LAST OF THE FINEST

US, 1990, 106 minutes, Colour.
Brian Dennehy, Joe Pantoliano, Jeff Fahey, Bill Paxton, Debora- Lee Furness.
Directed by John Mackenzie.

Last of the Finest (also known as Blue Heat) is a police story set in Los Angeles. It comes at the end of the '80s - but is one in the great number of police stories of the '70s and '80s, always popular.

Once again we are given a portrait of a squad (this time with a working class background and some details, presented authentically, of families). There is police corruption, big drug money - extending to Washington and Central America.

The film shows the squad at work, their camaraderie, their working as a team. There is a death, suspension from duty, their forming a vigilante squad - and uncovering an extensive drug-dealing, arms-smuggling operation.

While the material is familiar and the ultimate outcome expected, the film offers quite a deal of excitement, an invitation to share in the experiences of the police and their family, their frustrations. In this sense, it is a relation of Joseph Wambaugh's style of police story (New Centurions, Blue Knight, Police Story, Black Marble).

Brian Dennehy gives yet again a fine performance as the central policeman, supported by Bill Paxton, Joe Pantoliano, Jeff Fahey. Australian actor Deborra- Lee Furness has an effective role as Dennehy's wife.

Direction is by John Mackenzie, the English director whose credits include The Long Good Friday, The Honorary Consul, The Fourth Protocol, Act of Vengeance with Charles Bronson.

1.Effective police story, exploration of the law, justice, political, police and civic corruption?

2.The Los Angeles of the movie, the police precincts, the affluent world of the drug and arms dealers, the contrast with the workers' homes and the park for the children? Musical score?

3.The original title, the praise of the police of integrity?

4.The opening with the team, playing ball, collaborating in their work, the stakeout, not getting the back-up, the undercover agent as the old woman? The explosions, the money destroyed, the mess? The drug dealings and Reece? Frank and his psychological report, the official and his disapproval of Frank's behaviour? The lack of evidence, his pooh-poohing ideas? The burnt money? The suspension, the hearing, the police resigning under such pressure? The break-up of the team, especially with Howard's death?

5.The portrait of Los Angeles police, integrity, their role? The corruption of the officials, the reasons, motivation, money, resentments and frustrations? The police of integrity and their trying to do their job?

6.Brian Dennehy as Frank, the portrait of a middle-aged man, on the edge, aggressive, psychological balance, drinking? Relationship with his wife, family? The genial family sequences, football, play? With the other members of the group? On edge? Eddie and the information, the hooker, her death? Phone calls in the night, discovering the bodies? The build-up to his resignation and yet wanting to pursue the case, find Howard's killer? His wife confronting him and his admitting the truth? The discussions between the group, Wayne resigning from the police force, Ricky not wanting to because of his life and pension, his decision? The robbery to get the money, buying the equipment? Posing as journalists - and taking the press cards? The stalking of Reece, the Central American group, the businessman and his speech? On the roof, the video, going to the old policeman's home, the drink for Tommy, his reading the lips? Being betrayed by their boss? The emotional impact, Frank and his going to Howard's wife and telling her? The memories of the barbecue and party scenes, the family relationship of the group? The build-up of the dangers, Tommy's body in the locker rooms? Going to the pier, in the big vehicle, surveillance, shot at? Taking the truck - and ironically all the money? Hiding the money in the sewer? Hiding the wives after the attack on Linda? The decisions about keeping the money, police, their motivations? The elaborate showdown, the industrialist, Reece? The bargaining, the knife at his throat, the police chief and his change of heart? The showdown and shoot-out? The finale with the park, the monument? The money going up in flames - but enough for the monument? Their being reinstated? Frank's future? The portrait of his wife - understanding and support, the threats, her children, escaping from the attack? The decisions about the money?

7.Wayne, his photographic skills, relationship with Ricky, tensions, lack of tact? His work in the team, the video, the photographs? The final shooting - the bullet-proof vest? Howard, place in the team? His death? His wife and her pregnancy? Ricky, his girlfriend, the bond between the two? Place in the team, young and tough? Decision to resign? His participation in the action, the finale?

8.The police officials, the corrupt boss, his thwarting Frank and the team, the investigation? The resignation? His engineering the murders of the informer and the hooker, of Tommy? The meal and the confrontation with Frank? His explanation of his motivation? Going to the businessman, the go-between, the change of heart at the end and his death? Reece, small business, the contact man, the drugs, the brutality to the hooker? At the speech, the deal? The finale and his getting the money and detonating the explosion? The businessman, the Washington contact, the Central Americans flying in? His aggressive speech, the selling of arms? The pier and the wharves, the transporting of the weapons, the drugs? Getting the money? The cover of the Right-Wing? American activity? The showdown, his fear, death in the helicopter? The informer, the prostitute, their deaths? The elaborate dinner, the speech, the wealthy supporters? The contrast with the showdown and the futility of his activity? The Washington connection - and the television with the finale, the speech and the possibility of the corruption continuing?

