THE AFFAIRS OF DOBIE GILLIS

US, 1953, 72 minutes, Black and white.
Debbie Reynolds, Bobby Van, Bob Fosse, Barbara Ruick, Hanley Stafford, Lurene Tuttle, Hans Conried, Kathleen Freeman, Almira Sessions.
Directed by Don Weis.

The Affairs of Dobie Gillis is a small-budget supporting feature from MGM in the early 1950s. It made many of these programmers to go with their more spectacular main features. It also gave an opportunity for some of their contract stars to make appearances and give some boost to these films. This is a Debbie Reynolds feature, after her success in Singin’ in the Rain.

The film is interesting for historical reasons rather than entertainment – the 1950s of this kind of story seem very remote. They were based on stories by Max Shulman who wrote the screenplay for the film – and they were later the subject of a television series.

Looking at the lifestyle of the 1950s, especially at college, with its restrictions – but the students wanting to break out, and comparing it with, say, the slasher films or the spring break kinds of films from the 1980s on, things changed a lot during thirty years. Maybe the motivations of the students of the 1950s were not all that different from those of the 1980s, but there were restrictions.

Debbie Reynolds gives a very vigorous performance, reprising the song Good Morning which was so successful in Singin’ in the Rain. Dobie Gillis is played by Bobby Van, a singer and a dancer who appeared in a number of films and television but came at the tail end of MGM musicals. However, his friend is played by Bob Fosse – and this is one of the reasons for seeing the film. It came out the same year as Kiss Me Kate which Bob Fosse helped to choreograph as well as star in. His distinctive kind of dancing is very much to the fore in an episode in this film. Barbara Ruick who portrays the fourth of the quartet is a lively singer and dancer and actress. There are interesting supporting roles including Hans Conried (The 5000 Fingers of Dr T) as a prissy English professor. Kathleen Freeman, a veteran of many films and comedies, appears as the leader of an all-women’s band, Happy Stella Kowalski (in honour of A Streetcar Named Desire). Debbie Reynolds’ aunt is played by Almira Sessions, not a well-known name, but her face is familiar from many similar roles over many decades.

The film was directed by Don Weis, who made such films as I Love Melvin and Confidentially Connie at this time.

The film offers characters and young people from the 1950s, the strictures of a father, the more benign attitude of a mother, the presentation of staff at school, the role of music and bands in the life of young people at that time.

PRIMAL FEAR

US, 1996, 125 minutes, Colour.
Richard Gere, Laura Linney, Edward Norton, John Mahoney, Frances Mc Dormand, Terry O’ Quinn, Maura Tierney, Andre Braugher, Alfre Woodard, Jon Seda.
Directed by Gregory Hoblitt.

An always interesting and intriguing court room drama and murder mystery with Richard Gere as a charmingly arrogant defence lawyer clashing with a strong prosecutor, Laura Linney. Characters are well-developed and there is a great deal of sharp dialogue. Edward Norton is a new talent and is excellent as the accused. Audiences need to pay attention right until the end.

The film is also topical (and may disturb some audiences) with the murder victim an archbishop (in some brief but very graphic violent scenes) and elements of current debates on sexual abuse. These are not sensationalised. Regrettable as such behaviour is, it has to be faced (and energy go into support for victims rather than lamenting its being the subject of a movie). Absorbing mystery and courtroom drama.

1. All the and interesting and entertaining film? Critical praise? Court drama? Twists in the plot?

2. Chicago in the 1990s, civic government, administration of the wall, governmental corruption? The role of the church? Linked with civic government and the wall? The issue of two faces? The quotation from Hawthorne? The scarlet letter? The reference being carved in the archbishop’s chest?

3. The religious dimension, scared as in the church, the state of scandals in the mid 1990s? The impact for audiences then? Later? For the title: four Aaron, for Martin, for criminals?

4. The setting of the scene: the civic dinner, the guests, the speeches, the jokes, the particular tables, the war table, Martin getting ready to go, the interviewed for the article, his meeting
Shaughnessy and the history between them, Bud Yancey Janet, her coldness, the past? The archbishop pleasant, his jokes, photo opportunity, meeting everyone? Six

5. The musical background, the choir singing? The archbishop of home, getting up, the noise, the chopping of his fingers, the many slashes and rooms, the windows bursting, the damage the course of the rage?

