IN THE LINE OF FIRE

US, 1993, 128 minutes, Colour.
Clint Eastwood, John Malkovich, Renee Russo, Dylan Mc Dermott, John Mahoney, John Heard.
Directed by Wolfgang Petersen.

In The Line of Fire is American action film-making at its best. A very good script by Jeff Maguire is directed with panache by Wolfgang Petersen (The Boat, The Neverending Story, Enemy Mine, Shattered, Outbreak, Air Force One). Full advantage is taken of Washington locations as well as other locations throughout the USA.

The film focuses on the Secret Service, a presidential bodyguard who was present at Dallas, 1963, and failed to save President Kennedy. As played by Clint Eastwood, he is an icon of the past, an idealist of Camelot days who has become disillusioned in his own life and with the country. However, with a new attempt at a presidential assassination, he is drawn into a conflict with villain, John Malkovich. Malkovich is excellent as the former CIA assassin who feels betrayed by his country and plans to kill the president. There is a strong supporting cast including Rene Russo, John Mahoney, Dylan Mc Dermott.

The film works well as a thriller but also highlights the activities of the Secret Service, takes us into the centre of American politics, a presidential campaign with its cynicism, the response of the public - and the ever-present violence in American society.

1. Impact of the thriller, action? A piece of Americana, American politics, American presidential assassinations?

2. The Washington DC locations, the various states in the presidential tour, the atmosphere of the election year? Interiors - and the climax in the Bonaventure Hotel?

3. The quality of the action sequences and pacing, editing, stunt work? Credibility?

4. Clint Eastwood in the '90s, an American icon, political stances, revised stances - his wry comments about feminism, about minorities? The musical score, his piano-playing, jazz?

5. The title and the Secret Service, its history from the time of Lincoln? The use of the Lincoln Memorial? The abilities and training? The demands in the line of duty - to take the bullet for the president? Ever-present danger? Belief in a cause or belief in duty?

6. Clint Eastwood as Frank Horrigan: the initial punctuality, his cover agent work, the counterfeit money, links with the criminals, the empty gun, saving Al and the arrest? His reputation? Type? Skill at his work? Human insights? The bar, the piano-playing, talking with Al, knowing people?

7. Going with Al to the apartment, the landlady and her observations, the search? Leary watching? The return - and the photo with Frank circled? The background of his story, his memories, ideals, Kennedy? His drinking, the day of the assassination and his not reacting? The demons after 30 years? Wondering about himself, the possibilities of heroism? The challenge of Leary - and the possibility of knowing himself and redeeming himself? The opportunity to be the hero he believed in?

8. John Malkovich's presence as Leary: the initial mystery, the apartment, his watching Horrigan, leaving, the circled photo, the whole manipulation of Frank? The phone calls - the personal insinuation, the knowledge of details, playing deadly games, the challenge and the gamble? His shrewdness about tracing calls? His technological knowledge, on tracing calls and changing systems, the design of the gun (and his contacts with designers), the hunters and his demonstration and killing them? The variety of appearances and his changing? The Secret Service able to look at his appearance and computerise the enormous range of changes in appearance? The photo identity kits prepared? On the phone and being so close to Frank, leaving phones dangling, being chased? His travel plans and ingenuity? Going to Los Angeles, to the bank, chatting pleasantly with the woman, Minnesota and his mistake, killing the woman and her roommate? The plan of financial gifts and donations for the president's re-election? The phone revelations, the nature of his profile and his comment on psychological profiles, his addressing himself to all the listeners? The challenge to Frank, running away, hitting the windscreen of the car, the fingerprints - and the CIA not giving the information to the Secret Service? The later tracking of him in the house, Frank chasing him over the roof with Al, the drama of the chase, Frank's falling and clinging to the roof, Leary's saving his life? Indebtedness to him?

9. Frank and his clash with Watts? The clash with the presidential aide? His friendship with Sam, meeting him in the bar, talking about his reputation? Memories of his own arrogance? His wanting to confront Leary - taking on the job of active service, on the job, running and it exhausting him? Leary watching and mentioning it to him? On the job, the range of travel, security checks? The significance of the rally, the bursting of the balloons and calling the alarm? Leary testing his reaction? The anger of Watts, of the presidential aide?

10. The importance of audience information about the Secret Service, its role, personnel, training, interactions, planning meetings, thoroughness of surveillance, of security checks?

11. Lily and her work on the Secret Service, at the initial meeting, the butt of Frank's jokes - to test whether she had a sense of humour? Talking things over with him, annoyed with him? At the Lincoln Memorial - and his testing her about looking back? The story of her affair of the past, not wanting to make a mistake, putting her career above all else? His offering to give up his own career? Listening to Frank play the piano, the kissing in the elevator, the encounter in the room - interrupted by the phone call? The possibility of a relationship with Frank? Working with him, supporting him, telling him the news that he had to go to San Diego? Her supporting him at the end, giving the decision for the killing of Leary? The comments about women in the Secret Service - as window-dressing? (Like most of the work to impress the public while the real thing was much more technologically organised?)

12. Sam, his continued help? Watts and his annoyance, allowing Frank on, getting rid of him?

13. The organiser of the election campaign, his toughness, his hiding when the balloons burst? The portrait of the President and the First Lady, their social style, the desperate need for re-election, the nature of their campaign, the tally points and the taking of risks?

14. The background characters giving authenticity: the landlady, the woman from Minnesota and her roommate, the design consultants and the interviews with the Secret Service...?

15. The build-up to the final rally? Frank and his keeping vigil in the president's room? His being ousted? Leary and the make-up? Meeting the campaign organiser? Discussing with business people - and passing Frank without Frank's recognising him? Frank and his going to the airport, the key about the phone call, his ringing the bank, the Minnesota clue, checking the names, finding the table plan and Watts allowing it? The presidential move through the room - Leary and his shooting, Frank throwing himself in front of the president? Knowing that he could actually do his job? The chase, the elevator, the confrontation with Leary, giving the information to Lily, psychological dealing with Leary, the holding on in the elevator, the final shot, the achievement. The final irony of Leary's voice and message on the machine.

16. A satisfying action thriller, secret service thriller, political thriller, the contrast between the 60s and the 90s? The ageing hero and the heritage of the past, redeeming the past?