9.The picture of police, collaboration, the ex-cops and their home?

10.Satisfactory action spectacle and excitement? The realism of the activities, crime investigation, pursuit? Moral decisions about career, corruption, drugs, money, integrity?

LAST MAN STANDING

US, 1996, 101 minutes, Colour.
Bruce Willis, Christopher Walken, Bruce Dern.
Directed by Walter Hill.

Bruce Willis has well made his mark as an action hero who lives hard and dies hard. Here he lives hard but does not die hard (the others do) as in a Texas shootout in the 30s, between two minor bootlegging gangs, he is the last man standing. The ads say rather well, `In a war there are two sides - John Smith is on both'.

This is a Walter Hill film. Walter Hill has written and directed tough action films for decades. More recently they have been of mixed value. He has been absorbed by western icons, Geronimo, Wild Bill. Now he is back to what he does best: a tough, male, confrontation that combines realism and a stylised visualising of American violence that is designed to involve us and make us think. And here he has done it very well. Many may find it too grim and brutal, but there is much more than the surface violence. Tough re-working of American myths.

1.The films of Walter Hill, tough male action? His interpretation of a macho world, violence, crime, right and wrong?

2.The film based on Kurosawa's Yojimbo and the Samurai between warring factions in the village? As interpreted as a western? In the west of Prohibition and the 1930s? The Japanese themes and characters paralleling those of the US?

3.The widescreen photography, the Texas town and countryside, the remoteness of the town, the roads, the dust? The hotels, the headquarters of the gangs? The church? The musical score and its forcefulness?

4.The action sequences, editing? A film of violence and blood? Using the conventions of the western and the gangster film?

5.The title, its focus on John Smith, its tone, expectations of western shootouts?

6.The technique of the voice-over, Bruce Willis and his tone, the touch of cynicism, irony and frankness? The perspective of John Smith on himself and the events? The explanation of his past, enigmatic, working with gangsters, for the money? His elaboration of his character, of his actions, of the issues? His moral stances and their ambiguity? His decisions about right and wrong, good and evil?

7.The opening with the church, the cross, the woman in prayer? The issues of good and evil? The contrast between hope and cynicism? The use of the church and Christian symbolism?

8.Smith in himself, Bruce Willis's screen personality? Driving, the car, his being on hire for money? His moral stances? The '30s, Prohibition, the gangs in the east, the gangs in Texas? His looking at the woman and the consequences for himself? The tyre and his having to stay in the town and get the car fixed?

9.The focus on the warring factions? Doyle's group, the Strozzis? The bootlegging of the '30s, the bosses in the east and their underlings in the west? The road convoys, the use of Mexico? The tough stances, the bosses, their henchmen, bodyguards, the use of violence? The macho attitude towards women and using women? Violence and cruelty? The build-up to wars? The style of the gangsters and their self-importance?

10.Smith and his ability with the gun? The confrontation of the various groups, his ability to shoot, quick reactions? The overtures of each group? His thoughts about each of them? His going with the prostitute and being set up, the shootouts? Smith and his dealing with each of the gangs, his motives, the deals, the uncertainties? His ability to set up each side against the other? His encounter with the prostitute, not blaming her? His going to the sheriff, his corruption, his assistant as a spy? The information about the convoy, the build-up of threats about Hickey? Smith turning into an avenger for those who suffered?

11.The motif of the undertaker, the coffins in his window, his raising his hat continually to Smith?

12.The sheriff and his attitude towards the law, in the pay of Doyle, feeding him information? A sleazy attitude towards life? His assistant, watching, giving information? His survival in the town? His interest in Smith, the final decision to help Smith? Covering for him, supporting him, his survival? The overseeing of the ranger and his keeping his position?

13.The bar and the barman, hard times, his staying in the town? Helping Smith, friendship? Being humiliated by the gangs? His ultimately helping Smith, the shootouts, his avenging himself?

14.The prostitute and the women in the west, her story about coming from New Orleans, setting up Smith, her reaction and his getting her out of the town?

15.The encounter with Strozzi's girlfriend, her setting people up, her humiliation, being used, giving Smith information? Smith and his support, helping her to leave?

16.The Mexican woman, her being taken, being used by Doyle? Her prayer and the church? Her being helped to escape by Smith, going back to her family?

17.Doyle as a thug, a little man, sleazy, bad-tempered? His gang - and their being shot by Smith? His convoy and its being ambushed? His desire for revenge? His reliance on Hickey? The meals, his good humour, using the Mexican woman? The build-up to the war against the Strozzis? Destroying them, going to the hotel, burning it down - and thinking Smith was destroyed?