6. The pursuit of Aaron, as seen on the television, into cult with martens interview, the role of the police, interviews, 19 hurrying to the jail, his offer to Aaron? His offer to take the case pro Bono? Four who scored, that and Aaron, format and himself? The high profile case, the media treatment?

7. Martin and his work for criminals? His visit to Shaughnessy and Yancey? Discussions about the deal, for the criminal, the money deal, his having to leave the state? Shaughnessy and his conditions? Martin visiting the criminal, playing pool with his henchmen? Infornation about the land? The collapse of the company, the involvement of the church? The buying of the property? The latest sequence with Martinez, the plot against him, his integrity? The latest scene of the death of the criminal boss? Martin’s revenge in the cross examination in the court?

8. Shaughnessy and Yancey? Asking Janet to take the case? The later and are at her behavior? The anger and the murder, wanting the death penalty? The setter for the conflict between Janet and Martin?

9. Martin, wanting the case, the individualist, the need for higher profile, for media attention? The magazine cover, Janet asking for it to be signed? His needs beyond the media? Questioning Aaron, the leaving him or not? Spending to the stuttering, PT? His sense of justice? Aaron suggesting the presence of a third person? Correct pity the plausibility of this theory? The prosecution, the clique at case, the obvious guilt, the knife, left handed, forensic evidence, Matt and her going against this evidence?

10. Janet, tough, with the district Atty., Working with Martin in the past, Martin telling the journalist about his lying and his case, resigning will, his change of approach, working for himself? Sure sea and the threats? The documents?

11. Matt and employing the psychologist, a specialties, qualifications, the interviews with Aaron, taking taping them, her sympathy, his responses, her proving, his background, abusive parents, his sudden and are? Watching him confront martyr? Multiple personalities? The possibility?

12. Aaron and his story, Kentucky, pool, abused, coming to Chicago, no money, the sympathy of the archbishop, inviting him to be an altar boy, getting accommodation? Alex and Linda and his friendship? Explaining the friendship with the lender to the psychiatrist? The possibility of marrying? His reading? Seeing the archbishop as a father figure? The innocent, night and grooming him how to walk in the court, his sitting in court, listen?

13. The interrogation by Martin about the video? The police in court? Witness? The doctor, The interrogations, the judge and her caution, will will apply in the mall, finding Martin for contempt? Janet and her reaction to the doctors presence, the issue of multiple personality, her skepticism, her mockery, her interviewing Aaron? The big speech about what she would do in anger? Martin and he is inciting Aaron to change? The emergence of Rory, his physically attacking Janet? His being held down?

14. Martin and his work with his assistants? Their loyalty, personalities, work, Tommy and his being a policeman, searching the apartments, the encounter with Alex, pulling his hearing? Later finding him? The confrontation with Martin and Alex? A story of the video? The watching of the video, the shock?

15. The archbishop, his private face, researching that he had been reported to the district Atty. 10 years earlier on suspicion of abuse, the young man in the court? Shaughnessy denying any knowledge of it? His friendship with the archbishop the archbishop’s public face, people not able to believe the video? The details of the video, the archbishop directing, saying that he had to purge his demons, telling Aaron, Alex and Linda what to do?

16. Tommy leaving the video for Janet? Martin and his schemes, meeting Janet, cat and mouse about bringing the video into testimony? Shaughnessy for banning Janet to bring it to the court? Her shrewdness in cross examining Tommy? The truth coming out?

17. The judge, her way of conducting the case, listening to the arguments, being firm, fining Martin? Her final decision, Aaron being relegated to the institution for 30 days for testing, the possibility for leaving? Will

18. Martin meeting with Janet, and lies in the case, how they had played of each other, correct and liars, Janet losing her job, the future and the possibility of marriage, working together? Next paragraph

19. Martin visiting Aaron, praising him for his handling of the case, believing that boy had emerged? Air and saying he had lost time, could not remember, apologizing to Janet for his violence, Martin realizing the truth, coming back, the explanation that there was no Aaron, but only Roy all the time? The complete deceit?

