SITTING TARGET

UK, 1972, Colour.
Oliver Reed, Jill St John, Ian Mc Shane, Edward Woodward, Frank Finlay.
Directed by Douglas Hickox

Sitting target is a violent crime thriller. It is a star vehicle for Oliver Reed, very popular in the late 1960s and early 1970s. American Jill St John joins a standard British cast.
Reed plays a criminal in prison, is angry at his wife because she has had an affair, is trying to escape from jail and target his wife and the lover.

The film is in the style of the grim thrillers of the period, British style. It relates to the Richard Burton vehicle, Villain, in plot and tone.

1. The alternate title was Screaming Target. Why the change? How brutal a film? Merely brutal and over violent? Why? Or an interesting crime-thriller?

2. How interesting were the scenes of prison life? In the exploration of the theme of prison and the effect it has on prisoners?

3. How interesting a character was Harry Lomart? The personality and brutality of Oliver Reed? Unrepentant criminal? Could the audience identify with him? Understanding his resentment at his wife’s behaviour? Revenge for his motivation? How ugly?

4. How interesting a character was Birdie? Attractive? Audience sympathy? How ironic when Birdie’s true colours were shown?

5. The character of MacNeil? An example of the criminal mind? Ultimate betrayal of Harry and Birdie?

6. How interesting were the plans for escape and the execution of the escape? The film generating excitement?

7. Pat Lomart, audience sympathize with her? Visit to the prison, pregnancy, the anger that Harry showed and his attempt to strangle her? Revenge on her?

8. Why was the motive of revenge so strong? The plans for revenge? Arranging of the gun? Of the details? Revenge becoming an obsession?

9. The relationship between pat Lomart and Inspector Milton?

10. Why was Harry and so violent, so prone to go berserk? A victim of betrayals? Growing motivation of revenge in the chases?

11. Marty Gold and his death threats?

12. The irony of the finding of the money after Birdie’s protection of Harry and rescuing him? The betrayal? The credibility of Harry’s further revenge?

13. Was that denouement credible with the shooting ability, Pat’s death, Harry embracing Pat and the final explosion? A values film, or merely sensationalist?

SINT/SAINT

Holland, 2010, 88 minutes, Colour.
Directed by Dick Maas.

Saint/ Sint is a 21st century horror film by Dutch director, Dick Maas. Maas had a long career in making dramas and popular horror films, e.g. The Lift.
He has taken the age-old legend of Saint Nicholas, the kindly bishop in Turkey who gave gifts to children. This was the religious origin of the popular Santa Claus tale. However, his writers have invented a fictitious heretic bishop of the 15th century, ruthless in his greed, ravaging townships, exploiting people, kidnapping children, a kind of terrorist pirate. This is shown in a prologue, set in 1492.

There is an interlude in 1968, a 20th century family, the appearance of Nicholas and his cutthroats, the band looking like the pirates in Pirates of the Caribbean? They destroy a family, with one son surviving who grows up to be a policeman.

The film is then set in the 21st century, Amsterdam, young people and their permissive way of life, Amsterdam.The mayor and the police are alert as the rising of the moon situation indicates the possible re-visit of Nicholas. Of course, this happens, the policeman going out on on his own to confront Nicholas, with the help of the young man who survives.

There is a kind of permissive coarseness underlying the behavior of the young people. But, overall, this is an oddball imagining of a religious tradition and turning it into a horror film.

1. The director and his tradition of Dutch horror films? A 21st century horror adaptation?

2. Saint Nicholas and the traditions about the saint, his love for children, the gifts, the regions of Santa Claus? The variation on this theme with the renegade bishop, Nicholas?

3. The prologue, 1492? The flavor of the era? The bishop, his henchmen, his ruthlessness and cruelty? The pursuit of the children? Capturing? The persecution of the townspeople? Their reaction? Banding together? Pursuit of Nicholas and his associates? Destroying the ruthless mercenaries? The bishop and his followers as living dead? Decisions for revenge?

4. The special effects for Saint Nicholas and his henchmen, the lavish look of the 15th century, the contrast with the Pirates of the Caribbean look of the survivors?

5. The portrait of mayhem, the village, the people and their revolt?

6. Amsterdam, 1968, the portrait of the family, the ordinary life, December 5, but the position of the moon, Nicholas and his henchmen, arrival, destruction of the family, the survival of the boy?

7. 21st century, the boy having become a policeman, his eccentricities?

8. The young people, at school, permissive of lifestyle, sex talk, the setting up of victims for San Nicolas?

9. The young people and their relationships, secrets, betrayals?

10. The date, the moon, Nicholas and anticipation of his coming, arrival, action, with the children, killing the girl, the brutality of the henchmen, Nicholas and his riding over the roofs of Amsterdam?

11. The police, the men, decisions, suspicions of the eccentric policeman, his trying to warn them?

12. The action sequences, the young man, his survival, with the policeman, the chase? The escape, the boat?

13. The setup, the explosion, the death of the policeman, the survival of the boy?

14. The boy in hospital, his girlfriend coming to see him? But the anticipation of Nicholas is return?

THE SERPENT/ NIGHT TRAIN TO MOSCOW

France/ Italy/ West Germany, 1973, 121 minutes, Colour.
Yul Brynner, Henry Fonda, Dirk Bogarde, Philippe will Noiret, Michel Bouquet, Virna Lisi.
Directed by Henri Verneuil.

