ROLLERBALL

US, 2002, 98 minutes, Colour.
Chris Klein, Jean Reno, LL Cool J, Rebecca Romijn, Naveen Andrews.
Directed by John Mc Tiernan.

1. The status of the 1975 classic? Its plot, characters? As science fiction? The need for a remake?

2. The quality of the remake? Universally bad reviews? Audience testing poor? The elimination of some violence to get a PG rating?

3. The story set in 2005 – the not-distant future? Making it any more credible?

4. The action? The nature of Rollerball, the skates, the ball? No rules? The arena, the course? The cyclists? Impediments?

5. The audience, like a gladiatorial audience? Wanting violence and blood? The cheering? The media commentators? International? The rights for television? Alexis Petrovich and his wanting the rights? Unscrupulous? The criticism of the media and the media audience?

6. The setting in central Asia? Touring around? The interiors, the arenas? The dressing rooms? The comparisons with ordinary life, the streets, fast cars? Nightclubs and dancing? A surreal world? The musical score?

7. The opening, the rollerblading in San Francisco, the dangers, the recklessness? Jonathan Cross and his being a champion? Marcus and his friendship? The police? The discussion between Marcus and Jonathan? The suggestion that he go to Rollerball?

8. Jonathan, his character, bland? His Rollerball skills? Entering Rollerball, the contracts, the discussions with Petrovich? His achievements, his fans? The clashes in the game? Injuries? His behaviour outside? The relationship with Aurora? Secret? His continued friendship with Marcus? The warnings about the dangers, the deliberate violence? His discussions with Petrovich? With Sanjay? The build-up to the climax? Petrovich’s threats? The game? Jonathan going into the observation box? The confrontation, the guns, shooting? Sanjay and his wanting to take control? Jonathan killing him? A future for Jonathan? What had happened to him, had he grown or changed?

9. Marcus, his friendship with Jonathan, his character, marriage, family? Involved in Rollerball? Persuading Jonathan to enter? His work, at the games, behind the scenes? With Petrovich? The dangers and his injury, hospital? Going into the final game?

10. Petrovich, his character, the Russian background and his explanations of the past? Officials? The KGB? His owning the company, the invention of Rollerball? His following the games? His mixing with the international executives? His reliance on Sanjay and his treatment of him? His taking on Jonathan, wanting to control him? Jonathan’s reactions, especially discovering the truth about the injuries? Their clashes, Jonathan’s defiance? His plan for the final game? Wanting the American rights? His watching, Jonathan crashing into the box, the clash, his injuries, trying to get the gun, his death?

11. Sanjay, his background, working with Petrovich, yes-man, the way he was treated? Persuasive, the suggestion of the final game? His wanting to control Jonathan, his being shot?

12. Aurora, as a warrior, at the game? The relationship with Jonathan? The end?

13. The background of the coaches, the other players, the locker room? In the clubs? The other executives?

14. The film considered a failure and one of the worst films of 2002?

CALLING DR GILLESPIE

US, 1942, 84 minutes, Black and white.
Lionel Barrymore, Philip Dorn, Donna Reed, Phil Brown, Nat Pendleton, Alma Kruger, Mary Nash, Walter Kingsford, Nell Craig, Ruth Tobey, Charles Dingle.
Directed by Harold S. Bucquet.

Calling Dr Gillespie was the first of the Dr Kildare series without Lew Ayres. He had declared himself a conscientious objector but served as a medic and ambulance driver in World War Two – but was dropped by MGM and no mention of him was made in the Dr Gillespie films that followed. This film was directed by Harold S. Bucquet who directed eight of the Dr Kildare films. He was to die soon after, having directed Katharine Hepburn in Dragon Seed and Without Love.

The film is a period piece, especially with the interest in psychology and psychotherapy at the time – but, it has some very clunky lines, especially from Dr Gillespie informing the parents of a psychotic young man that he was a mental case. The film simplifies a lot of psychoanalysis while urging audiences to be very interested in it.

Lionel Barrymore does his crusty Dr Gillespie role – but is much more sympathetic to his new assistant, played by Dutch actor Philip Dorn, in a rather humourless performance. The supporting cast, however, brings a lot of vitality to the film, Donna Reed as the charming leading lady, Phil Brown as the aforementioned mental case, Nat Pendleton reprising his role as the security guard, fainting with danger, mixing his words up. Alma Kruger, Nell Craig and Marie Blake (Jeanette Mac Donald’s sister) resume their roles as the put-upon staff of the hospital.

The film has some interest in presenting ways in which Hollywood understood psychology in the 1940s and dramatised it in a hospital context. The dialogue seems rather bizarre at times – and can be quite unsubtle – as well as the doctors concerned either being sceptical (Charles Dingle as the family doctor) or enthusiastic without proper explanations (Philip Dorn as the assistant).

The film is meant to be a thriller. Donna Reed is at a finishing school but is engaged to a young man who, when she refuses to elope with him, picks up a rock and kills her dog. He then manifests other signs of being a psychopath, breaking windows and glass (with the suggestion that the sound of a train or the presence of a train sets him off). When Dr Gillespie and his assistant explain the situation to the young man’s parents, he becomes very suspicious, is treated by the family doctor but escapes to Boston and Detroit, sends menacing postcards to Dr Gillespie, decides to come back to New York in order to murder him.

The film shows the police involved in hospital security, the young man pretending to be a doctor whom he has murdered, getting access to rooms in the hospital, being persuaded by his girlfriend to approach Dr Gillespie, but allowing this to be a ruse whereby he pulls a gun on the doctor. It is the comic security guard who saves the day.

