SCREAM FOR HELP (1984)

Title: SCREAM FOR HELP

Year of Release: 1984

Director: Michael Winner

Genre: Drama, Suspense, Horror

Synopsis: A teenage girl suspects her stepfather is planning to murder both herself and her mother for the family inheritance, and seeks to find out the truth.

Within a film history context: Teenage girls with a penchant for being amateur detectives have not been a common sight on cinema screens over the years. One of the first, and most notable was the Nancy Drew film series, all directed by William Clemens, and starring Bonita Granville in the title role. Beginning with NANCY DREW...DETECTIVE in 1938, followed by NANCY DREW...REPORTER (1939), NANCY DREW...TROUBLE SHOOTER (1939), and culminating with fourth entry NANCY DREW AND THE HIDDEN STAIRCASE in 1939, it followed the adventures of a teenage girl who delves into mysterious events, and solves these cases. Robert F. McGowan's HAUNTED HOUSE (1940) had a teenage girl and boy team up to assist their friend who has been suspected of the murder of a woman. They makes mistakes along the way, but are able to find the real killer in this Monogram Pictures movie. 

One of the most notable films about a teenage amateur female detective was SHADOW OF A DOUBT (1943), directed by Alfred Hitchcock. A young lady is overjoyed that her uncle will be coming to visit her and her family, but his actions over time make her suspect him of crimes that are occurring of late. In contrast, Lloyd Bacon's HOMICIDE, SWEET HOMICIDE (1946) was about a novelist and her three young children, two of them girls, the youngsters taking it upon themselves to help solve the murder of a neighbour. 13 FRIGHTENED GIRLS (1963), directed by William Castle, centered upon a teenage girl who was the daughter of an ambassador, and assists a detective in espionage matters. SCREAM FOR HELP was one of the later films about a teenage female amateur detective, and no holds barred in terms of its narrative.

It was an updated version of the Nancy Drew films, with a teenage girl playing detective by acting upon her suspicions of her stepfather, who she believes wants to kill her mother, and herself, for their inheritance. In this way, it goes further than the Nancy Drew movies in the fact that it delves into the personal life of its main character, who is seeking answers to a something which is a burning issue for her, rather than just a mystery to be solved. This is a trait it shared with SHADOW OF A DOUBT's protagonist, whose intuition, as with Christie in SCREAM FOR HELP, guided her in finally reaching the truth about her uncle, regardless of what other people thought. SCREAM FOR HELP is also notable in this genre in the manner that Christie is treated in the narrative. 

This is unlike the other movies, mainly the Nancy Drew series, where the mystery is the key element more than the personal life of its lead character. Not only is Christie a daughter to Karen, girlfriend to Josh, thorn in the side of stepfather Paul Fox, and latterly Lacey and Brenda Bohle, this allows her to be seen from different vantage points in the movie. It is not just a matter of a teenage girl playing amateur detective, but this is supported by a private life which gives reasons for Christie's behaviour. SCREAM FOR HELP itself is not just a mystery movie but also branches out into other genres including horror, coming of age, teenage angst, and family drama. This is in line with the film's overall uncompromising presentation, thereby making Christie Cromwell anything but a cardboard character, but real, the audience able to relate to her situation. One of the most intense of the movies about a teenage female amateur detective, SCREAM FOR HELP is a gutsy film. 

Overview: Michael Winner was a British film director with thirty-four motion pictures to his credit over the space of thirty-eight years. He made many films which contained themes of crime, and people battling this, but also comedies, and musicals. Mr Winner's first film, SHOOT TO KILL (1960) is considered to be a lost movie. Detailing the activities of a showbusiness reporter, and his involvement in politics, it was mainly of interest as it featured Lynn Redgrave in a small role. Next came CLIMB UP THE WALL (1960), which was a musical comedy starring bandleader Jack Jackson, and a number of other celebrities. In programmer MURDER ON THE CAMPUS (1961) a man is suspicious of his brother's death, which appears to have been suicide. With the assistance of a woman, whose father has vanished, he sets out to prove that it was homicide, and not suicide, which occurred. Veering into exploitation territory was SOME LIKE IT COOL (1961), a comedy which was concerned with nudism. PLAY IT COOL (1962), on the other hand, charted the escapades of a rock singer and his band who become friendly with a young woman, the film containing many musical numbers. 