The Serpent, Night Flight from Moscow, adds to the spate of espionage films with far-fetched plots, strong on action and heroics. This one retains the far-fetched plot and, instead of action, concentrates on the intelligence techniques and processes used for counter-espionage.

The film is strong on interrogations, computers, data-processing, lie-detectors. This probably gives the film a more serious tone than was intended.

Yul Brynner plays the part of the Russian defector well. Henry Fonda is sturdy as usual as the CIA chief. Dirk Bogarde lurks on the side for Britain. There are the usual plot twists, which means that the film is your average enjoyable spy thriller.

1. The title? Originally, The Serpent, and with some explanation during the film? How is The Serpent the more appropriate title?

2. The impact of the film as a thriller? Mystery? Espionage? The structure for involving audiences, following the plot details, for clues to the mystery?

3. Audience reaction to the CIA and to espionage? The melodramatic aspects, the use and political backing of espionage?

4. How did the film highlight the necessity of espionage? Rules of politics? Developments of technology in spying? People’s ingenuity? The use of people for political purposes? A pessimistic
outlook?

5. Questions of ideology and loyalty, careers, money, adventures and the adventurers, use of power, cleverness, skill in deceit?

6. How ingenious was the original plan? The details and its working out, the risks, deaths, final discovery?

7. The film’s focus on Vlassov? The initial escape, sympathy for him? His wife? The detail of the interrogation? Lie detector, tapes, photos, television? Vlassov and his skill inconsistency? Underlying attitudes? Explored well as a character?

8. Presentation of the briefings and the deceit? The truth about Vlassov?

9. Davies as the typical American hero of the CIA? Henry Fonda’s style? Davies’ ingenuity in spoiling the plan?

10. Audience interest in Boyle? British and espionage, Boyle’s style? When did the audience suspect the truth? Boyle’s cruelty?

11. Berthon: suspicion, truth? Humiliation of the politician? Emotional pressure? Drama of the television interrogation? Victimisation? Assassination attempt? His future?

12. People branded by lies? Suicides and murders? To what purpose?

13. Concentration on the details of interrogation? How interesting, dramatically? The role of Annabel lee?

14. The details of technology, detection of the truth? Interesting comment on contemporary espionage?

15. The irony of the final exchange of prisoners, dramatic presentation, culmination of the story?

16. The comment on wall, the Cold War, espionage, human values?

VIVACIOUS LADY

US, 1938, 90 minutes, black and white.
James Stewart, Ginger Rogers, Charles Coburn, Beulah Bondi.
Directed by George Stevens.

Vivacious Lady in the tradition of the American screwball comedies of the 1930s directed so well by people like Howard Hawks and featuring stars as Carole Lombard, Fredric March, Katharine Hepburn, Cary Grant.

Ginger Rogers and James Stewart are a lively pair, and there is excellent support from Charles Coburn as a stiff-minded professor and Beulah Bondi as his wife. George Stevens is more used to direct ponderous films or more serious-minded films. His next film was Gunga Din. His handling of screwball comedy is not as fast-paced as the best of the genre. Ginger Rogers had finished most of her musicals with Fred Astaire and was to win the Oscar for Kitty Foyle in 1940. James Stewart was only at the beginning of a very successful career, winning the Oscar also in 1940 for The Philadelphia Story. George Stevens was to win Oscars for best direction for A Place in the Sun, 1951, and Giant, 1956.

1. The appeal of American screwball comedy in the 1930s, now? Characteristics of fast pace, zany dialogue and situations?

2. The impact of the stars, the crispness of the dialogue, the conventions of romantic comedy, the critique of the types, especially the stiff the Middle American types has represented by Professor Morgan?

3. And helpful civil work the plots on screwball comedies? The comic tones, the underlying serious themes? Portrayal of characters? Control it situations?

4. James Stewart's style as Peter Morgan? Son of his father, serious-minded, suddenly falling in love and marrying? The bond with Francie? The tradition of old Sharon, his way of talking?
Francie and her changing him? His inability to cope with bringing her home, the scene at the station, confronting his father, his fiancée? His inability to tell his parents? Coping at class? Revelation of the truth and the aftermath? Peter Morgan has the gangly, awkward American hero?

5. The contrast with Ginger Rogers as Francie, at work in the cabaret, singing and dancing, good-hearted type? her falling in love? Appreciating Peter? Going back, arrival, her faux pas? Her fight with the fiancée and punching Professor Morgan? Her friendship with Keith, her presence in the classroom? Her wanting to tell the truth? Confrontation with the professor? The mother’s appreciation of the truth, prepared for when they exchanged cigarettes? Keith and Francie teaching Mrs. Morgan to dance? The pleasant side of the American woman?

6. The satirical presentation of the stuffy, professorial father and his refusal to listen to his children? The presentation of the meek American wife - using heart trouble as an excuse not to be worried? The bond with Francie, her decision to leave her husband?

7. The good-natured portrait of Keith as a friend and other man?

8. How humorous were the situations, the farcical nature of coincidences? The pacing of the situations? The discovery of the truth by Professor Morgan with the dancing, the long crying sequence in the train?

9. Critique of snobbery? The two wanting to break his image for tricking, and the reaction of the visiting education board?