18.The Strozzis and the parallel with Doyle and his gang? His loud cousin, petty criminals, their style, presumptions, their deaths?

19.The contact with the Mexicans, Ramirez and his being bought off, assisting the convoy, turning on the drivers, the massacre? The visit to Mexico and the death of Ramirez and the American contacts?

20.The ranger, his responsibility for Texas, his talking with the sheriff, with Smith, the time limits for the gangs to destroy each other? His lack of a moral perspective, his just wanting law and order?

21.Hickey, Christopher Walken's style, the build-up to his arrival? Henchman for Doyle? The killings, to Mexico and Ramirez? The friendship with Smith, the double cross? The gang realising that they had been double-crossed by Smith, his helping the girl escape, destroying the hotel? The final shootout with Smith and the talk about Hell?

22.The hotel, the destruction and the hellish symbolism? The final set-up, the shootout, the church - and Smith's survival?

23.Smith going on to similar kinds of action? The survivor? The film as a strong and violent, macho morality play of the '90s, an American interpretation and dramatisation of good and evil?

THE LAST BOY SCOUT

US, 1991, 105 minutes, Colour.
Bruce Willis, Damon Wayans, Chelsea Field, Halle Berry.
Directed by Tony Scott.

The Last Boy Scout was written by Shane Black, writer of Lethal Weapon. It was directed by Tony Scott (Beverly Hills Cop 2, Top Gun, Days of Thunder). It stars Bruce Willis, very well known for the Die Hard movies. In fact, this movie is something of a "Die Lethaler".

The film is a reworking of Lethal Weapon, the teaming of black and white, the world of cynicism and bitterness, the world of political corruption - and, despite the cynicism, the last boy scouts of America try to do the right thing.

The film is quite violent, crass in its language, macho in many of its attitudes. However, the intricacies of the plot, the characterisations by Bruce Willis and Damon Wayans, the witty screenplay overcome a lot of the difficulties in the violent impact of the film. (And the hero's daughter watches Lethal Weapon at home of TV!)

The film is set in the world of professional football - but it also involves California politics, senate committees, gambling and the Mob. The film is typical of the hard action features of the late '80s and early '90s.

1.Interesting and enjoyable action film, thriller? Tough? Glossy style and production?

2.The background of Lethal Weapon, Top Gun, Die Hard - and the tough and violent style?

3.The world of professional football, the clubs, the seedy parts of the cities, homes, political background? The world of Los Angeles? Real/unreal? The musical score, songs?

4.How justified the violence of the screenplay? The initial killing on the football field? Joe and his seemingly callous attitude towards life and death? The violent murders and attacks? Milo and his mania? Assassinations? The car chases? The language? Justified or gratuitous? Stunt violence or real violence?

5.The opening football match, the video clip style? The rain, the owner being interviewed by the media, discussions about the sport? The champion, his phone call? The strategies of the match, his taking drugs, his shooting his opponents, shooting himself?

6.The introduction to Joe Hallenbeck? Asleep in the car, the kids and the rat, his reaction? Burnt out, private eye work? Contacts with Mike - and a new job? Going home, Sarah's behaviour, criticisms of his daughter? Finding Mack in the closet? The sense of betrayal? Mike's car exploding? His background as a security guard, upright and clean-cut? With President Carter, saving his life? His work with the senator, the senator's sadistic brutality towards the woman, punching him, sacked? His becoming cynical, yet a boy scout at heart?

7.On the job, going to the restaurant, the striptease, the meeting with Corey? The exotic atmosphere? Encounter with Jimmy? His being attacked, the shrewdness of his escape? His sardonic humour - it enabling the assassin to be distracted? The death of Corey? The meeting with Jimmy, going to jail, the interviews? Suspicions about Mike's death? Police suspecting Joe? His creating bonds with Jimmy, having admired him as a sportsman? Taking him home, the encounter with the daughter and her rudeness? Jimmy going to the bathroom, taking drugs - and being ousted by Joe? The disillusionment of the hero? Jimmy's autograph for Darian and his referring to Joe as the last boy scout?

8.Jimmy, the football background, the presentation of the footballers and their lifestyle, the parties after the match, the big money, the phone calls, the bribes? The brutality of the footballer to the woman in the spa? Jimmy's reaction? The story of the death of his wife and child? His own injuries, drugs and pain, being ousted?

9.The senator, the advertising, Joe and his abusive phone calls? The owner of the team, his plush lifestyle? Senate committee, having the members in his pocket, his interviews with the media? His thugs?

10.Milo, the thugs, their treatment of Joe, his violent reaction back - even killing them with a hit? Marcone and his attitude towards Joe? The plan for the assassination attempt on the senator?