20. Martin, realization the truth, self image, the reporters, leaving by the side door?

21. A satisfying psychological drama, mystery, court case, portrait of lawyers?

MIDNIGHT IN THE GARDEN OF GOOD AND EVIL

US, 1998, 155 minutes, Colour.
Kevin Spacey, John Cusack, Jack Thompson, Allison Eastwood, Paul Hipp, Jude Law, Bob Gunton, Kim Hunter, Lady Chablis.
Directed by Clint Eastwood.

Not one's first contender for a Clint Eastwood film. John Berendt's fact-novel was on best-seller lists for years. Now it is a long, meandering, elegant movie. If it is principally about the murder and the trial at its centre, then it is not particularly dramatic. If, on the other hand, it is more a portrait of Savannah society, its closed wealthy class, its manners, its secrets and its gallery of eccentric characters who are linked to the murder and the trial, then it is a telling portrait.

Kevin Spacey gives another understated portrait of evil with the veneer of charm as the accused art dealer. Jack Thompson has a meaty role, accent and all, as the defence attorney. But John Cusack is stolid, with forced humour, as the investigating journalist. It is the visuals of the Savannah mansions, the atmosphere of the South and the supporting cast, especially drag queen Lady Chablis as herself (hijacking the film at one stage) which make this interesting viewing. A city of fasionable decay.


1. Audience interest in the film? A crime and investigation? Court case? Journalist investigation? Portrait of Savannah?

2. Clint Eastwood’s choice of film? Interest in the south? The birthplace of Johnny Mercer – his grave, the range of his songs throughout the film? Savannah society? The law, saving face? Sexuality, morals and a mores?

3. The adaptation of the book, a factual book? The opening out of the book? The journalist, his arrival, reporting and the party, meeting Williams, understanding him, observing society, the response to the murder? His exploration of the crime, motivations? The truth of what happened?

4. John Kelso as a journalist, his arrival, the tourist bus his interest in the homes? Minerva in the park? Meeting Betty, her enthusiasm, the museum? Meeting Jim, the house, the build up-to the party? Exploring the house with him? The traditions of the old South? Old money, new money? Kelso and his meeting Mandy? Joe?

5. Kelso’s character, the background of his wife, his work, the publication of the book, mild success? Williams choosing him because of the book? The initial encounter with Billy on the street? His not being invited to the men’s party? His curiosity? Going to the club with Mandy, with Joe, the music, the next day and the party, meeting the eccentrics, their backgrounds, wealth?

6. Kevin Spacey as Jim Williams, his background, poverty, building his wealth, his interest in art, the Stubbs picture, Kelso’s art knowledge? the auctions and international phone calls? Kelso’s reaction to Billy, the threats to Jim? Williams and his staff, his mother, his sexuality but its not being acknowledged in society?

7. Mandy, relationship with Joe, the future ex-Mrs!? Her singing, the bar, the plans with Joe? His music, travels? Her being with John, helping him, getting into the morgue, the sexual relationship?

8. Sonny, meeting John, the contract to sign, protective of Jim? His explaining Savannah society, into values, saving face? Jovial, giving advice? Response to the murder, taking on the case, going on holidays, the seeming lack of preparation, his being shrewd, his speeches in the court, appealing to the jury, attack on the detective, carelessness in protecting the crime scene, the picture of the cat and the implications, the powder burns not on Billy’s hand? The performance in court? The encounter with Lady Chablis, deferring to her, his being urbane and the boisterous?

9. Kelso, his investigation, the planning of the book? Meeting various people, his interviews, Serena and her comments about Billy and society? Gathering information about Billy? The reticence, his visit to the ladies club, listening to the gossip?

10. The character of a Lady Chablis, taking over the film when she could? Relationship with Billy, her friend Corrine, her flirting with John? Personality, transvestite? John not expecting this? Her names, Frank, Doll, Lady Chablis? Audience response to her, interesting, sympathetic? Her manner of talking, lady’s manners, her clothes, performance at the club, songs, risqué repartee? The issue of going to the party, John’s refusal, her gate crashing, the spectacular dress, causing eyebrows to be raised, gossip, the debutante’s beau, getting him to dance, John and his dancing, everybody watching? The discussions with John, his anger, her contrariness? The decision to go to court, the black outfits, wanting to take over, addressing the jury, the judge controlling her? A symbol of Savannah?