10. The focus on decisions about love and career? The importance of the train sequence for the two women? The two men stopping the train and the reconciliation?

11. The happy ending, typical of this kind of film, appropriate? The presentation and reinforcement of traditional American values?

MIRROR, MIRROR

US, 2012, 106 minutes, Colour.
Julia Roberts, Lily Collins, Armie Hammer, Nathan Lane, Mare Winningham, Sean Bean, Michael Lerner.
Directed by Tarsem Singh.

‘Mirror, mirror’ is one of those phrases that most people can say, ‘The Queen in Snow White’. Here she is played with wry humour by Julia Roberts who seems to be enjoying herself. Whether she is the best choice for the role is another question, but here she is.

Because we all know Snow White from Disney’s first animated feature film in 1937, we have ideas of what Snow White, the Prince, the Queen and, of course, the seven dwarfs are like. Can they be portrayed by live actors. Here is the opportunity to judge.

While Julia Roberts and her sardonic remarks and vanity cruelty are central to the first part of this film, attention goes to Snow White and the dwarfs in the second part. Snow White is Lily Collins, a strong character who is attracted to the Prince (Armie Hammer) who is presented as handsome but a bit of a foolhardy hero (especially when the Queen puts him under a spell and he becomes her pet puppy). The Dwarfs have chips on their shoulders because they have been shunned by the townspeople. Their new career is waylaying coaches and stealing. While Snow White puts an end to this, they teach her some fighting and duelling tactics which come in handy when they attack the prince for the third time.

Nathan Lane is also at court as the Queen’s fawning lackey. He plays it like a Nathan Lane self-deprecating but surviving performance.

Director Tarsem Singh, with his Indian background, is not averse to flamboyant action, lavish sets and colour, and a spectacular array of costumes.

There is no major reason for seeing Mirror, Mirror, except to while away some time pleasantly enough or to see what the 21st century can make of a Grimm’s Fairy Tale.
1. Audiences and their knowledge of Snow White? From the Disney film? From Grimms’ fairy tales? The impact of a live action version?

2. The production appeal, the kingdom, the cliff and the castle, winter and the snow, the interiors of the palace, the town and its drabness, the woods, the house of the dwarfs?

3. The special effects, the mirror, Julia Roberts’ mirror image? Transforming Brighton into a cockroach? The impact of the beast? The action sequences, the training, the fights?

4. The costumes, lavish? Sets and decor? Musical score?

5. The narrative, the queen telling her story? Julia Roberts as the queen, in the mirror, her vanity, the story of the king, his rule, Snow White’s birth, his wife’s death? The animation style of this sequence? The king and his care for his daughter, meeting the queen, the decision to marry, his going into the forest and disappearing?

6. The character of the queen, her madness, her vanity, her lavish style, costumes, makeup and preparations (and demanding that the staff not laugh at her)? Brighton and his fawning on her? Anti-Snow? White? The sardonic remarks? The encounter with the prince, her plan for marriage? Her ordering the ball, more taxes? Her anger at the ball, talking to Snow White, wanting to kill her? Brighton and his commission, his bringing back the bag of the remnants? The prince, his leaving, his being robbed again, the return? The queen casting a spell over him, his behaving like a dog? Agreeing to marry the queen? The preparations for her wedding, the vanity of her dress and waistline? Going to the wedding, discovering the mishap for the guests? Going to the mirror image, the penalty for using magic? The potion for the prince? Letting loose the beast against Snow White? Watching in the mirror? The emblem, the transformation, the king’s reappearance? Her ageing, coming into the wedding, offering the apple – eating it and disappearing?

7. Snow White, her age, her place in the palace, her friends in the kitchen, their urging her to go into the town, the encounter with the prince and his being robbed by the dwarfs? The ball, her encountering him again, the dance? The confrontation with the queen, going with Brighton in to the woods, his saving her? Running, discovering the house of the dwarfs? Their return, their reaction, talking, her preparing the meal? Their getting the money, her returning it to the people, claiming the dwarfs had brought it back? Their acceptance by the people? The training with the dwarfs, the collage of weapons, stances, clothes? The prince and his entourage coming again, the upset, her fighting with the prince? His leaving, the wedding, the discovery of the spell, the kiss, his waking? Snow White locking them in the house, the prince leaving, fighting with her, the beast and the struggle, the emblem, the appearance of the king? His love for his daughter? The wedding? The queen with the apple – and Snow White giving her the piece to eat?

8. The prince, the far country, his assistant, the initial robbery by the dwarfs? Arrival without a shirt in the presence of the queen? His embarrassment? Going to the ball, as a rabbit? The queen and her attentions? His leaving again, being robbed again? The return, the spell and the potion, the preparations for the wedding? His being taken, the dwarfs having him in their house? Their attempts to break the spell, the kiss?

9. The dwarfs, their characters, the story about their being rejected from the town, their home, with Snow White, accepting her, robbing Brighton, Snow White and her principles, returning the cash to the people in the town? Their training Snow White? Trying to break the spell? The beast?

10. Brighton, his serving the queen, her humiliating him, his sardonic remarks, freeing Snow White? The taxes – and pocketing some?