Michael Winner made another musical with THE COOL MIKADO (1963). In this movie, a young man does not want to marry a young woman of his father's preference, and joins the army, but falls for a Japanese woman while in Tokyo, with many romantic complications ensuing. It was back to crime themes for Michael Winner in WEST 11 (1963). A footloose young man is convinced by a criminal to murder his aunt for her money, but things take another turn. THE SYSTEM (1964) followed a Lothario photographer aiming to entrance a young woman during vacation season, but finding that she is more than a match for him, and his libidinous ways. Into the late-1960s THE JOKERS (1967), was another comedy, with two brothers hatching a plan to lift the Crown Jewels from the Tower of London, but matters were not as clear cut as they first thought. At the end of the 1960s came HANNIBAL BROOKS (1969), an action-comedy following a prisoner of war in Nazi Germany, and how he escapes with his elephant, headed for Switzerland. In the 1970s, Michael Winner made some of his most-recognized, famous movies.

THE GAMES (1970) was about several athletes competing at an Olympic Games marathon event, with an illustrious cast including Michael Crawford, Ryan O'Neal, and Charles Aznavour. THE NIGHTCOMERS (1971), unfortunately, was one of Michael Winner's most disappointing efforts. The tale of a sadomasochistic relationship between a governess, and a gardener, set in Victorian times was heavy on violence and sex, but light on atmosphere and suspense. Western CHATO'S LAND (1972) had a half-Native Indian killing a sheriff in self-defense, but this act leads to the rape of his wife, and revenge against those who had done this. THE MECHANIC (1972) was a character study of two men, one an older hitman, the other an aspiring assassin, but events occur to bring their relationship to melting point. THE STONE KILLER (1973) featured Charles Bronson as a private eye who investigates the killing of a hitman, and is drawn into an elaborate plot involving the Mafia. Next came one of Michael Winner's most controversial films - DEATH WISH (1974). The story of an architect whose wife is killed, and daughter raped during a home invasion, thus the impetus for him to become a vigilante on New York City streets, was a startling and successful movie. The DEATH WISH franchise led to several sequels, and Mr Winner directed the next two entries in the series, being DEATH WISH II (1982) and DEATH WISH 3 (1985). Both of these films, though, were not as critically acclaimed as the original, seen to indulge in an excess of violence. 

Michael Winner's next movie, WON TON TON: THE DOG WHO SAVED HOLLYWOOD (1976)  was a change of pace for the director. A comedy about a silent screen dog who reaches the heights of stardom, it was notable for its many guest stars from the Golden Years of Hollywood. Mr Winner then made a foray into horror with THE SENTINEL (1977), where a young woman goes to live in a Brooklyn apartment, but discovers that the building is a hotbed of demonism. It was back to crime territory with THE BIG SLEEP (1978). Another instalment in the film version of Raymond Chandler's detective story, it was set in London rather than Los Angeles, and starred Robert Mitchum in the lead role. Michael Winner ended the decade with FIREPOWER (1979) an action movie about a woman seeking revenge for the murder of her husband, and thereafter finding an intricate web of lies and deceit. Into the 1980s and after, Michael Winner made several movies, but none that matched his output from the 1960s and 1970s.