The film is interesting for those who have watched the series of Dr Kildare and Dr Gillespie – and there was a sequel in the young man in prison and escaping. It was the end of the series of Dr Kildare and Dr Gillespie until reprised in the 1960s with Richard Chamberlain as Dr Kildare.

YOU ARE NOT ALONE

Denmark, 1978, 94 minutes, Colour.
Anders Agens, Elin Reimer, John Hahn- Petersen.
Directed by Lasse Nielsen and Ernst Johansen.

A Danish film set in a school for boys. Starting with some exaggeration, it moves towards realism with lyrical aspects of the boys growing together as well as criticism of adult attitudes, education systems.

The film reflects the permissive aspects of Danish society and focuses especially on the formation of moral and social attitudes for the boys. While taught traditional subjects, they are also taught contemporary creativity, movement etc.

In terms of morals, there is a more permissive attitude allowing the boys to develop more from their interior attitudes rather than from imposed standards. There is a criticism of imposed standards. This comes to a head in the homosexual attitudes of Bo, the young hero. It is complicated by his feeling for the young son of the headmaster. There is a lot of sexual talk but nothing explicitly homosexual until the end, when the film veers back towards a lack of realism and contrived dramatics in a home movie made to shock the headmaster and his guests at the end of the year.

There is a great deal of insight into contemporary adolescence especially in the Danish scene, as well as questions raised about moral education. The film is of interest and has momentum until the end when it seems to become incoherent, suggesting a lack of force in the screenplay or a lack of budget for filming with better continuity. A film which raises many questions. It was banned originally for children’s viewing in Scandinavia. After protest, the ban was lifted.

1. The significance of the title, indication of themes? Reference to Bo, to Kim? The focus on growth, boyhood and, adolescence?

2. The highlighting of relationships, personal development, education? The presentation of homosexuality, especially its focus on pre-puberty children and young adolescents? In contemporary Scandinavian society? In schools, especially those for the same sex?

3. The film’s specific focus on homosexuality? A plea for homosexuality? A plea for tolerance? A plea for understanding? Its presentation of facts, its presentation of attitudes, moral standards, law? The significance of the final film, in its presentation, visuals, contrivance of a film for authority and education fingers?

4. The Danish atmosphere, color, landscapes, authentic feel for society, Danish education, religious and moral background? Denmark in the 1970s?

5. Could the film be described as permissive? Presentation of moral standards and the presuppositions about moral education? Presentation of the traditional approach, the Christian approach, and generally strict approach? The use of the realism, satire?

6. The style of the film: realistic? The build-up of ridiculing the headmaster and the boys school at the beginning, the transition to a more realistic approach, the blend of comedy, a serious sequences, lyrical sequences, the transition to the finale and the contrivance of the performance at the end of term? The making of the film and its impact on the audience within the film? Consistency of style, the happy blend of a variety of styles? The importance of the prologue, the introduction to Bo, indication of his attraction to the boy at the beach? The focus of the film on Bo? The introduction of the boys’ school? The boys and their way of life, in the dormitories and the room, meals, sport, swimming? The boys’ talk, jokes, emphasis on sexuality?

7. Kim as the headmaster’s son and his interest in the boys in the school? Indication of heterosexuality and behavior, homosexuality?

8. Bo within this context, attraction towards Kim, hesitancy towards him, when Kim was drunk at the picnic? The irony of the ending and their participation in the film? Credibility of Bo’s behaviour? Participation in the life of the school, studies, revolt against the headmaster? His emotional life and development?

9. Introduction of the headmaster, his guiding the people around the school, his reaction to what he saw? Strict attitudes? Attitudes towards his son, his wife? His strict decisions, the good name of the school, teaching class? Pressurizing the expulsion of the boy? Handling of the staff? The walkout of the boys? His feelings of the end? How well did he embody strict adult attitudes? Critique of these?

10. The picture of the various boys? Attention given to the details of daily life in school? Ole and the pictures and the wall? sexual behavior, especially with the cooks? The boys’ talk, the visits to the town, classes and discussion of society and revolution, sport, creativity and drama? The protest, painting the room? Participation in the end of the play and film?

11. The picture of the staff, sympathetic, the temporary man, his voting with the headmaster, the harsh members of staff and their strictness?

12. Ordinary people presented in the film, the parent worried about her son’s masturbation, the people in the shop?

13. The presentation of the thugs, pursuit and Bo, the tormenting him, the humiliation when boys confronted them?

14. Kim, his age, place in the family, attraction towards the boys, to Bo? The picnic and his being drunk and his reaction? Continually going over to the school? Participation in the film?

15. The overall effect and the impact of this film? To present attitudes, to change them? Credibility of the characters, situations, behavior? A case for discussing moral and social and educational issues?

BARRY McKENZIE HOLDS HIS OWN

Australia, 1974, 93 minutes, Colour.
Barry Crocker, Barry Humphries, Donald Pleasence, Dick Bentley, Nell Campbell, Chantal Contouri, Ed Devereaux.
Directed by Bruce Beresford.

Barry Mc Kenzie Holds His own: more money, more energy, more guest stars, more locations have gone into this sequel. But the tone and style are just the same and you will quickly know where you stand. Barry Crocker's Barry is the same naive, Fosters-swilling, big-hatted, sex-preoccupied, Aussie vulgar-mouthed innocent abroad, a comic strip sketch of a hero. Barry Humphries as Mrs Everage is excellent (also as the minister for Media). Dashes of horror (via Donald Pleasence) and martial arts show modern trends. The whole thing is outrageous, frequently vulgar, sometimes offensive, sometimes very funny. The film has it both ways - poking elaborate fun at Australian images yet using them up to the hilt.