11.The set-up, photographing Joe, the senator's driver? The meeting in the woods? Jimmy and his getting his friends to find addresses? Going to the senators? Finding Darian - with the gun? Their going together, following Joe? Jimmy being caught? Darian innocently walking up with the gun and giving it to her father? The escape, her being taken and held by Milo and then by Marcone? The chase - and the crash into the pool? Milo escaping and pursuing Joe and Jimmy?

12.The stunt work with the car chase through Los Angeles? Matter of life and death? Going to the football stadium?

13.The football game, the plan for the assassination, Milo and the set-up? The senator, his media interviews, going to the match? Jimmy riding onto the field - distracting the senator, warning him with the throw, his escaping death? Joe, the pursuit of Milo, the confrontation, the heights, Milo falling to his death - and the helicopter. The switches with the explosives and the money? The confrontation with Marcone in his room, rescuing Darian, Jimmy using the explosives? Marcone killed by opening the case with the explosives rather than the money?

14.Sarah, her relationship with Joe, memories of better times? Lonely, the affair with Mike? Unable to control Darian? Her attitudes, her abruptness with her father, her actually admiring him? The reconciliation and hope for the future?

15.The title, the American style, cynicism about American authorities, corruption and greed? Violence? The future?

THE LAST BEST YEAR

US, 1990, 100 minutes, Colour.
Mary Tyler Moore, Bernadette Peters, Brian Bedford, Dorothy Mc Guire, Kate Reid.
Directed by John Erman.

The Last Best Year is a moving, emotional telemovie. It focuses on a businesswoman and the diagnosing of her terminal cancer. Self-reliant, she confides in a counsellor, discovers the help of therapy and the wonder of friendship. She is able to go back over her past and comes to terms with it, as well as make friends with many people and influence their lives. It is a film about illness, therapy, dying.

Bernadette Peters, very subdued from her usual wacky and musical comedy roles, is persuasive as Jane Murray, the travel executive who has cancer. Mary Tyler Moore gives a wonderfully sympathetic performance as the therapist.

The film offers the feminine perspective on friendship and illness. The film is sensitively written and it was directed by John Erman (Stella). While some audiences might be deterred by this picture of therapy, by the reality of a woman facing her death, by the consequent sentiment, the film has a great deal of wisdom to offer - especially in its storytelling rather than in its explanations or lecturing about its issues.

1.Impact of this telemovie? The television audience? Designed for the wide and popular audience? Empathy and insight?

2.A woman's perspective? On illness, on therapy, on bonds of friendship, of help, of love?

3.The Chicago settings, the Missouri countryside? The contrasts? The musical score?

4.Audience awareness of cancer, its effect? Dying? The work of doctors, therapists? Treatment? Shortness of time?

5.The title, the real year of life for Jane? For the others?

6.Jane, seeing her in London, her lover? The relationship - and her asking him to come, to tell him about the illness, his blustering and inability to hear, his leaving her? At work, the doctor and the appointment, the tests? The meeting at the travel agency, her diplomacy? Her relationship with the superiors, their antagonism? Friendship with Peter, working with him? With Amy?

7.The doctor offering his diagnosis, telling her the truth? Amy and her realisation, talking with Jane? Going out, developing the friendship? Her telling John Dennis? John Dennis and his liking for Jane, offering her the job? Coming to visit, offering her the travel time and any help? Strong friendship?

8.Her being recommended to see Wendy, the initial encounter, her nervousness, unwillingness to talk? Leaving? Her experiences, wondering about her ability and inability to relate? Making the appointments? Her telling Wendy the story of her baby? The importance of the dream, her behaviour, the characters? Bringing it to therapy? Her growing ability to talk, being frank about herself? Wendy listening to the cues, taking her back to childhood? The story of the baby? Her being more at home in Wendy's office, getting the coffee? Their sharing? Her getting ready to go into the treatment program?

9.The importance of visiting her aunt, sharing the stories, the memories of her parents, the experience of love, misreading her parents and their affection and pride in her? Her decision to go to Kansas City, the interview with Sister Clare, talking with her about the baby, the legal aspects, the policy? Her disappointment? Sister Clare and her principles - but her writing to the parents? Jane's receiving of the letter from the parents, their gratitude for the child? The photo? The joy before she died in knowing about her son?

10.Her Catholic background, giving the church away for twenty years? Her going to the city, ambitions, the married man taking advantage of her, her pregnancy? The father not knowing? The therapy of her anger against the father? At the convent, the adoption of the child? The importance of her son coming to the final ceremony and remembering his mother? Wendy able to tell these stories to him?

11.The growth of the cancer, her getting worse? Friendship with Amy, the friends, playing cards? Her aunt visiting? Her love for Christmas and their decision to have an early Christmas? Presents, carols and Old MacDonald's Farm?