11. Jim, in prison, calm, his story, the significance of the flashbacks, Billy and more information about him, prostitute, money, his car, relationship with Jim, Jim’s explanation when called as witness? Issues of homosexuality? the reality of the confrontation? Smashing the clock, the threats, his gun jamming, Jim shooting him, the truth, the stories? the imaginary sequence, both men lying on the floor, Billy’s eyes, dead, his disappearing?

12. Kelso’s sympathy for Jim, or not? The effect of investigation, the truth, the encounters with Jim, his behavior in court, his mother being absent when sexuality was discussed, the Jim’s entourage? His acquittal? Preparations for the next party? His collapsing, death? Kelso at the funeral? With Mandy?

13. Luther, an eccentric character, his strip invention, going to the diner, his moods, the bottle of poison, the threat to the water supply? On the jury, his enjoying the case, taking notes, announcing the verdict? the prosecutor, his speech, the mention of Hobbes, the contrast with Sonny and his genial approach? The contrast between someone running for office and the good ole boy?

14. The cumulative result of the film, in terms of characters and interactions, in terms of crime, investigation and trial, in terms of life and style in Savannah, in Georgia?

LE HAVRE

Finland/France, 2011, 94 minutes, Colour.
Andre Wilms, Kati Outinen, Jean- Pierre Darroussin, Blondin Miguel, Jean- Pierre Leaud, Pierre Etaix.
Directed by Aki Kaurismaki.

While the advertising title is Le Havre, emphasising the port city of Normandy, the title in other countries includes the word ‘miracle’: Miracle in Le Havre for Denmark and Italy, Le Havre Port of Hope for Mexico. But, more of that later.

The best-known of Finnish directors, Aki Kaurismaki, has tended to make films which are both very serious and, often, very funny. He made a version of La Boheme in the 90s as well as his cult classic about a touring band with oddball hairdos, Leningrad Cowboys Go America. More recently, he has filmed rather darker stories set in Helsinki, Man without a Past and Light in the Dusk. Now he has gone to France, still serious, but with a light and humorous surface, that is very engaging.

Andre Wilms is entertainingly deadpan and kindly as Marcel Marx who makes a precarious living shining shoes at Le Havre station and around the town - if he can get customers. The film opens with him cleaning a pair of shoes for an Italian man who is almost immediately shot off screen with Marcel telling his Vietnamese partner that fortunately the man had had time to pay. We get to know Marcel very well.

Marcel’s wife is loving and dutiful but ill and he takes her to hospital. In the meantime, he chats with local storeowners and at the local bar (with its sympathetic owner and a kind of odd chorus of bearded and tattooed patrons). When a young African escapes from a truck full of illegal immigrants and meets Marcel, Marcel takes him under his wing and hides him (except when he takes him out shoe-shining). A local busybody (veteran Jean- Pierre Leaud) reports him to the police. The world-weary inspector (the excellent Jean- Pierre Darroussin) pursues the case, confronts Marcel, and is instrumental in helping Marcel.

Kaurismaki also indulges his love for music by including a local concert and a song by a veteran singer, Little Bob.
Marcel is a kind man and has put himself out to help the African boy. When he goes to visit his wife in hospital, there is a wonderful surprise – and she uses the word ‘miracle’. A tree blossoms, a sign that goodness is rewarded. So, a fine blend of serious contemporary themes, what used to be called ‘Capraesque’ hopefulness, and some funny sardonic moments and characters. (Winner of the SIGNIS Europe award for 2011.)

1. An entertaining film, both comic and serious?

2. Kaurismaki and his wry comedies, power of observation, a look at outsiders? His love of contemporary music – and the concert piece?

3. Le Havre, the port, the railway station, the streets, homes, the lanes and the shops? Realistic? Musical score?

4. The visual style, the portraits, the framing of the characters, the highlighting of their expressions, the humour implicit in many of the framings?

5. The introduction to Marcel, standing waiting, his Vietnamese associate, shoe-shining, no customers? The Italian man, the shooting off-screen, the payment? His character? Jean- Pierre Leaud as the observer, calling the police?