1. The title and its tone? The tone of the rest of the film? Why? What were its main claims to the enjoyment? Can you see why people were repelled by the film? Which aspects?

2. For whom was the film chiefly made? Its impact on Australian audiences, the Australian image, the humour, the overseas and British flavour? What impact would it make on overseas audiences? On the British? The nature of the language and the incidents and the background? For non-English-speaking audiences? The humour and irony of the prologue?

3. Barry Mc Kenzie? is a comic strip figure. What are the main characteristics of comics? Is this how the film was conceived and made? The difference between a character and a caricature? The brevity of the story-line and the audience supplying reasons and motivations? The highlighting of incidents and exaggerations? The two-dimensional tone of a comic? A series of adventures? People wanting to get on to the next because they have enjoyed an adventure etc?

4. How clever a parody was this film? A parody of Australia and its attitudes and behaviour? A parody of various films, eg vampire films, Kung- Fu? etc? How much was it an exaggerated send-up? How much satire and biting satire was there in the film? Did they all combine to good effect?

5. How did the film have its cake and eat it as well? Showing the Australian image in all its vulgarity? And yet ridiculing it? Satire and yet using what is being satirized up to the hilt? Does the film have the right to do this? Did this film do it well?

6. How appropriate was the coarseness in the film? The excremental tone of the humour? The emphasis on vomit? On beer and drink? The lavatory-humour? The coarse language? The vulgarity of the songs? How did the coarseness measure to good taste? How humorous was the coarseness?

7. Was Barry an interesting character? A hero for the film? An Australian hero-figure? His naivety but niceness? His hat, suit, lanky look etc? The songs as revealing him? His relationship to Aunt Edna, to his friends? The nationalistic emphasis? The emphasis on sexuality and its lack of fulfilment? Is Barry McKenzie? the typical Australian hero?

8. How successful is Barry Humphries impersonation of Aunt Edna? The satire of the Australian housewife, on women, on Australian attitudes? The middleclass values and hypocrisy? The innuendo? The relationship to Britain and the Queen and pomposity and snobbery? The irony of her being mistaken for the Queen and being kidnapped? The Australian cultural satire in the presentation of Mrs Everage?

9. Colin, how enjoyable a satire was this? The expatriate living in Paris? His double-dealing? Carrying the bread? His relationship to the French and its tone? The satire on Communism and death? The humour (how heavy-handed) of his death and the old Australian folklore? The reprisal of this at the end?

10. The presentation of expatriates? The Aussie image? The impression in England? Earl's Court? The culture? The satire on the Australian Government grants for culture? Australia House and behaviour there? The commissioner? Four-eyes? What was the overall impression of the Australians in England? How humorous?

11. How did the film rely on its details for impact, eg the sex-show and the Bondi girl and Barry's rescuing her, the Christ and the orgasm seminar, the satire on religion, the Bishop, the Reverend Kevin, his wife, their joining in the rat-bag song? The humour of the quiz show with John LeMesurier? being quizzed about going to Australia? The satire with Kevin and his talking?

12. Did the vampire sequences add anything to the film? As regards satire and humour? The satire on royalty? Count Plasma as a send-up of the Dracula figure? The jokes about blood? His assistant? Dorothy? The satire on his having the film about the cultural and building growth in Transylvania? The banquet? The irony of the Australians rescuing Aunty Edna? Her being rescued when the blood was gone? The irony of the cross of beer-cans?

13. What tone did the ending take with its humour? Were the Prime Minister and his wife to meet Auntie Edna and Barry? Her triumphant arrival? Coupled with the irony of Colin's burial by the billabong?

14. What impression did most audiences have of Australia after this? Is this a good thing? Is it humour?

THIS MUST BE THE PLACE

Italy/Ireland, 2011, 118 minutes, Colour.
Sean Penn, Frances Mc Dormand, Judd Hirsch, Eve Hewson, Kerry Condon, Harry Dean Stanton, Joyce Van Patten, David Byrne, Olwen Fouere, Shea Whigham, Liron Levo, Simon Delaney, Heinz Lieven.
Directed by Paolo Sorrentino.

Were there to be a competition for a list of most peculiar films, This Must be the Place would certainly find a place there. It is at times bizarre, comic, serious, deadly serious, enigmatic and never predictable. It also offers what must be Sean Penn’s most idiosyncratic performance.

If a reviewer simply said that the film is about an ageing, faded rock star who still dresses with make-up as in his heyday who goes to the United States from Dublin where he lives to find his family and then travels across America, with a touch of the Forrest Gump, on a mission of avenging his father and his concentration camp experiences, you would have a sketch synopsis – but a synopsis which does little value to the content and style of communication of the film.

And, if someone told you that they hated the film, you would not be surprised.

However, if you stay with the film and Sean Penn’s performance, then you will probably surrended, at least in part, to its strange story, its even more strange character, and the number of themes and issues that it raises. You may also surrender to the visual style, communicating the different parts of the States visited as well as the range of music, from quiet piano to rock and roll, but, especially to the songs of Talking Heads and more songs by David Byrne (who appears and sings the title song) and new songs by Byrne and Will Oldham.

Surprisingly, the Ecumenical Jury in Cannes 2011 awarded its prize to this film even though previous winning directors were represented (the Dardenne Brothers with The Kid with a Bike and Ari Kaurismaki with Le Havre, as well as The Tree of Life).