THE WICKED LADY (1983) was a racy remake of the 1945 film of a restless young woman who plays with hearts, but falls for a highwayman, in turn becoming both his accomplice, and lover. In complete contrast, a piece with a decidedly period feel was APPOINTMENT WITH DEATH (1988), set in the 1930s. Based upon Agatha Christie's Hercule Poirot mysteries with an all-star cast, a hated woman is found dead, and many people suspected of her demise. Softer in tone was A CHORUS OF DISAPPROVAL (1989). A young widower becomes part of an amateur theater musical group, which not only helps him, rising to male lead but also, success with the female members of the group.  BULLSEYE! (1990) was a financial failure concerning two inept scientists, and their various schemes which result in much intrigue and derring-do. Michael Winner's second last movie, DIRTY WEEKEND (1993) was a violent film about a young woman harassed by a man, then killing him, and continuing a murder spree, subsequently dispatching six more men. Mr Winner's final film, PARTING SHOTS (1998), was a variation on the director's common themes of crime and revenge, with a terminally ill man purchasing a gun, and planning to exact retaliation on those who had wronged him. SCREAM FOR HELP was one of Michael Winner's later films, and a satisfactory, if flashy work.

With SCREAM FOR HELP, Michael Winner has made a fast-paced, watchable film that easily keeps the attention from beginning to end. Utilizing the suspense-investigative structure that permeated some of his movies, such as MURDER ON THE CAMPUS, THE STONE KILLER, and FIREPOWER, in this instance, the person doing the probing this time is a teenage high school student. While, at the outset, this might seem to be an inappropriate choice for a protagonist, the director, through the twists and turns of the movie, makes this work in a convincing manner. Aside from this, SCREAM FOR HELP is also reminiscent of Michael Winner's other movies with a revenge theme. This is something that Mr Winner explored in CHATO'S LAND, DIRTY WEEKEND, PARTING SHOTS, and, in particular, DEATH WISH. 

SCREAM FOR HELP recalls the home invasion scenario which DEATH WISH contained as the crux of that film, but in SCREAM FOR HELP turns this on its ear. Instead of the mother and daughter being the tragic victims of the home invasion, powerless to fend off their attackers, in SCREAM FOR HELP, Christie and her mother turn the tables on their assailants. They set up an elaborate chain of events which spell the demise of these criminals, taking these protagonists far and away from DEATH WISH's ill-fated mother and daughter. The bonding of these two women is one of the best parts of the film, giving it a sympathetic edge in the face of seemingly insurmountable odds. This is an example of one of the strongest segments of SCREAM FOR HELP, where the psychological processes of these characters are laid bare to audiences. In saying this, though, the movie also has accompanying flaws which are evident when analysing the film as a whole.

Several key story points in SCREAM FOR HELP, while understandable to the audience, would have benefitted from further expansion and elaboration. Christie's dislike of her stepfather, effectively stealing her mother away from her father, while clear, is treated as a sideline, rather than the deeply emotional event it should have been. It does propel Christie to act the way she does, but it is slightly flimsy in its execution. The relationship of Brenda and Lacey Bohle is another story that could have had further depth. Aside from their criminal leanings, there is the domestic violence between Lacey and Brenda, his maltreatment  of her, which seems to be borne out of aggression and poverty, seeing the rundown house they inhabit. Again, the movie glosses over these situations, and makes them two-dimensional, where there could have been deeper psychological portraits drawn of these people. Instead, SCREAM FOR HELP takes the easy way out, indulging in visual thrills and spills to cover up its deficiencies. The movie, in effect, is high concept in the way it treats its situations, always going for the jugular in a visual sense, which does become grating. A more nuanced feel to the film in terms of pacing, building suspense, and seeing things more through the eyes of its characters, would have been helpful. All in all, SCREAM FOR HELP, while having many weaknesses, is nevertheless an entertaining motion picture with punch.