12.Mary Tyler Moore's portrait of Wendy: friendship with Sam, the support of her husband, her mother and the visits? Her discussion about her own grief with her husband and the decision to accept Jane as a client? Her handling the situation, reading the cues, not pressurising Jane? The bonds between them? The importance of the sessions, the quality of the talk, listening to the dream? Sam and his urgency about the treatment, the argument at the dinner table about Jane's freedom? Billy supporting her? The visits to the hospital, the therapy in hospital and the imagination, the anger with the pillow? The joyful visit to see the photo and read the letter?

13.Wendy's own grief, her glimpsing herself in the hospital corridor, not being able to see her ill father, her mother's upset? Her asking her mother directly - and her mother wondering why she was being criticised? Wendy's true assessment of her mother's behaviour - partly right, partly wrong? Her discussions with her own therapist?

14.Sam, his medical expertise, interviews with Jane, hopes for the treatment, the tests, the urgency of the treatment - and its not helping her?

15.Jane ready to die, admitting it? The importance of her Catholic memories, the need to go to confession, the visit of the priest? Her memory of Our Lady of Perpetual Help, the description of her beauty - and Wendy listening, urging her to go into the light? Her death and going into the light, letting go?

16.Love for Jane uniting the group, their bonds with her? The final ceremony?

17.The importance of the dream sequence - Jane in her own dream, the attitudes of her superiors in the firm, their rejection of her? The rats gnawing at her - and her using this image in her therapy? Her going into the room and seeing the skeleton? The effectiveness of the visualising of the dream for therapy?

18.A portrait of life and death, illness? Love and friendship, therapy? Grief and sadness? A film of hope - for the meaning of Jane's life, for not aborting the child, for discovering friendship and wholeness?

THE CALLING

US, 2009.
Directed by David A. Ranghelli.

The Calling is a very sincere and heartfelt film about the call to religious life and to ministry.

The film works well not only as a documentary but as providing a narrative, akin to a feature film. There are interviews as well as scenes focusing on the work of the central characters as well as the reflections on their life and the calling.

The director has followed three people from the late 1990s into the middle of the next decade. They are all from Tampa, Florida. The film opens with a parish priest, Father Philip Scott, preaching to his congregation. However, Fr Scott is originally from Peru and feels that he is called to return there. But he also feels called to establish a new religious congregation, the Family of Jesus, Healer.

Elizabeth, a mother of two adult children in the parish discerns her calling to join him in Peru. She becomes the superior of the community of nuns who work with Father Scott. She draws on her experience of marriage and motherhood to work not only with the sisters but with the poor, especially the women, of the impoverished village where the parish has been set up.

The third person is Orlando, a 21 year old young man, originally from Nicaragua, but who has grown up in a gated community in Tampa and educated there. A good friend of Father Scott, he decides to spend six months in Peru to discern whether this is where God is calling him to live and work.
The film establishes the three characters quickly and quite vividly. They provide strong screen personalities. The scene then moves to Peru, showing the three working there amongst the poor. There is also up a community of men as well as of women. There is camaraderie amongst the religious and a great deal of detail of the local work with people.

The new order is somewhat traditional in its style, especially with the religious habit, prayer patterns. However, Fr Scott and Orlando move amongst the people in the village quite freely, in a more relaxed style then do the sisters.

The drama of vocation is played out for each of the three characters. There are many interviews with Father Scott, glimpses of his work and interaction with the people. He is a great enthusiast. Orlando is at first frustrated then gradually becomes used to the village, the work, the requirements of religious life. However, there are several scenes with his parents, especially his doctor father who does not entirely approve. They visit him in the village and get a firsthand experience of his life. After the six months, he decides to continue with his vocation, begin his novitiate, receive his habit. His parents are present.

But there is much more drama with Mother Elizabeth. Her two daughters put a great deal of pressure on her to be with them and with their children. They make a strong case for the mother to be with them. Elizabeth returns several times with Father Scott to the parish in Tampa to promote the missions. She visits her children, reflects on their feelings, and ultimately decides to take a year’s leave of absence to discern whether she should stay in the United States.

With audience interest in the characters, with the continuing story of their work and the discernment, the film engages the audience. It also offers the opportunity for the audience to reflect on God’s presence in people’s lives, the unique experience that is a call and that has its demands, despite other people’s questioning or disapproval. It does show the realities and difficulties of religious life and working with the poor and the necessary sacrifices. With the story of Elizabeth, it surprises the audience with her ultimate discernment to be with family.

There are three very interesting extras on the DVD. They give more background to the three characters, more interviews and commentary, often very personal. There are a good supplement to the film itself. In some of the segments there is more focus on the two sisters who had come from the United States, their background, work, the family connections, the decisions to join the order. In the film, they are quite subsidiary characters but come alive here.

The film runs for 80 minutes. The DVD also has a 60 minute version.

The three extras are: Feeling the Call, Knowing the Call, Living the Call.

The film is a credit to the director, David A. Ranghelli who stayed with the characters over many years and helps the audience to get to know his friends as he got to know them.

