SHINING THROUGH

US, 1992, 127 minutes, Colour.
Melanie Griffith, Liam Neeson, Michael Douglas, Joely Richardson, John Gielgud, Sylvia Syms.
Directed by David Seltzer.

Shining Through is a lavish, big-budget war spectacle. However, it focuses on personal stories, romance. The heroine, played by Melanie Griffith, lives in New York but is descended from Berlin Jews and Irish. She has dreams of being involved in World War Two, especially rescuing her cousins in Berlin. Her images of espionage are shaped by the movies she sees. And, in fact, the whole film is shaped by these images of '30s and '40s espionage movies. The heroine, in fact, is like a Joan Crawford heroine for example in Above Suspicion.

Melanie Griffith has to carry the film. Despite her little-girl voice, she grows on the audience and is able to give some substance to the film. Michael Douglas is the lead - but in support of her. The supporting cast includes John Gielgud, Liam Neeson and an effective performance from Joely Richardson (Vanessa Redgrave's daughter) as a Nazi.

The film is what might have been called in other times `a woman's picture'. While there is action adventure, allied raids on Berlin, dangerous chases, the emphasis is on the individual, her coping with difficulties, the infiltration of a Nazi family, getting secrets and bringing them to the West. The film is adapted from a novel by Susan Isaacs (Compromising Positions) and was written for the screen and directed by David Seltzer (Lucas, Punchline and the screenplay for The Omen).

1. A popular war melodrama for the '90s - but in the style of war and espionage films of the '40s and '50s?

2. The New York locations, the period? Germany, Berlin and Potsdam? The Alps? The feel for the time, the quotations from newsreels, from films - and the excerpt from The Mortal Storm? The widescreen processes, the length of the film, editing and pace, musical score?

3. The framework of the film with Linda appearing on BBC television, her memoirs and the interview? The setting up of her survival for the audience - but her stories about Margrete, about Ed Leland? The end and her being joined by her family?

4. The leisurely pace, tension and lack of tension? Action and the emphasis on romance?

5. The plausibility of the plot, Linda and her lack of experience as a spy? Ed Leland and the American connections, his easy access to Berlin? The finale and his rescuing her after her being shot? The plausibility of the movies rather than of real life? Audiences able to accept the events, the characters and the behaviour?

6. Linda's story: the title, her voice-over? Her memories, as a little girl, photos, her ancestry? Her parents and their life in New York, the Irish and the Jews? The cousins in Berlin and concern? Her going to the movies, The Mortal Storm? Her dreams, reality and fantasy? Her being presented as a '40s movie heroine?

7. Linda in New York City, seeing Ed and his treatment of the protester? Going to work, infatuation with him? The interview and the secretary with her snobbish attitudes? Linda speaking a second language? Her use of German? With Ed, the hints given about the interview? His sternness and her directness? Powers of observation? Going to work for him, the voice-over and her explanations, the mysterious letters, the codes and her challenging him? His disappearances? Her telling him that he was a spy? The beginning of the affair, their relationship, the effect on each? His laughing? The bombing of Pearl Harbor and its effect? Their being involved in the war effort, Ed appearing as he truly was? The separation at the airport, his going to Washington? Linda working in the censor's office, her friend, the nature of the work, trying to find Ed? Going to the dance, `I'll Be Seeing You'? His appearance, her not wanting to dance? Dancing with the soldier? Her grief, the personal hurt? The effect on him? His taking her to Washington, her working for him, giving advice?

8. The slides and the information? The need for information about the flying bomb? The plan, her volunteering? Training and lack of training? The preparation, going into Germany? Her meeting with Sunflower? His taking her to the house, locking her in? The first encounter with Margrete and her descriptions of her on the television program? The friendship, the bond, the preparations for her work? The fish market and the testing out of sending a message? Her almost being arrested? Her being hired as the emergency cook, her being flustered, the hot soup and the cold birds? Her getting the sack? The encounter with Dietrich, spilling the soup on him? Her walking home, his interview, employing her? Her looking after the children, her place in the household? Her contacts in Switzerland and her disappearance? Her going on the bus - and the irony of Ed being on the bus? Their communication, the plan to get her out of Berlin? Her going to the zoo with the children, the bombing? Her finding the address of her relations after her visit to the fish market? Their disappearance? The raid, the children? Her going to the opera with Dietrich - and the irony of meeting Margrete's mother? His thinking she was Gestapo? Her realising where the documents were, photographing them? Her escape, running and pursuit? Going to Sunflower and his not wanting her? To Margrete, her making the phone call and Linda realising she was betrayed? The cat and mouse encounter with Margrete, her being shot, Margrete's death? Margrete's hurtful words about having no care for Jews except Linda? Falling into the shaft, the rescue by Ed? Her collapse, going on the train, the difficulties with the papers, their shooting their way out of the border post, inching their way to the border?

9. Michael Douglas serious as Ed, with the protester, at work, not knowing languages, his associate mocking him in German? The interview, the reactions of Linda? The jobs, the dictation, the codes? The question of the false translator and Linda pointing it out? His disappearances? The affair and her mellowing him? His stern attitude, Pearl Harbor and his going to war in uniform? The sudden return at the dance? His hurting Linda - the reconciliation? Employing her, not wanting her to go to Berlin? His going into Berlin and pretending he had been wounded in the throat? Going in for the rescue, the desperate last journey? His reappearance on the television show with their children?

10. Margrete, her friendship, the bonds with Linda? The talk about Hitler, her mother kissing a Jew? The visit to her mother? Her support, the tension at the fish market? The irony of the ending, her betrayal, Linda's discovery - the phone call, the microfilm? Her threatening Linda with the gun, her death?

11. Sunflower, his access to Germans and to Allies? Taking Linda into Germany, his sardonic remarks, in the house? Introducing her to Margrete? His later refusal to help her so as not to be exposed?

12. The Nazis, the flying bomb? Ambitious officers, the Dreschers and their dinner party, eating the cold bird? The firing of Linda? Dietrich and his interest, employing her? His wanting to prove his loyalty? The children? The friendship with Linda - the outings, her leaving them behind and escaping?

13. The picture of America at war, contacts with Europe, war heroism?

14. Germany at war, Nazis, Hitler and the scenes in which he appeared? Fanaticism? The bombing raids?

15. The melodramatic ending and climax - and the final television interview? Satisfying ending for the adventure?