Acting: SCREAM FOR HELP has an attractive cast who provide great performances. In the lead role of Christie Cromwell, Rachael Kelly does an excellent job as the intuitive young lady who listens to her instincts no matter what other people say in the movie. A lovely actress for whom this, unfortunately, was her only film role, her acting gives the movie a strong point from which the other actors, and events, radiate. As Christie's mother Karen, Marie Masters is well-suited with Miss Kelly, seeming like a real mother and daughter, even though it would have been beneficial to have seen more of Miss Masters in the movie, as she had a nicely funky style to her acting. The pivotal role of Paul Fox, husband of Karen, and stepfather to Christie, is given a malevolent edge by David Allen Brooks, A good-looking actor who seems utterly at home in a dinner jacket on the one hand, and spouting sadistic epithets on the other hand, he does a great job as the secretive, slow-burn Paul. Three other performances emphasize the distinctive acting in SCREAM FOR HELP.

As arch-villain Lacey Bohle, Rocco Sisto puts his all into the sweaty, complex character he inhabits, making him utterly compelling. Even though the resolution his character receives is violent, he still evokes a small slice of sympathy in the viewer. His wife, Brenda Bohle, is played with a sinister, yet vulnerable edge by Lolita Lesheim. An actress with an unconventional beauty, Miss Lesheim's deep voice, and ability to amplify her character's feelings with just the raise of an eyebrow make her one of the 1980s best femme fatales. The final acting of note was by Corey Parker as Josh, Christie's boyfriend. Despite playing someone who could be classified as a young adult bodice ripper, having his way with the young women in the movie in his subtle manner, Mr Parker makes it understandable to the audience with his charm, and sympathetic ways.

Soundtrack: SCREAM FOR HELP has a very good soundtrack, but the employment of it within the film is questionable at times. On the one hand the sweeping orchestral music is lush, and pleasant to take in, adding drama to what is taking place onscreen. On the other hand, the musical score has the habit of overwhelming scenes, taking attention away from moments which should have been touching, or quiet. Aside from this tendency, 'Christie', the theme song of the lead character is somewhat incongruous, and detracts from the mood at the end of the movie. It would have been better to feature the 'Christie' piece without lyrics, as these tend to give the film a cheesiness it does not deserve. It could be said that as SCREAM FOR HELP is not the most subtle motion picture overall, that possibly this more blaring approach to its music may, in some ways, suit it.

Mise-en-scene: SCREAM FOR HELP is well-done in its onscreen experience for spectators. Cinematography by Robert Paynter makes the New York locations pretty to witness, outdoor scenes being particularly beautiful. Set decoration by Gary Brink draws telling contrasts, for example, between the wealthy Cromwell mansion, with its well-appointed rooms and expensive furniture, and the lower-level Bohle house, with its unkempt gardens and surroundings. Stunts and, in particular, special effects, especially during the various death scenes, are realistic, and effectively bloody.

Notable Acting Performances: Rachael Kelly, Marie Masters, David Allen Brooks, Rocco Sisto, Lolita Lesheim, Corey Parker.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes, high-level violence.

Overall Grade: C

Link: IMDB Page

A CITY'S CHILD (1971)

Title: A CITY'S CHILD

Year of Release: 1971

Director: Brian Kavanagh

Genre: Drama

Synopsis: After her invalid mother passes away, a young woman descends into a dream world, and meets and falls for a young man, who may or may not really exist.

Within a film history context: One of the first movies to prominently feature a spinster was Sidney Franklin's silent QUALITY STREET (1927). A property for Marion Davies, it was about a woman whose fiancé goes to fight for the Napoleonic Wars in the early 1800s. He returns after a decade to find his fiancée entirely different, and she schemes to reignite their love by posing as her fictional niece. This property was later remade in 1937 with Katharine Hepburn in the lead role, both versions unsuccessful at the box office. PEACOCK ALLEY (1930), directed by Marcel de Sano, had a middle-aged woman seeking a husband in New York City, and charted her romantic difficulties. Sam Taylor's OUT ALL NIGHT (1933), was a comedy of a middle-aged man with a spinster employed in a department store. THE OLD MAID (1939), directed by Edmund Goulding, featured a complex series of events between two female cousins, particularly dealing with love, offspring, and how the one cousin ends up unmarried, with a secret. In a more comic vein was Fred Guiol's MISS POLLY (1941). A vehicle for Zasu Pitts, it starred her as a spinster with a chequered past, and possessing a penchant for unexpected behaviour, who finds romance. NOW, VOYAGER (1942), directed by Irving Rapper, was one of the most famous movies about a spinster. A woman dominated by her mother has emotional issues, and is assisted by her sister-in-law in changing her life. After being treated by a psychiatrist she takes a cruise, and meets a man with whom she falls in love, but the path to true fulfillment is not an easy one. 

