IN THE FRAME

Canada/Ireland, 1989, 95 minutes, Colour.
Ian Mc Shane, Lyman Ward, Barbara Rudnick.
Directed by Winberg Wicker.

In the Frame is an adaptation of a Dick Francis novel. The company is Dick Francis Films, operating between Ireland and Canada. It was one of a series of films made for television based on Francis's racing novels.

The novel is freely adapted, transferring to Canada as well as Freiburg. The original settings were England and Australia. However, the film uses the Freiburg scenery to great advantage, giving it a somewhat exotic European touch. The film is a complicated mystery about dealers in wine and art and frauds perpetrated on customers. The film follows the basic outline of the novel in this way.

The writing is by Andrew Payne, who wrote the adaptations of the other films, Blood Sport, Twice Shy. The direction by Winberg Wicker is not particularly good - a lot of people standing around awkwardly, incessant driving around, people getting out of cars and going to doors without saying anything - which means a large amount of padding which takes away the dramatic impact of the film. Ian Mc Shane is better than in the other films - perhaps learning his way in this one. Lyman Ward is a jovial foil to Mc Shane. Barbara Rudnick adds a touch of glamour.

1. The popularity of Dick Francis mysteries? The basic plot, adapted for the screen, adapted for Canada and for continental Europe?

2. The Canadian settings, the city, racetrack? The Freiburg settings, the scenic beauty of the town and its surrounding countryside? Atmospheric, if obvious, score?

3. The title, the reference to the art world and the paintings of the horses? Authentic paintings, fakes? The complications with the wine dealing and the art dealing?

4. Ian McShane? as David Cleveland, a Dick Francis hero, appearing in the other films? His work with the British Jockey Club, in Canada, in Europe? Security, knowledge of the racetrack, investigative qualities? His mode of action, scorn of the police, loyalty to friends, infatuated with Marina, the relationship? The solving of the mystery, the confrontation with the villains?

5. The direction, the awkwardness of some of the characters and their standing about? The use of cars, driving? Diminishing the drama of the film?

6. The opening, Suzanne and the house exploding, the house robbed? The return to Don's house and its being robbed? The information about the painting, going to the dealer, its not being destroyed, discovered to be a fake? The antagonistic attitude of the police?

7. David Cleveland going to Freiburg, meeting Marina, staying with her? His introduction to Foster? Going to the gallery, his performance for the video cameras? Meeting Wexford? Wanting to do a deal? Meeting the forger? Don arriving, their working together? The build-up to the races, Cleveland's plan to steal the painting after his being discovered in the office, going through the paintings? The documentation with the sets of clients? The carrying out of the plan?

8. The racetrack, Foster and his horse, Wexford and his horse? Don and his betting and losing? Marina and her interest? The aftermath of the races, Wexford with Foster, the knowledge of the truth, in pursuit of David?

9. Marina, her presence in Canada, her work, relationship with Foster, friendship with David, at the races, not knowing what was going on, her trying to get the customer list from Foster's safe?

10. The build-up to the culmination, going to the forger, a different painting, Wexford and his thugs, the crash? Foster arriving with Marina, the gun? The car chase, the crash? The satisfactory resolution to the mystery?

11. An enjoyable if not demanding mystery thriller? With the Dick Francis overtones of the racing world?