6. Marcel in the streets, waiting for passers-by for their shoes to be cleaned, the different locations, the church and the two priests having their cigarettes and shoes cleaned, talking about the Gospels?

7. Arletty, at home, dutiful, loving, her illness, giving the money to Marcel to have an aperitif, the box with the money being saved, preparing the meal? Her falling sick, being taken to hospital, Marcel’s visit, bringing the yellow dress, not wanting to see him for two weeks during the treatment? His not visiting, his being delayed? The women and reading Kafka and putting Arletty to sleep?

8. Marcel at the bar, the odd patrons and their comments, the proprietor and her having them under control? His taking the breadstick on the way home, the vegetables and the man shutting his shop?

9. Idrissa, the truck full of migrants? His escape, in the water, seeing Marcel? His situation and Marcel taking him in? His mother in England? The interview with his grandfather and hopes for the future? The police? The observer and his phoning the police? Marcel hiding Idrissa, taking him for the shoe-shining? His being chased down the street? Hiding at home? The inspector, his visit to the house, Idrissa hiding? His being put in the vegetable cart, taken to the wharf? Marcel and the money, the dealings with the boat owner? The inspector and the police arriving, the inspector opening the hold and seeing Idrissa, his sitting on the cover, sending the police elsewhere? His keeping Idrissa safe – and his getting out of the boat, looking back at Le Havre?

10. Getting to know Marcel, his age, character, his life story? His love for his wife and concern? With the locals? Finding Idrissa? The police, the interviews with the police, the smuggler and raising the money, the efforts to get Little Bob back with his wife, to perform at the concert? The takings? Escaping from the police, taking the money his wife had saved? Idrissa and the wharf, the smuggler, Idrissa safe? The police – the conversations with the inspector?

11. The inspector, severe, not liking people much, his interview with his superior (unseen), the search, his coming to Marcel’s home, his talk with him, knowing that Idrissa was there? The hypothetical story of getting rid of the package? Going to the bar, talking with the manager, his having put her husband in jail, her husband’s death? Going to the boat, seeing Idrissa, sitting on the cover? Telling the police to search elsewhere?

12. The gallery of characters, the Vietnamese associate and his helping with the shoe-shining, with the concert, with Idrissa’s escape? The people at the bar? The comic touches?

13. Little Bob, his wife, their clash, Marcel bringing them together, the performance at the concert?

14. Marcel going to the hospital, the empty bed and the package, thinking his wife was dead? Taking him to see the doctor – her complete recovery, the doctors’ opinions, the miracle? The return home, the blossoming of the tree?

15. A film about goodness – and the reward of the miracle at the end?

THE KID WITH A BIKE (LE GAMIN AU VELO)

Belgium/France, 2011, 87 minutes, Colour.
Thomas Doret, Cecile De France, Jeremie Renier, Olivier Gourmet.
Directed by Jean- Pierre and Luc Dardenne.

For insight into people and into their social contexts, audiences have found the films of the Dardennes Brothers from Liege movingly and expertly made. The brothers have twice won the Palme d’Or in Cannes (for Rosetta in 1998 and for The Child in 2005). They won the Special Jury Prize for this one.

This is a brief film, running under 90 minutes, more like a short story but no less effective for that. It opens instantly with a disturbed young boy resisting the efforts of a counsellor as he rings and rings his father’s phone number – which has been disconnected. Then he runs. Cyril (Thomas Doret in a completely convincing performance, his first and so far only screen appearance) has been left at a school a month earlier and his father has disappeared. He has also sold his son’s bike.

When Cyril eludes teachers to go to his father’s last address, he takes refuge in a doctor’s waiting room, clinging to a woman so that he won’t be dragged away. This begins a new relationship which could save Cyril from himself and his disappointment with his father. The woman, Samantha, is played by that fine actress, Cecile de France.

Audiences will have formed strong opinions about Cyril and his irascible, brat-like behaviour and attitudes which are hard to take. Whether they will immediately identify with Samantha and her kindness and patience or will take a longer time to come to terms with the disturbed boy gives the film quite some emotional tension.

