an old-fashioned atmosphere? Problems, values, solutions?

3. Stanley Donen and his style: the visuals of Rio, affluence, fluff, verbal and visual comedy, bittersweet tones?

4. Larry Gelbart and his comedy: light, ironic sentiment?

5. The importance of the musical background, the wide range of songs and their mood, the lyrics? Title song?

6. The title and its being used by victor - and his bitter comment about what had happened to Matthew and Jennifer? The atmosphere of Rio de Janeiro - especially in Hollywood films? The insert from the Fred Astaire-Ginger? Rogers musical Flying Down To Rio -with its memories of an innocent past, an exaggerated past, of musical comedy? Rio as a holiday centre for affluent American types? The title with blame, responsibility, guilt - and the way these were explored?

7. The device of Matthew and Jennifer talking to the audience? Information, confiding, eliciting a response? Audience sympathy for Matthew, understanding, disapproval? The same for Jennifer? Their comments being intercut with the action? As a continued device throughout the film? The moralising, leading audiences into the experience and sharing it? Touches of irony and humour?

8. The holiday atmosphere: Brazil, San Paolo and work, Rio and holiday? The beaches, the beauty of the harbour and the mountains, the statue of Christ? The villas? The western style city? Reality or image? Reality and unreality? And the device of the disapproving and silent servant?

9. The background of work, packing for the holiday, the introduction to each of the characters, their situations, tension? Pace? Ironies revealed at the end?

10. Rio and the effect on all of them? The villa, the beach, the emphasis on sex and nudity? Marriage, affairs? Rio and its nightclubs, cabaret, witchcraft? The neighbour. Marques and his restaurant, style?

11. Michael. Caine's performance as Matthew: his comments, the status of his marriage, age? Work, holiday? His friendship with Victor, the disturbance with his wife not going on holiday? The visit to the beach - and his ironic comments about nudity? The Nicole? Victor and his light permissive behaviour? Jennifer and the effect on Matthew? Her seducing him in the context of the marriage ceremony? The beach? The comedy with his embarrassment, burying himself in the sand when the English couple came by? Background of reality, consent, guilt - his wanting to see it as a dream? The affair continuing and its effect on Matthew? Telling Victor the truth or not? Wanting to break? Commonsense? Moral issues? Victor and his reaction, the ambiguities and humour, being invited to accompany Victor on the search for the guilty man, misleading Victor? The diary? Jennifer and her furtive encounters with him? Nicole's hostile reaction? The fight with the cabaret singer, his telling Victor the truth and Victor's hostile reaction? His coping with the situation and each of the characters? The significance of the experience for him?

12. Jennifer as the nymphet? Her friendship with Nicole, the visit to Rio, the beach and the nudity, the freedom of expression and behaviour, timetables etc.? The atmosphere of the wedding and her seductive behaviour? The outings, the shaving sequence, provoking Matthew? The witchcraft and the flowers thrown into the water? Discussions with Nicole? The leading Victor to alternative suspects? The fight? The finale, the taking of the pills? The clash with Matthew's wife? The ending - and the date with a boy her own age? The theme of the older man and the younger girl? Peer relationships?

13. Victor: work, divorce, infidelity, exasperation with the lawyers, love for his daughter and spoiling her? The strictness and the pact? The contrast with his own behaviour, picking up the divorcee, the scars, his becoming irrational about Jennifer's affair, the diary? Wanting to find and injure the guilty nun? Asking Matthew to help him search? The comic touches, the fight? The truth and his calm, his anger? The reality about his affair with Matthew's wife? Double standards? Jennifer's overdose? His driving the couple to the airport? The wife's comment about his zip - a comment on the middle-aged footloose type?

14. Matthew's wife - enigmatic at the beginning, refusing to go on the holiday, the telephone calls, her concern about Matthew, the emptiness of their life, lack of communication? Nicole's calling her to the rescue? Arrival, clash with Jennifer? The revelation of the affair? Her handling the situation, Matthew's response? Trying to sort out the issue? The showdown with Victor - and the holiday with Matthew? His later comments about their moving towards understanding, communication and reconciliation?

15. Nicole - her relationship with mother and father. friendship with Jennifer? Keeping her secret? Anger with her father? Her own behaviour? A more restrained type?

16. The presentation of the young men of Brazil, their dating the girls? marques - and the older style gentleman, his restaurant, his buying the alleged aphrodisiac and Victor's hostile reaction?

17. The maid and her silent sour criticism of the goings-on?

18. The final resolution of problems? Traditional values and morals? An exploration of contemporary behaviour? Fidelity and infidelity, love and commitment?