Sean Penn is Cheyenne, a pop star of twenty years earlier who lives in retirement in Dublin with his feisty wife of 35 years, played by Frances McDormand?. The point is made that Cheyenne has not really grown up. He has a tinny, rather whining voice, a hesitant manner even though he is particularly direct and honest in what he has to say. He seems to survive with some friends in Ireland and the good management of his wife. He is also friends with a mother whose son has disappeared and who sits at the window waiting for him.

Cheyenne, with his Gothic look, hairstyle and make-up, decides to go to his family in New York where his father, estranged for thirty years, has died. He learns about his father’s time in the concentration camp and a guard who had humiliated him whom he has tried to track down all his life. Cheyenne dcides to go searching, a road trip (with a businessman’s precious car which has a somewhat fiery end) which takes him to see an old teacher in Michigan, a single mother with a chubby son (who also sings the title song) and changes their lives with his kindness. He also meets a man in Utah (Harry Dean Stanton) who reveals that it was he who took out the patent for suitcases with wheels in 1988. (Having long thought that whoever this person was, he deserved a Nobel Prize for such an energy saving invention, I was in admiration of this scene which, like many in the film, is not essential to the plot but adds atmosphere and feeling.)

The moral moment is when he confronts the guard, now an old man, and hears about his father’s experience. What is he to do with the man?

The film is poetic, lots of symbolism and visual detail, that elicits all kinds of sense responses and emotions. It also offers much to reflect on, the pop music industry and history and the perils of celebrity, let alone broader issues of the United States in the 21st century and, still, the deep memories of the Holocaust.

This must be the place, especially in the lyrics of the song (which is played and sung in many versions throughout the film) is home.

The writer-director is Italian, Paolo Sorrentino, who has been a favourite of the art house and festival circuits, especially in Cannes. His creation of Cheyenne reminds us that he has created quite grotesque characters in his two previous films, L’Amico? di Famiglia (The Family Friend) where the central character is a completely unsympathetic and ugly mean tailor and money lender, and Il Divo, his portrait of once esteemed but mysteriously repellent Italian politician, Giulio Andreotti. Cheyenne is just as strange but much more likeable.

1. The impact of the film? Strong opinions for? Against? Unusual? Peculiar? Symbolic?

2. The title, the song by Talking Heads? The lyrics? Cheyenne singing it? Rachel’s son? David Byrne? The other versions? The significance of home – the various homes? Home for Cheyenne?

3. The musical score, the songs by Talking Heads, the range of songs, their lyrics, meanings?

4. A film of the imagination, characters, story? Dublin? The pop star world? The United States, the Jewish background, the cross-country trip, New Mexico, Michigan, Utah? The background of the Nazis and the concentration camps?

5. The film as unpredictable, enigmatic? Suggestions of characters, brief portraits? Places? Incidentals? Passing characters? The different environments? People in their environments? The Nazi pursuit, the motivations, the achievement? The end?

6. The work of Paolo Sorrentino, bizarre and grotesque characters? The allusions to Robert Smith and the Cure? Cheyenne as a version of Robert Smith?

7. Sean Penn’s performance, his appearance, hair, makeup, the voice, childish and childlike, stupid and wise, direct? His experience as a pop star? The continued adulation of his friends, getting photos, autographs, talking with him, his having sung with Mick Jagger? Memories of his career? His career over, living in Dublin, some stockbroking? His royalties, Tesco? His home and his wealth? His occupying his time? With himself? Shopping, the mall, the discussions with Jeffrey about sex? His friendship with Mary? Mary’s mother? The meetings with Desmond? Setting him up with Mary? The meal? Mary’s reaction? Desmond and the discussion about the empty pool? The young group wanting him to produce their album?

8. Jane, lively and robust, thirty-five years married, her love, care, direct in talking, her suggestions, fighting the fire – and waving to Cheyenne? The humour of the tai chi exercise and her distractions? Her life with Cheyenne? His phone calls to her?

9. Mary, her mother, Anthony having left home, the mother waiting? Cheyenne and his talking, the contrast with Anthony? His coming to the grave, the young men who had committed suicide because of his songs, the parents at the cemetery? Cheyenne’s comments, guilt?

10. News of his father, his decision to go to America? Jane, seeing him off, at the airport, the phone calls, the adventure?

11. New York, the relatives, the discussions, his father’s death, not having talked to his father for thirty years? The effect on Cheyenne, the ceremony, the rabbi? The information about Auschwitz and his father’s tormentor?

12. Cheyenne and a new goal, his discussions with Mordecai Midler? The Nazi hunter and his experience? Time passing, the 21st century, the Nazis being old? The encounter with Ernie Ray? The discussions, money? His lending him the car? Their discussions – and the irony of the car later burning?

13. A road film, the range of the United States, the highways, the cars, service stations, people and their reactions to Cheyenne?

14. Going to visit the teacher, calling himself John Smith, the history classes, the two women in the house, the reaction to his appearance? The discussions? Bringing up the issue of the Holocaust? His leaving?

15. Going to New Mexico, the search for the Nazi, his skills in getting information, going to the bar, meeting Rachel, the discussions, going home with her, her reaction to him? Her little boy, the absent father? The boy and the guitar, singing This Must Be the Place, going for the swim, the boy afraid of the water, Cheyenne getting the pool made? No sexual relationship? The effect of his doing good? The delineation of Rachel’s character, that of the boy?

16. The car, the driving, the garage, getting help? Mordecai turning up?

17. Going to Utah, the encounter with Robert Plath, the discussions about wheels on luggage? Plath helping him to find the Nazi?