It is a film for reflection and discussion.

The Calling is a documentary from 2009 which is being distributed widely and on DVD.

JANUARY, 2013



THE CALLING

US, 2009.
Directed by David A. Ranghelli.

The Calling is a very sincere and heartfelt film about the call to religious life and to ministry.

The film works well not only as a documentary but as providing a narrative, akin to a feature film. There are interviews as well as scenes focusing on the work of the central characters as well as the reflections on their life and the calling.

The director has followed three people from the late 1990s into the middle of the next decade. They are all from Tampa, Florida. The film opens with a parish priest, Father Philip Scott, preaching to his congregation. However, Fr Scott is originally from Peru and feels that he is called to return there. But he also feels called to establish a new religious congregation, the Family of Jesus, Healer.

Elizabeth, a mother of two adult children in the parish discerns her calling to join him in Peru. She becomes the superior of the community of nuns who work with Father Scott. She draws on her experience of marriage and motherhood to work not only with the sisters but with the poor, especially the women, of the impoverished village where the parish has been set up.

The third person is Orlando, a 21 year old young man, originally from Nicaragua, but who has grown up in a gated community in Tampa and educated there. A good friend of Father Scott, he decides to spend six months in Peru to discern whether this is where God is calling him to live and work.

The film establishes the three characters quickly and quite vividly. They provide strong screen personalities. The scene then moves to Peru, showing the three working there amongst the poor.

There is also up a community of men as well as of women. There is camaraderie amongst the religious and a great deal of detail of the local work with people.

The new order is somewhat traditional in its style, especially with the religious habit, prayer patterns. However, Fr Scott and Orlando move amongst the people in the village quite freely, in a more relaxed style then do the sisters.

The drama of vocation is played out for each of the three characters. There are many interviews with Father Scott, glimpses of his work and interaction with the people. He is a great enthusiast. Orlando is at first frustrated then gradually becomes used to the village, the work, the requirements of religious life. However, there are several scenes with his parents, especially his doctor father who does not entirely approve. They visit him in the village and get a firsthand experience of his life. After the six months, he decides to continue with his vocation, begin his novitiate, receive his habit. His parents are present.

But there is much more drama with Mother Elizabeth. Her two daughters put a great deal of pressure on her to be with them and with their children. They make a strong case for the mother to be with them. Elizabeth returns several times with Father Scott to the parish in Tampa to promote the missions. She visits her children, reflects on their feelings, and ultimately decides to take a year’s leave of absence to discern whether she should stay in the United States.

With audience interest in the characters, with the continuing story of their work and the discernment, the film engages the audience. It also offers the opportunity for the audience to reflect on God’s presence in people’s lives, the unique experience that is a call and that has its demands, despite other people’s questioning or disapproval. It does show the realities and difficulties of religious life and working with the poor and the necessary sacrifices. With the story of Elizabeth, it surprises the audience with her ultimate discernment to be with family.

There are three very interesting extras on the DVD. They give more background to the three characters, more interviews and commentary, often very personal. There are a good supplement to the film itself. In some of the segments there is more focus on the two sisters who had come from the United States, their background, work, the family connections, the decisions to join the order. In the film, they are quite subsidiary characters but come alive here.

The film runs for 80 minutes. The DVD also has a 60 minute version.

The three extras are: Feeling the Call, Knowing the Call, Living the Call.

The film is a credit to the director, David A. Ranghelli who stayed with the characters over many years and helps the audience to get to know his friends as he got to know them.

It is a film for reflection and discussion.

I VITELLONI

Italy, 1953, 109 minutes, Black and white.
Alberto Sordi, Franco Fabrizi, Franco Interlenghi, Leopoldo Trieste, Riccardo Fellini.
Directed by Federico Fellini.

An early film by Federico Fellini. It is a portrait of young men in the post war period, sometimes irresponsible, sexual relationships, marriage and infidelity. It was made in the aftermath of Italian neo-realism. It set something of a tone for the next films made by Fellini, Il Bidone which was followed by the classic, La Strada and Nights of Cabiria

1. The significance and emphases of the slang of the title, indication of characters and themes, of style?

2. Overall structure of the film, a sprawling detail, the focus on particular characters, interplay of characters within the environment of the town, emphasis on an accumulation of incidents?

3. The background of Italy in the 1950s, atmosphere of small towns, rootless existence of young people there, futility of many with their behavior and attitudes, Italy and the recovery after the war, availability of work and opportunities, possibilities for responsibility and the exercise of it, the shifting values, the cuts from the traditional social and religious past, the inability to adapt to the post-war present? The effect of this on each of the characters?

4. The black and white photography capturing the atmosphere of the town, its streets and buildings, theatre, cafes, houses, the rooms where people lived and interacted?