11. The baron, the royalty in the kingdom? Their reaction to the queen?

12. The castle staff, Baker Margaret and her friendship with Snow White? The flirtation with Brighton at the end?

13. The townspeople, the money, their poverty, the taxes, the magistrate, the money returned? Their joy at the wedding?

14. The happy ending – and the music video style of the song during the final credits?

THE DEEP BLUE SEA

UK, 2011, 98 minutes, Colour.
Rachel Weisz, Tom Hiddleston, Simon Russell Beale, Barbara Jefford.
Directed by Terence Davies.

Highly, very highly, stylised.

That can serve as a review description – but also as a warning to audiences who like their dramas straightforward, even realistic, rather than one presented as consciously contrived for dramatic effect. The latter is what Terence Davies has done in his comparatively few films, made over more than two decades. His semi-autobiographical films, Distant Voices, Still Lives (something of a masterpiece of British wartime mood insight) and the more straightforward, The Long Day Closes, had a distinctive measured pace, a selection of events that revealed characters but always in a context that blended the real with the lights and shadows of house interiors. And then there was the musical score, sometimes classic, often popular, even with scenes of community singing in the local pub.

He drew on these characteristics for his adaptations of novels, The Neon Bible and Edith Wharton’s The House of Mirth.

He put himself into his documentary on Liverpool for its year as European city of culture, Of Times and Places. His commentary during that film as well as in media interviews show him as rather held-in, prissy-mannered, often cutting in his remarks.

All these influences are discernible in his adaptation of Terence Rattigan’s 1952 play about marriage, formality, desire for passion and memories of the war, The Deep Blue Sea, filmed in 1954 with Vivien Leigh and Kenneth More.

While the principal action takes place over one day, beginning with Hester Collier’s suicide attempt in the morning and her being left alone in the evening, the early part of the film enables us to go into Hester’s memories and how she came to this state of mind. And, during the day, there are further flashbacks which complete her story.

The film opens in the London street (about 1950), cranes up to Hester standing at the window and then moves inside. It ends with Hester again at the window, then the camera outside and tracking in reverse to a darkening evening and dwelling on some suburban ruins from the Blitz. Ruins at the end? Or, a shot of ruins knowing the London could rebuild and begin a new life?

Who is Hester Collyer? With Rattigan- Davies’ dialogue and Rachel Weisz’s powerful performance, we learn that she is a minister’s daughter who has married Sir William, now a prominent judge, but who realises that she has a passionate nature and does not find passion in her marriage. (Her mother in law, played by veteran actress, Barbara Jefford in an excellent cameo of a self-centred, son-coddling, fastidious woman, warns her against passion which makes things so ugly.)

Hester is swept off her feet (and heart) by a World War II pilot, loving him intensely even when he can’ quite manage the same emotions. He is played (with echoes of Dirk Bogarde, John Gregson, Kenneth More and all those military chappies) by Tom Hiddleston, an actor of wide range (Loki in Thor, the sympathetic officer with the horse in War Horse, as F.Scott Fitzgerald in Midnight in Paris). The flashbacks show the feelings in their relationship. The day of the film’s action shows its limitations.

Unexpected, however, is the kindness shown by Sir William (award-winning West End theatre actor, Simon Russell Beale).

The pace of the film is very measured (unbearably slow, one reviewer regretted), attention to the framing of every shot, drawing on the atmosphere of the times, using Samuel Barber’s Violin Concerto to Eddie Fisher and ‘Any Time’, and giving a thoughtful and feeling audience time enough to contemplate and to dwell on what they are watching.

In its elegant and often refined film-making, The Deep Blue Sea offers insight into the feelings of characters who are often very different from ourselves, who struggle with their lives and passions, often knowing they are doing wrong and hurting others but who cannot help themselves.

1. The work of Terence Rattigan, his plays, the film versions over the decades? British, the styles and the themes of the 40s and 50s? Issues and atmosphere? Moral perspective?

2. Terence Davies and his elegant film-making style? Brought to bear here?

3. The stylised structure, the opening, the ruins, the camera outside, craning to the window, moving inside? Hester and her attempted suicide? The end, the framing of the film with the reverse shot? The action taking place over one day, the flashbacks, the cumulative effect?

4. The stylised photography, measured, the framing, contemplation and its effect?

5. The musical score, Barber’s Violin Concerto? The songs, the pubs, the underground during the war? The importance of community singing?

6. The portrait of Hester, Rachel Weisz’s screen presence? The initial suicide attempt, the flat, those helping her, the landlady, the boarders and the doctor? The back-story, her father, religious minister, her visit to him and his condemning her infidelity, marriage and permanent commitment? Her marrying William? The bond, no children? The lack of passion in their marriage? Her place in society, his knighthood? His role as a judge? Hester as Lady Collyer? The visit to William’s mother, the alienation, the talk about passion? Her meeting Freddie? The pub, the British tone, memories of the war, war heroics? The passion in the relationship with Freddie? How much love? His response? Her leaving William, the discussions, his not being willing to grant her a divorce? Becoming Mrs Page? The role of the landlady and talking with her? Life with Freddie, his being away, her being alone, his forgetting her birthday, his return and enthusiasm? The contrast with Bill, the gift of the poems? The clash with Freddie, his moving out? Her memories of passion, attempting to die?