18. Mordecai going with him to his father’s tormentor, the old man, his life, the irony of his wife being the teacher, in the United States? Telling the true story – a rather smaller incident but the father never having forgotten or forgiven?

19. Cheyenne buying the gun, the shooting, threatening the old man?

20. Cheyenne exiting the hut, the old man naked in the snow, humiliated? Sufficient revenge?

21. Cheyenne going back to Ireland, home, going to see Anthony’s mother, the change, growing up, dealing with life? His father’s life and the healing of the relationship? His ability to help others?

BATTLESHIP

US, 2012, 131 minutes, Colour.
Taylor Kitsch, Liam Neeson, Brooklyn Decker, Alexander Skarsgard, Rihanna, Jesse Plemons, Peter Mac Nicol, Hamish Linklater.
Directed by Peter Berg.

Something like a cross between Pearl Harbour and The Transformers series. Which means that director, Michael Bay, might be a bit envious of this action and boom (many booms) spectacle that is set in Hawaii and has Aliens and Alien space vehicles that transform at will. Actually, the Hasbro company is responsible for Transformers and its merchandise as well as for the board game Battleship and the new merchandise.

It all starts off very Americanly, scenes in a bar, a stupid attempt at heroism for a beautiful blonde who wants a take away burrito. Then we have a soccer game in which our hero gets kicked in the mouth and loses a penalty goal, Japan beating the US as they gather for naval exercises in Pearl Harbour. Another brawl and the hero losing his opportunity to ask the blonde’s father for her hand. And he is the admiral.

There is also information given about signals and satellites, attempting communication with Planet G which seems to have similar atmosphere to earth’s. There is a geeky scientist there who controls the communication.

Before you can say USS Missouri (which also features in this film), there is not only communication from Planet G, but huge vehicles land in the Pacific interrupting the naval games, but one lands on Hong Kong – quite a spectacular demolition of the city. Soon Honolulu gets something of the same treatment, especially by giant rotating, knife wielding fireballs.

When the aliens have almost a 99% upper hand, we are wondering who is going to save the world and how. Needless to say, it is our hero, Alex Hopper, played by Taylor Kitsch, more amenable here than as John Carter on Mars. His main assistant is singer, Rihanna, in her first acting role, one of the boys, as it is said. We hear, ‘What the hell is that?’ many times and the dialogue tends to be variations on this.

Putting aside the 70 years memories of Pearl Harbour, and the Japanese bombings of the US navy, a Japanese expert works with Alex to bomb the aliens. By chance, one of the officers puts on an alien helmet and remembers that it is like exposing his pet lizard to the sun – yes, the aliens cannot see in the sun. In the meantime, the blonde who works on physical therapy with injured veterans, is on the mountain where the transmitters are. So, bomb the alien craft, blind the aliens and destroy the transmitting dishes. (With interventions from the Pentagon.)

And, of all things, the USS Missouri (analogue not digital) is put into service for the bombardment with the veterans who had gathered for the memorial going into action. In the final credits they are described as ‘old salts’.

Much of the film is literally explosive. It is also far-fetched – we hope. But, at the beginning and the end there are moments of gravity, because Liam Neeson is the Admiral. The world survives, medals are awarded and Alex has the opportunity to ask for the admiral’s daughter’s hand.

There is a minute or two after the credits which is set in Scotland – a tantalizing episode in case there is Battleship II. But, I was the only person in the cinema who saw it.


1. The origins of the film in a board game, by the Hasbro Company? The blend of Pearl Harbour and Transformers?

2. The big budget, spectacle? Hawaiian locations, the Pacific Ocean? The mountains? Honolulu? Navy, alien craft, the appearance of the aliens? Battles and explosions? Stunts? The musical score? A big film?

3. The title, the focus, the USS Missouri, the background of Pearl Harbour and the signing of the surrender in 1945? Memories, the ceremonies? The ‘old salts’? Seventy years later? The analogue setup of the Missouri compared with digital? Going into battle? The old crew with the younger crew?

4. Memories of Pearl Harbour, the naval exercises, the international nature, Japanese as well as Americans? The soccer competition, the Japanese brutality, Alex Hopper and his wanting to win? The rivalry? The eventual collaboration with Nagata? The heroics?

5. The comic-book style of the characters, situations, dialogue, heroics? Farfetched?

6. The initial information about Planet G, the scientists, the exploration of space? The visuals? The dishes? The headquarters, the Pentagon, the meetings and the experts?

7. Cal, his assistant, their being geeks, looking after the dishes in Hawaii, the way they were dressed, the crises, having to cope, the issue of courage, Cal and the encounter with the alien, the death of his assistant, hitting the alien with the machine, ultimately destroying the dishes?

8. Alex, in the bar, his brother, his birthday, the navy, his cake and the wish, seeing Sam, the issue of the burrito, not being attended to in the bar, going to the shop, being refused, getting in through the roof, the collapse, the police chase, the stun gun? Giving the burrito to Sam?

9. Time passing, the navy, Alex joining, the haircut, playing soccer, with his brother in the team, the Japanese antagonism, his missing the goal? The aftermath, the brawl in the toilet, the admiral and his attitude?

10. Sam, daughter of the admiral, in love with Alex, urging him to ask permission, his not doing it – the brawl instead?

11. The naval exercises, the admiral and his speech, the international collaboration?

12. The destroyers, their crews, Alex’s brother in charge, Alex’s job, with Raikes, with Ordy? The other members of the crew?