5. Portrayal of Italian families, structures within the family, spheres of influence, nature of inter-relationships, accountability for behavior, the variety of attitudes, traditions and the current futility?

6. Formation of the gang, morale within the gang, leadership, mutual influence, the lack of future and the sense of drifting?

7. Fausto as leader, strengths and weaknesses of character and the way these were illustrated, his hold over the other young men, relationship with Sandra? Interchanges between himself and
Sandra, his womanising, his search?

8. Sandra and the portrayal of the young Italian woman? In this kind of town in the post-war era, her love for Fausto and dependence on him, marriage? the acceptance of the infidelity and waywardness of the Italian male?

9. The portrayal of the parents, the standards and values, the influence on the young, the lack of influence?

10. Moraldo, as a character, his place in the gang, types of behavior, provoked by the behavior of Fausto, the change that came over him throughout the film, the credibility of the change, his decision to leave town, the impact of this decision? What future did he have?

11. The portrayal of the other young men and their values and the lack of values?

12. Fellini’s purpose for this film in terms of entertainment, the exploration of Italian values?

VISITORS

US, 1972, 88 minutes, Colour.
Patrick Mc Vey, Patricia Joyce, James Woods, Steve Railsback, Chico Martinez.
Directed by Elia Kazan.

The Visitors is the last film from celebrated director, Elia Kazan. Kazan had made a great impact on the Broadway stage in the 1940s with A Streetcar Named Desire and Marlon Brando. He won an academy award in 1947 for Gentlemen’s Agreement. He then did, amongst many films, Viva Zapata and A Streetcar Named Desire with Brando. Again with Brando, he won an academy award for directing On the Waterfront in 1954.

This is a film about the war in Vietnam, its aftermath. A couple receive visitors on a Sunday afternoon, who discuss the war, a court martial in which they appeared on different sides. This offers psychological drama as well as reflection on the war, especially in the context of the early 1970s.

1. What was intended by the filmmakers? The significance of the stark title? Style of the screenplay, photography? A rough and ready film?

2. The title and irony of the film?

3. The structure of the film? The presentation of one day: the opening, ordinariness, challenge and change, menace and suffering, the ending of the day?

4. The film was meant to be an allegory about modern America in the 1970s. America and its involvement in the war? American violence? How useful and successful an allegory?

5. The importance of seeing the main characters as everyman and everywoman of the America of the 1970s? The importance of the setting: the house, ordinary life and work, the fact they were
not married but living together, the role of the child. Ordinary American family?

6. The importance of Harry, the father? The fact that he wrote westerns? Westerns and the tradition of American violence and manliness? The relationship between Harry and his daughter? His relationship with Bill?

7. Comment on the film’s technique of gradual knowledge for the audience about what happened in Vietnam? Was it necessary to show the flashback in reality? The effect of the flashback?

8. The initials impressions of Tony and Sargeant? Menace? Relationship to Bill? Their intentions? The growing impact when the truth was told? Did the audience share the reaction of the girl? Or sympathetic to Harry’s interpretation?

9. Comment on the film’s focus on ordinary things in building a menace. Meals, going for walks, discussions with Harry, going hunting etc.?

10. And in the atmosphere of fear grow? Bill as afraid of what the men will do to him?

11. The importance of guilt as background to the film? Did Bill feel any guilt as regards what he had done? Harry’s approval disapproval of what he had done? The girl’s approval? Tony’s attitude
and his relentless wanting to punish Bill? Sargeant having served his time and not holding a grudge?

12. The film’s ironic comments on manliness? Harry and the shooting of the dog? The sharing of stories? The background of westerns, drinking and violence, the presuppositions about manliness?

13. Did the film show emotional conflict will? The board and the band in each of the characters? Talk, interactions, meal situations?

14. How inevitable was the Philip physical violence of the fight? The way that it was filmed? Impact? Tony, Sargeant, Harry or Bill?

15. The sensual aspects of the deals relationship with Tony? The dance? The violence of the rape? The parallel to the Vietnam situation? The effect on the girl?

16. The vengeance scene? The tradition of vengeance in America? In the west? How ugly the way the violence has portrayed?

17. What had the characters achieved by the end of the day, in terms of fear, guilt, heroism?

18. Comment on the themes of war, violence, American myths, the west, hurting, shooting, fighting, manliness, power, supremacy?

VIVA MARIA

France, Italy, 1965, 120 minutes, Colour.
Jeanne Moreau, Brigitte Bardot, George Hamilton, Claudio Brook.
Directed by Louis Malle.

Viva Maria could be described as a spectacular romp. It is a star vehicle for Brigitte Bardot Jeanne Moreau. It was directed by Louis Malle. Malle had collaborated with Moreau for several films including A Lift to the Scaffold, Les Amants, Le Feu Follet.