A farcical view of spinsterdom was offered by Frank Capra's ARSENIC AND OLD LACE (1944). A man who writes about marriage, and how it is passé, has two aunts who murder selected men to relieve them of their loneliness, and the writer becomes embroiled in their activities. With THE CORN IS GREEN (1945), directed by Irving Rapper, a spinster, again played by Bette Davis, is entirely different in scope. A woman arrives in a Welsh mining district, and seeks to bring education to the town. One of her major projects is assisting a troubled but clever young man become a man of vision, which she achieves. Andrew L. Stone's THE BACHELOR'S DAUGHTERS (1946), in contrast, was comic in nature. A man working in a department store is convinced by four spinsters to act as their father, the women seeking husbands, and projecting an image of wealth. The bittersweet WINTER MEETING (1948), directed by Bretaigne Windust, once again featured Bette Davis as a spinster. This time, she was a poetess who falls for a man considering priesthood, and was one of Miss Davis' last movies for Warner Brothers. More prominent was William Wyler's THE HEIRESS (1949). A wealthy young spinster treated shabbily by her father falls for a handsome man, but his intentions for her may, or may not be honorable. Into the 1950s and after, equally interesting portraits of spinsters were offered in cinema.

The lushly romantic SUMMERTIME (1955), directed by David Lean, starred Katharine Hepburn as a spinster who falls for an Italian man in Venice, but complications ensue when she discovers that he is married. Joshua Logan's PICNIC (1955) had a schoolteacher supporting character whose passions were on full display in this memorable movie. Another movie with Katharine Hepburn as a spinster, THE RAINMAKER (1956), directed by Joseph Anthony, had her in this instance as a woman who was charmed by a shady man, with many unexpected twists and turns. In the 1960s came the arrival of a series of films about an indomitable spinster detective - the mysteries of Miss Marple. In the person of the unique Margaret Rutherford, four Miss Marple films were produced, the first being George Pollock's MURDER SHE SAID (1961), MURDER AT THE GALLOP (1963), MURDER MOST FOUL (1964), with MURDER AHOY (1964) the last in the series. These dealt with Miss Marple solving various mysteries, albeit with a comic twist. Entirely contrary was SUMMER AND SMOKE (1961), directed by Peter Glenville. This was about a spinster who falls for a doctor of loose morals, but whose attentions are on another woman. 

Robert Rossen's LILITH (1964) had an emotionally unstable, and manipulative spinster, who turns the life of a troubled man upside down in a mental health facility. Lighter in tone was DEAR HEART (1964), directed by Delbert Mann. A middle-aged spinster and postmaster seeking romance finds it at a convention in New York City, but matters takes assorted directions in this comedy-romance. Robert Aldrich's HUSH...HUSH, SWEET CHARLOTTE (1964) was more flamboyant in nature, and an off-the-wall movie for Bette Davis. In this film, a woman is shattered by the return of a relative, who seeks to send her insane, and take her fortune, but things do not turn out as expected in this Grand Guignol-style movie. In complete contrast was the down-to-earth RACHEL, RACHEL (1968), directed by Paul Newman. A thirtyish unmarried schoolteacher living with her mother becomes involved with a man, this the impetus for a life change for her, seeing things through different glasses. 