13. Sam, physiotherapy, with the man on the mountain, being caught? The police? Their deaths?

14. The invasion, the craft’s landing in the Pacific, towering over the water? The visuals of the destruction of Hong Kong? Honolulu? The television news? The aliens and their destruction, scanning individuals? Wanting communications?

15. Alex, going in the boat, the investigation of the tower, touching it and being repelled? Caught? The bombardment? Returning to the craft, having to cope, the other ships and Stone Hopper’s vessel being destroyed? The setting up of the barrier?

16. The aliens in close-up, the craft, the Transformers? The individuals, their armour, helmets? Ordy and trying on the helmet? The eyes, not coping with the sun? Their desperate efforts at communications with their planet?

17. Alex, in charge, the crew, Raikes, Ordy and his story about the lizard, the realisation about the aliens and the sun? The investigation of the alien, its reviving? The fights?

18. The balls of fire, on the ship, on Honolulu, on the people and the freeways? The destruction?

19. Sam and her friend on the mountain, the police, their deaths, meeting Cal, the rescue, urging him to go in, getting the machine, the setup, the escape?

20. The Japanese adviser, his work, his skill in targeting, his device for measuring the depths and being able to place the bombs? Firing the bombs, missing?

21. The destruction of the ship, going onto the rafts? Meeting the old salts on the Missouri? The crew, making the ship work again, waiting for the sunrise, the destruction of the aliens – and firing on the dishes?

22. The aftermath, the admiral’s speeches, the awards, the posthumous award to Stone Hopper, the award for Alex? The issue of the proposal, the admiral saying no – jokily?

23. Apocalyptic scenarios – and American heroics? With some help from the Japanese?

UNITED

UK, 2011, 90 minutes, Colour.
David Tennant, Jack O’ Connell, Dougray Scott.
Directed by James Strong.

United is a film for British soccer fans, beloved of football. It is particularly of interest to fans of Manchester United. It is a British sports film – different from the morale-boosting sports films from the United States. This is especially the case since the centre of the film is a disastrous plane crash in which a number of the young Manchester United players were killed in 1958.

David Tennant plays the coach of the team, recruiting young players, building them up, very successful in the second half of the 1950s. They also played internationally (despite criticisms from the local football authorities) – and were killed in a plane crash returning from a match in Yugoslavia so that they would not forfeit their British game and lose points in the competition.

Tennant is particularly good as the single-minded and earnest coach. Dougray Scott is Sir Matt Busby, the manager of the team – and the players were called the Busby Babes after him.

The film also shows the rebirth of Manchester United, the recruiting of young men to continue the spirit of the game especially for the local Manchester community. (It is interesting to note the difference in celebrity of the players, and especially their salaries from later decades.)

The film also focuses on the young Bobby Charlton, played by Jack O’ Connell. It shows Charlton as a young man, his years of preparation to be in the team, his participation in the matches and his survival in the crash. It also shows his wariness about coming back to football – and in a postscript outlines his successful career over many decades after the crash.

1. The target audience, a broader audience? Soccer/football? Beyond?

2. A British sports film, the presentation of the sport, the players, teamwork, training, the coach, the manager, the details of training and play, the spirit in the locker room?

3. Manchester United in the mid-50s, Manchester as the industrial city and its history, Old Trafford, the spirit of Manchester?

4. The focus on Bobby Charlton, young, his background, his wanting to be in the team, the coach and his training, playing, surviving the crash? His re-entry into football? With the kids? Successful playing – his later career, Sir Bobby Charlton?

5. Jimmy Murphy, David Tennant’s performance? As a person, coach, the building up of the team, his earnestness, with Bobby Charlton? Discussions with Matt Busby? The discussions with the officials, especially about playing internationally? His grief at the accident? Supporting Bobby Charlton, bringing him home? The subsequent information about his life and career?

6. Matt Busby, the manager, tough, his interchanges with the authorities, the threats, playing internationally, defying the authorities, his being injured in the crash? His long convalescence? Returning to the team?

7. The disaster, the opening scene with Bobby Charlton strapped into the seat with his dead companion, in the snow? Audience knowledge of the disaster? Its effect on the families, on Manchester United? The aftermath, funerals and memorials – the coffins laid out in the room? Building up from the tragedy, the phoenix?

8. The players, their age, the training, playing, the nightclubs, dancing, their girlfriends – and the propriety of a different era? The pipe-smoking Duncan Edwards? Their opponents, looked down on – and surprising them? The success? Local matches? Old Trafford? International matches? The match in Yugoslavia? Going to Yugoslavia – going through customs, bringing their own food? The official reaction to the team?

9. Jimmy Murphy’s character, the pep talks, the encouragement, the aftermath, going to Munich?

10. The hardline official, blaming himself for the tragedy, the bureaucrat, never having played?

11. Matt Busby, the talks, the plans, his relationship with Jimmy Murphy, with Bobby Charlton, the injuries?

12. Bobby Charlton and his age, waiting for years to get into the team, kicking the ball against the wall, his home life, family? Playing? His career?

13. Harry Gregg, the tough goalkeeper, Duncan Edwards, the hero, engaged, the advertisements? His death?

14. The new recruits, young, their being tested out, playing?

15. The history of Manchester United? The foundation for the success of the team in later decades?

THE WINNING SEASON

US, 2009, 119 minutes, Colour.
Sam Rockwell, Emma Roberts, Rob Corddry, Rooney Mara, Margo Martindale.
Directed by James C. Strouse.

The Winning Season is another of those sports films about an unlikely team and their even more unlikely coach. It is in the vein of such films as The Mighty Ducks.