The two actresses appear as circus performers, Bardot being a refugee from Ireland. There are scenes of performances, especially with Bardot inventing striptease. However, they become involved in revolutions, going to active service, the film becoming something of ahe spaghetti western. Alain Delon retired from the film and was replaced by George Hamilton. The film has strong credentials in its writing, photography, editing.

1. How good an entertainment? The colour, spectacle, noise? The vivacity of the stars? Liveliness of the themes?

2. The use of Panavision, colour, locations, atmosphere of verve and vitality? How French?

3. A good comedy, the atmosphere of parody, skits, circus? details as the mother slapping the boy, the use of circus routines for the battles etcr? Humorous situations and the lights tone for the serious themes?

4. The importance of the prologue: the scenes in Ireland, England, Gibraltar, the background of the Irish and revolution?

5. Irish Maria: explanation of her background, her skill in explosives, the tomboy atmosphere? How well-drawn character or a caricature? Her involvement with the circus, watching the suicide, involvement in the striptease, involvement in Mexico? Skill with guns? Her adventures? Capture and escape? Final triumph? What did Maria stand for?

6. French Maria: her role in the circus, the act, her love for Flores, her swearing to avenge him, her role in the revolution? Her relationship to Maria? Involvement in adventures, capture, escape? What did she symbolize? Should she have been better drawn as a character? What did the two Marias stand for in terms of the title, the symbol for revolution, for victory?

7. How convincing was Flores as a revolutionary leader? The quality of his appearances? Misfortunes, torture, Maria’s love for him, impact of his death? The moving force behind the revolution?

8. How important was the revolutionary theme? The film in favor of revolution? Portrayal of revolution and battles, the clash of social classes? The parody of serious revolution films? Yet the intensity and reality behind the parody? Clashes with authority?

9. The presentation of authorities’ figures, the need for revolution: the owners and their arrogance, antagonism towards Flores, imprisonment of the circus and the two Marias? The role of the governors and their incompetence? The satire on church authorities and the torturing sequences? The comment made on these bourgeois authority figures?

10. Has sympathetic were the revolutionaries, the peasants, the circus people as ordinary people?

11. How important was the finale? How impressive in the filming of the revolution? The intertwining of circus comedy and acrobatic tricks? The finale with the friar and they had in his hands?
Help recruit for the whole atmosphere of comedy and revolution?

12. Although the film was meant to be entertaining, how serious the points through comedy and parody?

VISIT TO A SMALL PLANET

US, 1959, 85 minutes, Black and white.
Jerry Lewis, Joan Blackman, Earl Hollimant, Fred Clark, John Williams.
Directed by Norman Taurog.

Visit to a Small Planet is based on a play by Gore Vidal. It was adapted for the screen as a star vehicle for Jerry Lewis. There is more Jerry Lewis than Gore Vidal.

The film was directed by veteran Norman Taurog, Oscar winner for Skippy in the 1930s, director of a range of genres, in the fifties directing a number of Martin and Lewis comedies and in the 1960s, Elvis Presley films.

This was the time of many small budget science fiction films. Jerry Lewis plays a goofy alien who decides to visit earth, to find out what human beings are like, and ends up in a range of Jerry Lewis-styled pratfalls and silly situations.

1. An entertaining film? Comic?

2. A successful Jerry Lewis comedy: style, goonery, mimicry, lack of subtlety? the popularity of Jerry Lewis comedies?

3. There was serious intention in the original play: satire on human beings in the 1960s. Clearly evident in the film, or obscured by the comedy? Did the film have serious intent underlying the comedy?

4. The structure of the film: life in space, the nature of the visit, the contrast of space life and earthly life, the similarities?

5. Kreton (is this too much like ‘cretin’?). Jerry Lewis’s personality and style, goonery in space, his lessons and knowledge? his wanting to be involved in the Civil War? The nature of his visit and impact on human beings? His attitudes? His capacities for reading people’s minds? His not being able to be touched, his helping others, his curiosity about love, the effect of love on him? How was he shown to change? Such sequences as the dance in the café? Why did he decide to stay? The conventions of satire on this behaviour by the device of the visitor from outer space?

6. How satirical was the visit and the fresh look at earth in the 1960s? Money, jobs, love, etc.? Human foibles that were satirized?

7. The satire on Spalding and Mabel? The television programs, keeping the job, manners, Mrs. Spalding bringing refreshments at odd times? What was being satirized in the older American
generation?

8. Was Conrad too dumb a figure in contrast with Kreton? Loving Ellen? The satire on the dumb American hero?

9. Ellen as leading lady? And the satire on the romantic heroine? Her attraction for Conrad, for Kreton?

10. The satire on Mayberry, his wanting to photograph Kreton?

11. The detail of satire of 1960: parties, picnic, dances, the police etc.?

12. How much value was there in the comedy? In the point of the visit to earth as a small planet? The target audience for the film?