With Ronald Neame's THE PRIME OF MISS JEAN BRODIE (1969), released at the end of the 1960s, a teacher in 1930s Scotland flouts conventions, and causes waves in the girl's school in which she works. AGE OF CONSENT (1969), directed by Michael Powell, had a spinster character who makes a play for the artist protagonist in this comedy-drama which was mildly risque in its time. Robert Altman's THAT COLD DAY IN THE PARK (1969) was about a spinster who becomes obsessed with a young man, not wishing to let him leave her apartment in this psycho-sexual movie. As with the other films in the genre, A CITY'S CHILD had a spinster as its focus, which consequently allowed for a thorough examination of its main character.

A CITY'C CHILD was similar to those pictures where a spinster was at the center of the action rather than a peripheral figure, such as QUALITY STREET, PEACOCK ALLEY, THE OLD MAID, NOW, VOYAGER, THE CORN IS GREEN, THE HEIRESS, SUMMERTIME, THE RAINMAKER, and LILITH, to name a few examples. In these films as with A CITY'S CHILD, the viewer gains an intimate knowledge of the character, finding out what makes her tick, and feeling what she does during the movie. In other words, A CITY'S CHILD, with the others, creates a three-dimensional portrayal of the spinster, rather than something threadbare or lacking depth, which MISS POLLY, ARSENIC AND OLD LACE, and THE BACHELOR'S DAUGHTERS do in their more comical orientation. It could also be said that there is also an interesting parallel to NOW, VOYAGER in one particular feature of A CITY'S CHILD. 

The presence of a domineering mother figure who makes an indelible psychological mark on their respective daughter is present in A CITY'S CHILD as with NOW, VOYAGER. Where the films differ is that while both mothers are boorish in the treatment of their daughters, the mother in A CITY'S CHILD is an invalid, and bedridden. This gives an added layer of poignancy to the film as there is a rationale of sorts for the mother being so mean to the daughter, in light of her ill health. It is not just a matter of a mother being nasty to her daughter because she is malevolent. Aside from this, the spinster in A CITY'S CHILD also suffers from emotional issues, something which distinguished not only NOW, VOYAGER but also LILITH, HUSH...HUSH, SWEET CHARLOTTE, and THAT COLD DAY IN THE PARK. The spinsters in the last three movies were marked in their unpredictable behaviour and penchant for violence, but the spinster in A CITY'S CHILD, as with NOW, VOYAGER, were delicate in comparison, not wishing to spite others, or cause trouble. There was more of a leaning toward blossoming romances and sexuality in these entries, and an avoidance of campy elements. One of the most credible of the movies with a spinster lead, A CITY'S CHILD is a thoughtful, diverting film.

Overview: Brian Kavanagh is an Australian director who made only three movies in his career, which spanned fifteen years from 1971 until 1986. He was more active as a film and television editor, and also produced all three of the movies he made. Mr Kavanagh's second feature film, DOUBLE DEAL (1983), was a drama about a woman married to an older man, her restlessness leading her to take up with another man, planning with her lover to fleece her husband. Brian Kavanagh's final movie, DEPARTURE (1986), centered around the life of a married couple who intend to uproot from Australia to live in Rome, but before leaving, spend a final weekend in Tasmania. A CITY'S CHILD was Brian Kavanagh's first motion picture, and his best-known, most fluent movie.

Brian Kavanagh has made a haunting, moody work with A CITY'S CHILD. The story of a woman living with her invalid mother, and then on her own after her mother's death, has been given sympathetic, intensive treatment by the director. It intimately charts the life of its protagonist, closely following her transition from a meek woman seeking to emerge out of her shell, and her mother's influence, into someone of her own beliefs, and actions. The difficulties of this change from one life chapter to the next are handled well by Mr Kavanagh, making audience identification, and empathy toward the lead character, one of the best features of A CITY'S CHILD. This also entails a journey into the woman's psychology, specifically her burgeoning sexuality. This is explored in her time at the beach, watching a swimmer toweling himself, and, her relationship with a beguiling young man. While these are some of the best aspects of the movie, there are omissions in the story which could have strengthened it, providing more clarity.