The impact is in the small detail: Samantha offering to take Cyril for weekends, his initial surly manner and conduct, her efforts to track down his father (Jeremie Renier, who was the irresponsible father in The Child), her taking Cyril to a fun fair with her boyfriend. Cyril is desperate for loving attention and falls in with a local gang which leads to some disastrous behaviour. Despite all this, Samantha continues to help Cyril.

Just before the end, when we might think and hope that all will be well, there are some violent moments – then Cyril riding his bike towards his future with some confidence. Not a neat ending, but hopeful for a finely made and thoughtful film.

1. A slice of life, Belgian life, universal application?

2. The work of the Dardennes brothers, their themes, humane characters, their skill in observing characters and life, drawing in audience sympathy and understanding?

3. The Belgian settings, the towns, the school and institutional touch, the streets, the hairdressers, the shops, the woods? The realism? The musical score – and the orchestral moments for drama?

4. Cyril’s story, the introduction, at the home, on the phone with the discontinued line, the counsellors trying to help, his running, their restraining him, his compulsion to find his father? In the school for a month, no word from his father? His pretending to go to the toilet, getting out of the school, the bus, going to the apartment block, the concierge and his information, the door, getting into the building, hiding in the doctor’s waiting room, hanging on to Samantha while he was being dragged away? His being allowed to see his father’s apartment, empty? The insights into him initially, observing his behaviour? His thinking only good of his father?

5. Samantha, in the doctor’s waiting room? Her hearing about his bike? Buying the bike back, bringing it to the school? As a person, her age, her relationship with Gilles? Not married, no children? Cyril asking could he come to visit her? Her immediate agreement? Coping with Cyril’s moods? Her attention, his watching her and Gilles in bed, taking him to the carnival, his wanting to be alone on the ride? Gilles and his reaction – and Samantha’s later choice in taking Cyril’s side instead of Gilles’? his going to the shops and the garage to track down his father, getting the name of the person who bought the car and bike?

6. Samantha, tracking down Cyril’s father, their going to meeting him, his not coming, their going to the restaurant, knocking on the windows, the loud music? The father letting them in, the son kissing the father, talking, the father working with the food, explaining what had happened? His explanations to Samantha, her return and making the father tell his son the truth about not wanting to see him?

7. The effect, Cyril’s sadness, later the robbery and his offering the cash to his father, his father’s refusal?

8. The boy stealing the bike, Cyril chasing, the second occurrence, meeting the gang, the leader? The option of playing football or going with the gang? His fight, the leader calling Cyril Pitbull? His saying he wasn’t a dealer? Getting Cyril’s trust, paying for the punctured tyre, playing the computer games, the rehearsal for the robbery and taking Cyril through it in detail?

9. Samantha, ringing Cyril with the mobile, the search, with Gilles, finding him, Gilles leaving?

10. The robbery, hitting the owner, trying to take the cash, hitting his son? The escape in the car, the leader ousting Cyril and abandoning him? The threats? Cyril going back to Samantha’s, the police? Samantha continuing to support him – and going for the meeting with the shop owner, the restitution, the apology?

11. Cyril staying with Samantha, their both riding bikes, the picnic, going to the supermarket to prepare for the barbeque? The young boy and Cyril’s previous refusal to go to the cinema, welcoming him to the barbeque?

12. Cyril and his going to the service station, buying the charcoal, Martin and his attack, chasing Cyril, Cyril going up the tree, being hit by a stone, falling? The son calling his father? Their plan to lie to the police if Cyril were dead? Cyril getting up, the mention of the ambulance and his concussion, his leaving?

13. Cyril, recovering, getting on his bike, riding home – into his future? The audience more optimistic about his future? Admiration for Samantha?

THE RUM DIARY

US, 2011, 120 minutes, Colour.
Johnny Depp, Aaron Eckhart, Michael Rispoli, Amber Heard, Richard Jenkins, Giovanni Ribisi, Marshall Bell, Bill Smitrovich.
Directed by Bruce Robinson.

In 1998, Johnny Depp played the journalist, Hunter S. Thompson, in Fear and Loathing in Las Vegas. Thompson began his journalistic career in the 1960s, investigative journalism that pulled no punches. It got the nickname, Gonzo journalism. Thompson also lived a fairly reckless life, not without a significant amount of drugs. He shot himself in 2005.