7. Freddie, the war, his chums, in the pubs, his drinking, infatuation with Hester, the flat, living together, being away, her birthday? His leaving? Callow but her pressure on him to stay with her?

8. William, very proper, the judge, his love for Hester, his being hurt at her infidelity, the visit to his mother and his care for her, unwilling to give a divorce? The later meetings, her birthday, his concern about her suicide attempt? A decent man?

9. The mother, her insinuations in her conversation, passion and its ugliness, her concern about her son, her disdain for Hester?

10. The house, the landlady, keeping a good house, allowing Hester to stay, the doctor, the residents?

11. The pub, Freddie’s friends, life outside the flat? The visits to the galleries, art, passion and culture?

12. The moral dilemmas of each of the characters – and how they handled them?

13. A film for older audiences, willing to stay and contemplate the characters, situations and themes?

LA FILLE DU PUISATIER / THE WELL-DIGGER’S DAUGHTER

France, 2011, 107 minutes, Colour.
Daniel Auteuil, Kad Merad, Sabine Azema, Jean- Pierre Darroussin, Nicolas Duvauchelle, Astrid Berges- Frisbey, Emilie Cazenave.
Directed by Daniel Auteuil.

Were we to mention Jean de Florette and Manon des Sources, many audiences, especially those who were charmed and fascinated by the films of the 1980s, would be on the alert. These two stories were written by the prolific Marcel Pagnol. In fact, there have been several versions of a number of Pagnol’s stories, including some written and directed by Pagnol himself. There have also been some American versions of his trilogy of life in the south of France, Marius, Fanny and Cesar.

The Well- Digger’s Daughter takes us into the same area of France, Provence, as Jean de Florette. The girl of the title (Astrid Berges -Frisbey) turns eighteen as the film opens. She cares for her younger brothers and sisters and takes lunch to her well-digging father and his friend. The same day, she encounters a young aviator, son of the local store owner, who carries her across the river and back. When her father’s friend, who would like to marry the daughter, offers to take her to an air show where the young man features, she goes. An exemplary young woman, this decision leads her to some deceptions and the fate of so many young girls in stories like this.

Attention then turns to the father, his dismay at what his daughter has done, his anger at the parents of the young man, his wanting her away from the family. But, as might be guessed, when he eventually sees the baby, he is won over and wants the baby to bear his name.

It is the time of World War I and both the young man and the father’s friend go to war. There are also complications – whether the young man knew what had happened, whether he was shot down behind enemy lines, whether his parents would come to terms with the situation.

Pagnol’s stories are often about very good people (think Jean de Florette himself). There are some villains (think of the uncle and nephew in Jean de Florette and Manon). But, basically, Pagnol believes in the goodness of human nature, in forgiveness and reconciliation and that love is a foundation of life and happiness.

That villainous nephew in Jean and Manon was played by Daniel Auteuil. Since then, Auteuil has become one of France’s great actors. And, now, he has adapted the Pagnol story, directed his first film and plays the well-digger, a fine achievement. In fact, he is planning a trilogy of films on Pagnol’s Marius, Fanny and Cesar. Pagnol has found a devoted and skilled interpreter.

Filmed in beautiful settings and re-creating the period, this is well worth seeing.

1. The work of Marcel Pagnol? His novels? The many film versions?

2. Pagnol’s theme of goodness in the human community, failures, sin, reparation? Hope?

3. The location photography, the town, the homes, the shops, the Provence countryside? Fields, river, forests? The air show? The musical score?

4. The particularly French tone of the film, its atmosphere? Its drawing on classic French films? The work of Daniel Auteuil, his previous Pagnol films, acting and directing, writing?

5. The title, the focus on Pascal Amoretti as well as on Patricia?

6. The introduction, Patricia, her eighteenth birthday, her beauty, her charm, bringing the lunch to her father and to Felipe? Her encounter with Jacques? Her demure manner, his carrying her over the river, her return? Going to her father and Felipe, the chat about the birthday?

7. Her story, her father telling Felipe? His wife, the succession of daughters, his wife’s death, Patricia going to Paris, returning at the age of fifteen, educated, with a Parisian accent? Yet acting as the mother figure for the other daughters?

8. Amoretti’s work, digging the wells, his skills, explosions, divining where the water was? His family, his presence at home, the meals? Patricia’s birthday, the delight? The gift of the hat? The detail? Relying on Amanda to give the gift?

9. Felipe, his story, his age, hopes, attracted to Patricia, his conversations with Amoretti, visiting for dinner, being persuaded to stay? Inviting Patricia to the air show, her not wanting to go, learning that Jacques would be there, her decision to go with Felipe?

10. Jacques, at the river, at home, his father as a merchant, Amoretti buying things at the shop? Jacques’ mother, protective? His reputation, his friendship with Felipe, the common background? His participation in the air show, flying? Patricia seeing him? The invitation to Patricia to come with him, fabricating the lie, telling Felipe, his drinking? Jacques and his advances? The kiss, Patricia’s reaction? Felipe and his drinking, not being able to drive Patricia home, Jacques and the motor bike, their stopping, the sexual encounter (off-screen and suggested)? The effect on Patricia, her hopes with Jacques, the plan to meet at the church, her waiting, his not turning up?

11. Jacques, the message to his mother, his leaving for the war, his mother going to the church, seeing Patricia, destroying the note?