To its advantage, A CITY'S CHILD has a small cast, which intensifies the drama, doing away with superfluous characters and scenes. On the one hand this is a positive, on the other, makes matters too abbreviated. The woman does not appear to have had any relatives, or anyone come around to see her after the funeral of the mother. This, in one way, is something which does occur in life, being that death does sever ties with relatives in many cases, but in A CITY'S CHILD no one at all appears to offer their condolences to the woman. A scene or two with a relative, or family friend could have deepened knowledge about the woman, but nothing appears. In addition, one never finds out how the woman actually supports herself, as this is left open to interpretation. It seems that she is of a high socio-economic profile, given the house in which the woman resides, but, this is fuzzy. Offering another perspective of the woman are two female neighbours who critique her actions and movements. This gives the movie a dimension, possibly elaborating how certain audience members might interpret her life. Despite these gaps, some things can be said about the movie. A CITY'S CHILD is a credit to its director, and an intimate, meditative work that deserves to be viewed.

Acting: A CITY'S CHILD has a small cast, but the performers are all highly effective in their roles. As the lead character in the movie, Monica Maughan is in one of her finest parts as the eponymous city's child. An actress who makes her character utterly real and likable, laying bare all her thoughts and desires to the viewer, Miss Maughan shines. The male object of desire of the city's child is given careful execution, and shading, by Sean Scully. With an air of allure, style and mystery, Mr Scully takes what could have been a shadowy figure, and transforms him into someone the spectator wants to know more about with his subtle, intriguing manner. 

As the woman's mother, Moira Carleton brings a vivid sadness to her scenes. While playing someone who is insensitive on the surface, Miss Carleton makes the invalid mother a person who had deep emotional scars, these made evident by the actress. The final acting of note in the film was by Roger Scales as the man the city's child sees on the beach, unable to stop watching him. An actor who did not utter a syllable in the film, but whose facial expressions and body language said it all, being watched by the city's child, his scenes work on two levels. On the one hand, Mr Scales brought a sense of the vulnerable, being seen as an objectified sex object by the woman, but also, liking the attention, and when not receiving what he wants from her, moves on. An actor whose credits are unfortunately limited to early 1970s Australian film and television, Roger Scales' contribution rounds out the fine cast of A CITY'S CHILD.

Soundtrack: A CITY'S CHILD takes an understated approach toward to its music. Music by Peter Pinne is spare, and emphasises the mood of scenes well, especially in sequences such as the man following the woman in his car, and the moments where the city's child is observed in detail, such as doing her gardening. The city's child theme is played after the opening scenes, and when she is on the train going to the beach. It is a late 1960s/early 1970s style piece which effectively provides a commentary on the main character, and her life.

Mise-en-scene: A CITY'S CHILD has a very good attention to detail for the viewer's onscreen experience. Cinematography by Bruce McNaughton emphasizes darker hues which is in keeping with the film's somber, psychologically complex orientation. Costuming is naturalistic, with characters appropriately attired for the early 1970s, and the movie's suburban setting. Apparel for Sean Scully's character is in direct comparison to Monica Maughan's, with his snappy suits and colorful shirts, to her dark block colours, and more conservative wear. Settings are authentic and well-chosen, from the interiors of the woman's house, outside her home, the suburban shopping strip, and the beach where the woman relaxes, and gazes at the swimmer, all excellent.

Notable Acting Performances: Monica Maughan, Sean Scully, Moira Carleton, Roger Scales.

Suitability for young viewers: No. Male nudity, adult themes.

Overall Grade: B

Link: IMDB Page

Trailer