The Rum Diary was a Thompson novel about a young writer in Puerto Rico in 1960, trying to establish himself, despite a capacity for hard drinking, his rum diary. Without quite realising it, he allows himself to be swayed by a wheeler-dealer to write articles favaourable to a tourist development on the site of an American arms-testing base. He also becomes infatuated with the smooth-talking but ruthless agent’s girl-friend. The entanglement does him no good, except to test his integrity. At the same time, his newspaper is collapsing, the editor doing a run, the staff on strike.

This is the core of The Rum Diary, a thinly disguised autobiographical novel by Thompson.

It offers an opportunity to see Johnny Depp doing some serious acting, forgetting his outings as Captain Jack Sparrow, Willy Wonka and The Mad Hatter which are definitely a matter of taste.

Aaron Eckhart has no trouble in being the wheeler dealer, a smoothly nasty piece of work. Richard Jenkins is the harassed editor and Giovanni Ribisi is eccentricity personified as a drug-addled fellow journalist. Some of the scenes are stolen by Michael Rispoli as the newspaper’s photographer who gets caught up in all these adventures (and the rum).

The film was written and directed by Bruce Robinson who was one of the up and coming film-makers of the 1980s, especially with his ironic comedy, Withnail and I. However, Robinson them embarked on his own rum and drugs diary and it has taken two decades for him to move back into film-making.

The film suddenly stops and tells us that this was the beginning of a Gonzo journalistic life. We know the sequel already.

1. Journalism in the 20th century? Gonzo journalism and its origins? Hunter Thompson?

2. Hunter S. Thompson and his life, career, reputation, work, death?

3. The 1960s, the look, the world background, the music, songs?

4. The opening image, the plane, the advertisement for Union Carbide? Flying over Puerto Rico? Industries and companies in the 1950s? The influence of the United States?

5. The introduction to Paul, his waking, bleary-eyed, the mini bar overturned, dressing, in San Juan, going to the paper? The meeting with Lotterman, the warning not to mention his wig? His reaction? His meeting Bobby Sala? The interview, his job, obituaries and tourism? The seedy existence?

6. The paper, in decline, circulation, Lotterman, his relationship with his staff, on the phone, discussions with Paul? His plans?

7. Bobby, his life, photographer, grubby, the connection with Paul? Boarding with Moberg? In the city, drinking, cockfights, life and style? Work?

8. The introduction of Sanderson, smooth, the invitation for Paul? Paul meeting with Chenault? The attraction? Going to the boat, seeing Sanderson and Chenault and the sexual encounter, the meeting? The introduction to Mr Zimburger? The attitudes of the 1960s, the American right wing, anticommunist, racist, greedy? The bank manager, the managers of the new hotels, the architects? The hotel and tourism plan? The use of Puerto Rican land?

9. Paul at the meeting, listening to the plan, the invitation for him to write articles promoting the project, it being confidential, signing the document? His being bought?

10. Bobby and Paul driving, the car, wanting the meal, the refusal to serve them a meal, Bobby and his hostility, seeing the men that Sanderson had warned off the beach? The car chase? The violence? The arrest, jail?

11. The court, the prisoner vomiting, their fears, the judge, their being chained to the felon, the sentence? Sanderson’s arrival, offering bail? Further hold over Paul? Their going back to the car, it being stripped? Paul driving while sitting on Bobby’s lap?

12. The visit to the island, Paul taking Bobby, the party, the clashes, Sanderson angry with Bobby’s presence, Paul being sacked? Going out, Chenault and her dancing, drinking? Sanderson’s anger?

13. Lotterman, his packing and leaving, the staff and their discussions, Paul and his plan?

14. The character of Moburg, his looking haunted, his words, interests, Nazis? His help? The cockfight and his taking them to the woman who put curses on people? The blessing of the cock?

15. The cockfight, the staff gone, Moburg the only one? The choices for Paul?

16. The ending of one story, the beginning of another? Hunter S. Thompson’s career?

21 JUMP STREET

US, 2012, 109 minutes, Colour.
Jonah Hill, Channing Tatum, Brie Larson, Dave Franco, Rob Riggle, Ice Cube, Caroline Aaron, Holly Robinson Peete.
Cameos by Johnny Depp, Peter De Luise, Richard Grieco.
Directed by Phil Lord and Chris Miller.