12. Patricia and her changing, the pregnancy, telling her father? Her shame and his shame? His reaction? Amoretti and his disgust? The decision to visit Jacques’ parents? The formality of the meeting? Taking all his children? The parents and their denial? Patricia and her embarrassment? The aftermath, on the crossroad, leaving Patricia on her own to go to her aunt?

13. Patricia’s aunt, her experience, similar? Looking after Patricia, the birth of her son?

14. Felipe, going to war, his proposal and Patricia turning him down? His being injured, his return, Amanda and her devotion to Felipe? Going to visit Patricia, Amoretti’s eruption after the visit?

15. Amoretti going to see his sister, seeing Patricia? His response to the baby? The attraction, wanting the baby to have his name? Becoming possessive, wanting them at home?

16. The reconciliation – and possibilities for the future?

17. Jacques’ parents and their visiting to see the baby, their grief at the report of Jacques being killed? Amoretti and his reaction, allowing them to touch the baby, the issue of the baby’s name?

18. Felipe, arriving back from the war, his news, Jacques and his return, the news of Patricia and the child?

19. His meeting Patricia, the need to make a decision? Patricia and her reaction, not wanting him to marry her out of pity? Jacques and his talk with Patricia, the strength of the bond, the love?

20. The completion of the drama, the reconciliation, Jacques and Patricia, the parents and their bonding with Amoretti? Felipe and Amanda?

21. The period, World War One, a different world, moral standards, secrecies? The French experience? Universal?

GLENGARRY GLEN ROSS

US, 1992, 100 minutes, Colour.
Jack Lemmon, Al Pacino, Alan Arkin, Ed Harris, Alec Baldwin, Jonathan Pryce.
Directed by James Foley.

Four real estate salesmen, Shelley (Jack Lemmon), Dave (Ed Harris), Ricky (Al Pacino), and George (Alan Arkin), are in a restaurant in a New York suburb. They are whining about the evening strategy meeting that they are supposed to attend at the offices of Premiere Properties across the street. Except for Ricky, they all go. Ricky stays to close a deal with a man he met at the bar, James (Jonathan Pryce). Ricky manages to get a check and a signed contract from him.

Blake (Alec Baldwin), the representative from the main office, delivers a brutal, humiliating, dehumanizing speech to the men and tells them that they must always be closing a deal or that they are worth nothing. He proposes a contest: the first prize is a Cadillac, the second prize is a set of steak knives, and the third prize is to be fired. Blake holds out a batch of cards with new leads about a development project on them, but he will only give them to “closers.” He outlines the sales protocol: attention, interest, decision, action! So the men are left with old leads, that is, forms people filled out months before to ask for information about the real estate development project.

Shelley makes a deal with the office manager, John (Kevin Spacey), to share profits on any closings he makes. Shelley leaves to follow up old leads and is unsuccessful. His daughter is in the hospital, and he needs to find money to continue to pay for her treatment. George and Dave devise a scheme to rob the office that very night, take the batch of new leads, and sell them to a colleague who is now in business for himself.

There is a robbery that night. Yesterday’s contracts, the batch of new leads, and the phones have all been taken. The police interrogate the four salesmen. James comes in to get his check back because his wife doesn’t want to go through with the purchase of property. Shelley confesses that he robbed the office. They are all verbally abusive to one another and blame each other. But they press on, always salesmen.

Playwright and screenwriter David Mamet won the Pulitzer Prize for Drama in 1984 for his play, Glengary Glen Ross. It was made into a film in 1992. The dialogue in Mamet’s films is measured and deliberate, and none more so than Glengary Glen Ross. The film does not mask the fact that it is a filmed play, much like The Big Kahuna or On Golden Pond. The film still delivers blistering insights into the cut-throat world of corporate business and the consequences for salesmen who are not always “closing” a deal.

The mostly male cast is superb, made up of many Academy Award winning or nominated actors including the venom spewing hatchet man sent from downtown played by Alec Baldwin, the conman you hope you’ll never meet played by Al Pacino, the bitter Ed Harris, and the despair-ridden, sad figure of masculine failure played by Jack Lemmon.

Direction is by James Foley, who also directed The Chamber (1996) and co-directed Madonna’s The Immaculate Collection, which includes, among others, the music video, Papa Don’t Preach (1990).

1. A tough piece of Americana? Systems? Capitalism? Consequences?

2. The work of David Mamet, theatre, adaptation of his play? The office, restaurant, streets, rain, homes? Staged scenes? The tradition of Arthur Miller and death of a salesman?

3. Action overnight, the night to morning, the morning? The dark and the rain, neon reflections? The sun and the normal day?

4. The strong cast, acting skills, holding audience attention, dialogues and monologues? Older men? The incessant coarse language?

5. The title, real estate, sales and sales men, the need for leads, the consequences? The values of the men, the lack of values?

6. The audience response to the men, to the situations, to their family background? A microcosm of desperate men?

7. The office, John as the manager, younger than the others, appointed by the bosses? The bosses never seen? The influence? The being downtown? John’s abilities and flaws? His holding the leads, distributing them, making judgments, not personal, on the level of skill and achievement, his being an apprentice to Shelly, dealing with the others?

8. The contrast with the atmosphere in the restaurant, talk, drinks, confiding, complaining? Ricky and his meeting with Jim, staying and talking, his philosophical reflections, being persuasive,
plausible, Jim and his listening, attention, gullible?