This time the sport is girls’ basketball at high school. Emma Roberts is the leader of the team which includes a group of young actresses including Rooney Mara who was to go on to The Social Contract and The Girl with the Dragon Tattoo. Rob Corddrey is the headmaster. Sam Rockwell gives some strength to the film as the coach, an alcoholic, a has-been coach who was not a success at high school, who is separated from his wife and alienated from his daughter.

The film has the usual ingredients, touches of comedy as well as of drama, an eccentric group of girls in the team, training, gradual winning – and building up a spirit which enables them to win. However, there is also drama in the episodes about the coach, his wife, his daughter and a counsellor, his going back drinking, his being ousted by the principal of the school but trying all kinds of ways to coach the girls in the final match. He is helped by the bus driver, Margo Martindale. This brings up issues of lesbianism, young girls and their finding their identity and the repercussions – an unexpected theme in this kind of sports-oriented film.

The film is very much in the vein of this kind of sports film – but entertaining enough to watch.

1. An American sports film, the tired coach, the poor team, the clashes, personality difficulties, the development of the team, ultimate success, personal stories and relationships?

2. The title, expectations? The nature of winning, playing the sport?

3. The Indiana setting, Middle America, high schools, staff, curriculum, the students, racial issues, ethnic issues, bitterness? Families?

4. Bill, his reputation, separated from his wife, alienated from his daughter, the scenes of clashes, the visits? His working in the diner, literally washing up and washed up? The visit of the principal, the offer? His quitting?

5. Going to the school, the girls, their attitude, his attitude towards girls’ basketball? The meeting, gawky, hostility, insults? Getting them to run, train? His staying? His talking with the girls? Abby and her going to persuade him to stay?

6. The collages of the matches, the early matches, the poor teamwork, the razzamatazz of the other teams, their being beaten?

7. Bill and his advice, picking up, travelling to play, beginning to win? Bill and his discussions with Donna? Getting her as an assistant?

8. The range of matches, the improvements, the principal and his clothes, support?

9. Abby and her boyfriend, his not watching her games, her going to his, his break-up with her, her ditching him? The presence of the girls at school, their cliqueiness, racial issues?

10. The lesbian issue, the principal and his raising it, Bill and his asking Donna, the discussions? Attitudes? The principal’s daughter, her feelings for the player, the explanation? Bill’s handling of the situation?

11. Wendy, going with the older man, the shoe shop, Bill and his going and attacking the man, warning him off?

12. The Hispanics, issues of language? The girl not able to speak English? Yet on the team? The African American and her bitterness?

13. Bill, his drinking, meetings with his daughter, taking her from the party? Her resentment? Going back to the diner, working again? His return to the match, dressing as the clown, his being exposed, the phone calls, his daughter and giving him the phone? The girl missing the basket at the end and her feelings? Bill’s support?

14. The issues with his daughter, watching her playing her match, her resentment and behaviour, insulting him, going to the counsellor and the session being a failure? Praising her, her help with the phone?

15. Bill and his achievement – and the optimism of the film – and success through teamwork, competitiveness and sport?

PILOT NO. 5

US, 1943, 71 minutes, Black and white.
Franchot Tone, Marsha Hunt, Gene Kelly, Van Johnson, Alan Baxter, Steven Geray, Howard Freeman.
Directed by George Sidney.

Pilot No. 5 is a war propaganda film, filmed immediately after the attack on Pearl Harbour and focusing on the Japanese attack on Indonesia.

The film has a brief running time but contains a lot of material. On the war level, it focuses on a Dutch commander played by Steven Geray who has five pilots available but only one plane to attack the Japanese air force or to bomb the carrier ship. He chooses Franchot Tone and the film then explores why he has chosen this man, George Collins, and learns his story and about his determination.

The film then has a great deal of flashbacks, some substantial amount of material about George Collins, his studies in law, his friendship with Vito Alessandro (Gene Kelly), partnership, the influence of the corrupt governor (played by Howard Freeman in the vein of Huey Long of Louisiana, immortalised by Broderick Crawford in All the King’s Men). There is also the story of George Collins’ love for Freddie Andrews (Marsha Hunt in a sympathetic role). They build a house together, she disapproves of his work for the corrupt governor, they clash, he goes to work for the governor ousting people from their homes for a redirection of a river, putting money into the pocket of the governor because of land sales. When he witnesses the death of a mentally impaired young girl who is afraid and climbs a chimney and dies of fright, he changes his life completely, offering to unmask the governor, suffering a bad reputation for people who don't believe what he has done for them. He finally enlists, meets Vito again, and they find themselves in Java.

The other pilots also have known George Collins and give some stories about him and his early life. Van Johnson also appears as one of the pilots, an early role.

After this complicated story about George Collins, there are some strong aerial battle scenes as he goes towards the Japanese carrier, encounters Japanese pilots, and does his own kamikaze landing on the ship with an improvised bomb to blow it up. The Dutch major has the opportunity to make the point, eyes to camera, about heroism and the war effort.

The film was the first feature directed by George Sidney who had made a number of short films. He then made Thousands Cheer and went on to make a number of musicals including Anchors Aweigh, Annie Get Your Gun, Show Boat. He also directed a number of period costume dramas including The Three Musketeers, Scaramouche and Young Bess. His last film (thirty-five years before his death) was the British musical, Half a Sixpence with Tommy Steele.

1. A propaganda film from World War Two? MGM cast and style? Earnest appeal for patriotism? How well does it stand now? The patriotism, the aerial war scenes, the complex story about American politics and corruption during the Depression and the 1930s?

2. Black and white photography, the Java setting? The contrast with the American city, building homes, education, the governor’s house? Ordinary bars? Recruiting officers? Los Angeles? A comprehensive range of settings?

3. The situation on Java, the Japanese invasion of 1942? American presence after Pearl Harbour? The Dutch and Java? The major, in charge, his talking to the pilots, the mission – and its dangers? His asking each of the pilots why they wanted to go on the mission? His wanting to know about George Collins? Vito’s anger at this? His explanations? His satisfaction at hearing the story, understanding George? Listening to George on the radio on his mission? His speech of patriotism to camera?

4. George Collins, Franchot Tone and his screen presence? His wanting to go, the idea of the improvised bomb? His strong demands to go from the major? Blackmailing him? The major deciding that he should go? His flight, the radio information? The lack of fuel?

5. The other pilots? Davis and his stories about George? Claven and his knowing George in the past? George as a boy, growing up? His connection with Durban and the government of the state? His studies at university, the dean, his topping the class? His friendship with Vito? His getting ordinary jobs? Love for Freddie, their building the house together, the blueprints? The visits from their friends? Vito and his uncle, the partnership? George accepting? Freddie’s disapproval? The clashes? The ousting of the owners of the homes? The money for the governor? Their visiting the governor and his treatment of them, his employing George? The incident with the family, the girl and her fear, in the chimney, her death? His change of heart? Going to the anti-Durban organisation, their refusing to accept him? His undermining Durban with these documents? People still thinking of him as the enemy? His jobs over the years, menial, wanting to enlist, the interviews, the officer following him to the bar, the fight, getting some of the information? His meeting up with Vito? Going to Java? His reconciliation with Freddie, the marriage at Las Vegas, Vito organising it? The mission?

6. Vito, Gene Kelly’s style? Studies, lawyer, success, his uncle? The partnership? Freddie working for him? His wanting to marry her, fighting for her? But not wanting to undermine George? Their work together, witnessing the death of the girl? Vito and his going to New York, joining up? His anger at hearing about George’s life? His then telling the story?

7. The other pilots, Davis, Claven, Everett Arnold? Their wanting to go? Their listening to the story?

8. The scenes of battle, aerial combat, the Japanese pilots, the bomb being stuck, George and his diving into the boat?

9. Brief, but effective war propaganda – and interesting in later decades?

MERANTAU

Indonesia, 2009, 114 minutes, Colour.
Iko Uwais, Sisca Jessica, Christine Hakim, Mads Koudal.
Directed by Gareth Evans.

Merantau is the second feature from Welsh-born writer-director Gareth Evans. He made a feature film in the UK, Footsteps (2006). He then made a martial arts documentary where he discovered Iko Uwais and employed him for this film. Evans was to go on to make the internationally successful action drama, The Raid. The Raid focuses more on style rather than content – a raid on a public building by a police force, trying to get gangsters, trapped in the building, fighting for their lives. This film is very much focused on the action, the choreography, the cinematic style rather than the characterisations. It was a successful martial arts film – but mainly for devotees.

This film is more measured. It focuses on a young man in Sumatra who is about to go on his rite of passage, Merantau. This means that he must go out into the world, find his place and succeed against all odds. He is blessed by his mother, by his older brother who has already performed the rite.

The plot is fairly straightforward from then on – the young man is enthusiastic, meets a friend on a bus, is given references for a place which is derelict and a phone number which does not answer. He comes across a young boy who steals his bag and chases him, encountering his sister who is being bullied by a pimp and is forced into prostitution. He fights the pimp, later encounters the European boss behind the racket. The young woman is afraid of him, and resents his interference. However, he rescues her again and sends her and the young boy to his mother. In the meantime he has a fight with the European boss, kills him but is fatally wounded.

The aftermath of the film has the young woman settled with the mother and the young boy going to school – in the line of the young man who is imaged by his mother.

Merantau and The Raid were significant cinematic steps forward for the Indonesian film industry.

1. The impact of the film? Authentic Indonesian atmosphere? Martial arts? Squalid life of the poor in Indonesia? Human trafficking?

2. The location photography, the village in Sumatra, the outskirts of Djakarta, the slums, the poorer areas? The musical score?

3. The title, its meaning, the ritual? Yuda and his preparation, the influence of his older brother, his life in the family, his mother? His setting out with their blessing?

4. The character of Yuda, on the bus, his being befriended, the address and the phone number, nobody being at the address, the phone number not answering? His staying the night in the huge pipes? Going to the bar, the little boy stealing his bag, the chase? Encountering Astri and the pimp, his brutality? Yuda and his attack, the fight? Astri’s resentment? His friendship with the little boy? Encountering Astri once again, Ratger and his brutality? Leading up to the fight with Ratger? Ensuring Astri’s safety and that of the boy? His being fatally wounded? His fulfilling his mission – but fatally?

5. The background of human trafficking, the pimp and his brutality, wanting the money, attacks on Astri? Astri and her being trapped? Her being abducted from home? Her being lined up with the other girls? Ratger and his demands? His brutality towards Astri? Her being rescued? Her initial resentment? Her going with her brother to Yuda’s mother?

6. Ratger, his character, brutality, the European influence? His sidekicks? The pimp? The fight with Yuda? His death? Killing Yuda?

7. The martial arts sequences? The particular styles of martial arts and choreography?

8. The aftermath, Astri and her brother with Yuda’s mother? The mother seeing Yuda in the young boy?

9. A contribution to the developing Indonesian film industry?