9. The presence of Blake, Alec Baldwin and his 10 minutes of presence and talk? Tough, the way he treated the men, Shelley and his making coffee, Dave and his laughing, George and his anxiety? His leads about work, leads, closing? The pressure from the bosses? His achievement, watch, car? Dave and his taunting? Blake and his responses? His rationale for being salesman? Sell, close - or be fired?

10. Jack Lemmon as Shelley? Age, experience, love of the game, John and the need for the leads, his daughter’s illness and expenses, desperate, growing sense of failure, his phone calls to clients, his criticizing John, his anger, his reaction to Blake, his pleading, the deal with John, the percentage, the $50.00, going to the car, John’s refusal, then consent? The next morning? The success of the deal, the cheque? Discussions with Ricky, Ricky complimenting him? The police, the interrogations? Jim’s arrival, Ricky and his predicament, his playing the game, the pretence? His lament about the old days? Reality, the discussion with John, John and knowing the truth and when to use it, Shelley’s mistake, his confessing, going into the police?

11. Dave, Ed harris’ performance, his talk, drinks, driving with George, his own demands about stealing the leads, the robbery, trapping George, whether George consented or not? The next morning, his reaction to the police, his angry outbursts, his leaving?

12. George, Alan Arkin, age, experience, nerves, failures, remembering the past, the leads, common sense? Listening to Dave, being trapped, the morning and his fear, the police, his being insulted, forced to go to lunch? His future?

13. Ricky, Al Pacino? In the office, at the restaurant, with Jim, his long talk, sharing the drinks, going to his home, the wife and her cooking, clinching the deal, the next morning, Ricky and his success, winning the car, the chart? Jim’s arrival, wanting the money back, the information about time limits, notifying the Dead, his wife’s pressure?

14. Jim’s character, his worry, coming to the office, the discussions with Ricky, his complete faith in Ricky? His fear of his wife? His bewilderment and leaving?

15. The glimpse of the clients, Shelley and his visit to the house, the husband, trying to be polite, getting rid of Shelley? The elderly clients, the liking to talk to salesmen, no money?

16. The police, their investigations, the treatment of the salesman?

17. Insight into human nature? Into the world of sales? Honesty and dishonesty? Integrity?

HERE COMES THE BOOM

US, 2012, 105 minutes, Colour.
Kevin James, Salma Hayak, Henry Winkler, Gregg German.
Directed by Frank Coraci.

Another Kevin James comedy from Adam Sandler’s company. We know what to expect. Some knockabout comedy, a lot of corny humour, some PG vulgarity, laughter at the expense of a star who could lose some weight. While this is in some ways true of this film, it doesn’t quite do it justice. There is much more of a niceness in this one. There are quite a few funny moments. And it is minimally vulgar. Perhaps a bit more appeal than the usual films with and/or from Adam Sandler.

It is definitely a knockabout comedy. And lots of knocks at that. It is a multi martial arts story. Memories of the recent, Warrior with Joel Edgerton and Tom Hardy which brought multi martial arts to mainstream movies. Someone remarked that it was a bit like Bad Teacher, with Cameron Diaz, with problems in a school. These comments came from audiences familiar with the latest films.

In fact, it reminded this reviewer more strongly of films like Rocky and the story of the underdog who triumphs and of Dead Poets Society where an unorthodox teacher is able to communicate with his students, willing and unwilling.

Perhaps that gives too elevated an impression of Here Comes the Boom Kevin James plays a biology teacher who has given up on his initial teaching zest and has become something of a slob. But, he has some sensitive moments with his friend, music teacher Henry Winkler. (And it is a pleasure to see a grey-haired Winkler in a substantial role that gives him both serious and farcical moments.) The school is in dire financial straits. And the music course is to be cut.
James brashly attacks the authorities and suggests the staff help find the money. One of the students at his night classes to prepare adults for citizenship watches multi-martial arts on TV and, now the former wrestler (well, twenty years former!) decides that he can find the money if he competes and gets the prize money for the loser, $10,000.

School authorities are not pleased. The students gradually see him as a hero. He loses and loses but… well you’ve seen Rocky! And his old teaching zeal is re-ignited. He has spent a lot of time courting the school nurse (Salma Hayek) who resists him but admires his perseverance. There are some nice, sentimental sub-plots about his brother who hates his job but is a great cook, about a young girl from a Filipino family who need her to work in a restaurant.

There is a huge finale in Las Vegas.

Kevin James has some abrasive aspects in his screen personality but he does win everyone over. Henry Winkler is able to bridge the gulf between sport and the arts. The film is very much pro music in school.

It is a pastime kind of comedy but has some good moments and is better than we might have thought as we sat down to watch it.


1. An Adam Sandler production? At Kevin James vehicle?

2. Kevin James and his screen personality, sympathetic and unsympathetic, in his forties, large, oafish, some redeeming features?

3. The title, multi-martial arts? The musical accompaniment?


4. Comedy, situations, characters, slapstick, dialogue, Voss and his quest?

5. Memories of the Rocky genre? Dead Poets Society?

6. Voss, at home, lazy, getting out of bed, arriving at school, getting in the window, the supervisor, the reaction of the class? Teaching biology? The students and their reaction? The board,
threats?

7. Marty, Henry Winkler’s presence? The music class? The students and their love of music, playing? Voss watching? Marty, his wisdom, his music career?

8. The school assembly, Voss and his friend, their reactions, the speeches, the financial difficulties, the closing down of departments, closing down music? Bella and her reaction? Her relationship to Voss, resisting him? Voss, his brash comments, his support of Marty, no plan?

9. Marty, his wife, at home, not telling her, his going to school? Voss, his plan, calling the meeting, no one coming except Bella?

10. The small plans, raising a small amount of money, car wash etc?

11. The biology classes, the students not interested? The contrast with his civic classes? The range of students, pronunciations, meanings of words, ‘suffrage’, his coaching the Dutch man, his home, friends, watching television, multi-martial arts? The prize money? His decision?

12. The training sequences, his struggle, the build-up to the fights, the audience, the music, Marty present, the wins and losses? The sports interviews?

13. His flirting with Bella, her not responding? The bets? His family, his brother and his work, his skill at cooking, the meals, Voss pretending to cook, his brother preparing the meal? The brother and his family, his wife’s exasperation? The signal for the plot development, the Filipino father and withdrawing his daughter from the music class, Voss and his plea, the job, his brother getting it?

14. The school principal, his support of Voss, encouraging, the truth about his embezzlement?

15. Voss, Niko and his helping with the training, Niko’s own story? Voss and his other fights, the opponents, the music, the crowds, Marty and Bella?

16. Voss and his money, lost with the embezzlement, his other plans? The money for losers? His taking stock of himself, his interest in classes and the changes with the students?

17. The build-up to Las Vegas, memories of Rocky, the discussions with the experts, interviews? The coaching?

18. The school coming to Las Vegas, the choir, the spirit, the Filipina, her playing, the fight, Voss and his suffering, everybody giving advice, his final victory, the loser being a good sport, the civic
class watching on television, the commentators?

19. Marty, the comedy, his wife, and class at the end?

20. Voss and Bella, the possibility of romance or not?

21. An entertaining film, the emphasis on sport, the emphasis on the arts? The final cry, Viva America?

TALL MAN RIDING

US, 1955, 89 minutes, Colour.
Randolph Scott, Dorothy Malone, Peggie Castle, William Ching, John Dehner,
Directed by Lesley Selander.

Tall Man Riding is one of the many Randolph Scott westerns of the 1950s. While the material is familiar, it is presented with quite some energy. Scott is his familiar character, somewhat hard this time, bent on a revenge. His target is a landowner who had humiliated him, whipped him, prevented him from marrying his daughter. The daughter has married, her husband his killed, Scott has a sense right, a complicated response because of his love for Corinna (Dorothy Malone). In the town, he is helped by the saloon girl, Reva (Peggy Castle). The villain is the owner of the saloon, who employs his own gunslinger. There is also a crooked his lawyer (John Dehner). The film is directed by Lesley Selander, a director of many westerns for cinema and for television. The shootout in the dark is imaginatively filmed, the only light on Scott’s eyes.

1. An entertaining western of the 1950s? Popular ingredients? A Randolph Scott western?

2. The colour photography, the picture of the west, the homesteads and ranches, the town? The musical score? Reva, her song?

3. The opening, Larry Madden, seeing Willard being pursued? Madden helping him? Discovering the truth?

4. Madden’s history? Dealings with Ordway? The whipping? Ordway forbidding Corinna from marrying Madden? Madden and his five year absence? His returning for vengeance? Employing the lawyer, the documentation from Washington? His waiting to use it?

5. Pearlo, past association with Madden, running the saloon, past history with Ordway? His relationship with Reva? The Peso Kid? Owning the sheriff? The initial clash with Madden?

6. Madden, the lawyer, the meetings, the plans, Pearlo’s offer to the lawyer, the lawyer and the marshal from Washington, publication of the land decisions, Madden rejecting his offer, information
to Pearlo, the land rush, Pearlo and the lawyer at the ranch, the shootout?

7. Reva, saloon girl, her dignity, her riding, friendship with Corinna? Interactions with Madden? Her helping Madden, shooting at the Peso Kid, the tension with Pearlo? Her plan to listen to the lawyer, the confrontation with the kid? His shooting her? In the hospital, Madden’s visit?

8. Corinna, devotion to her father, attitude towards Madden? Resentment? Her marrying Rex? Explanations to Madden? Her husband’s arrest, his being a man of principle? The farce of the inquest? His being transferred, the sheriff, the gun, the peso kid pursuing, the sheriff killing Rex? Corinna blaming Madden? With the body in the town? Her friendship with Reva?

9. Ordway, his men, his reputation, disliked in the town? Owning the land, truth about not registering the land? The build up to the confrontation? Madden discovering Ordway was blind? The plan for the fight in the hut? The morning, the darkness, the fact that Ordway was almost blind, the tension with the guns, the focus on Madden, his eyes, shots, Ordway and being shot?

10. The proclamation of the decree, the preparation for the land rush, Corinna challenging Madden, then moving into the town? The lineup for the rush, the visualising of the rush, Corinna falling from the wagon, the rescue?

11. Ordway’s apology, invitation, Madden accepting, the happy ending?

12. Popular ingredients, well presented?