Basically, for a younger demographic.

This is the popular television series (with Johnny Depp who does an entertaining cameo this time) from the later 1980s. Almost a quarter of century later, Jonah Hill and fellow writers, have taken the core plot and more than updated it. Yes, there are the two cops (ineffectual rookies, Channing Tatum, the heartthrob from school now struggling with studies and even remembering his Miranda warnings properly, and Jonah Hill the ultra-gawky nerd with brains but finding the police training a physical challenge, are no on the first assignment, patrolling a quiet park on bicycles.

When their attempted arrest of some bikies flops, they are assigned to a special squad housed in the Church of the Aroma of Christ, a former Korean church with a Korean Jesus crucifix. It is presided over by a continually angry and swearing Ice Cube. Talking of swearing, there is much more here than on the TV series and a preoccupation with raucous comedy and frequent phallic jokes. The rookies are assigned to undercover work to find dealers and makers of a new drug (which they first watch on a You Tube clip).

Yes, they are too old for school, but, after getting their fake names mixed up, they go to the wrong courses, Jonah to sport as well as a performance of Peter Pan, Channing to science. The comedy is that each adapts to his opposite. And it is all mixed up with the pleasant dealer who gets them in on the act, with a girl who finds Jonah attractive, the fellow nerds with whom Channing feels more and more at home, with a leering sports coach, and with the bikies – which leads to shoot-outs and traffic jammed chases and explosions.

Younger audiences will find it funny, and the two do play well off each other. Older audiences may find it a bit too much to spend so much time in this school and might feel that a little of our heroes goes a fairly long way.

1. 21 Jump Street for a 21st century audience? Those nostalgic about the television series? Younger audiences?

2. The use of the basic plot, transition from the 1980s to the 21st century? Style, issues? The humorous cameos by Johnny Depp and Peter DeLuise? The return of Holly Robinson Peete?

3. The 21st century, schools, homes, neighbourhoods, parties, drugs, dealers, makers? Bikie gangs? The school proms? Action and shootouts?

4. The verbal humour, the slapstick humour, the sexual and raucous humour, phallic jokes?

5. Schmidt and Jenko when young, Channing Tatum as the idol, laughing at Schmidt, Schmidt and his invitation to the prom, awkward? Studies?

6. The transition to the police academy, Schmidt and his difficulty with exercise, Jenko and his not being adept at studies? Meeting each other again, burying the hatchet, helping each other? Bonding?

7. Their first job, at the park, on bikes? The bikie gangs, the drugs, the attempted arrest, the fight, the injuries?

8. With the officer, not reading the rights properly, the case dismissed? The chief, relegating the two to Jump Street?

9. The church, the Aroma of Christ, the Korean. Jesus, the focus on the crucifix? Captain Dickson, his tone, his being angry, language, the other undercover agents, the girls, the various jobs to be done, looking for drugs and dealers?

10. The drug, the YouTube? clip, the dramatising of the phases of the drug, the boy – and his death? Aggression, madness, catatonic?

11. Jenko and Schmidt going undercover, the audience and the teachers and students having to accept them as younger, as students? Enrolled, mixing up their names, getting the wrong courses? Schmidt’s mother and father, the gossiping neighbour? The rooms and boarding at the Schmidt house? Going to school?

12. The encounters, Molly, Eric and his friends, the gay black man and the fight? The principal, the warnings, the difficulties if suspended?

13. Jenko and his going to the science laboratory, the geeks, the teacher and her continually making advances, the friendship, the songs and the poems, Jenko bonding with them, sharing, his own poem, learning about science?

14. The contrast with Schmidt, the coach and his oddball comments, running, messing things up, continued exercise? Becoming friends with Eric, his group? The bonding?

15. The character of the coach, his coming on strongly, his language not being appropriate, his comments – and calling out during the performance of Peter Pan? The irony that he was at the centre of the drugs?

16. Eric, his character, his friends, as a dealer, his contacts? Becoming his friend, leaving the phone on – and the irony of Jenko listening in?

17. The plan, the audition by Schmidt for the play, costume? His continued meetings with Molly, the attraction, sharing with her, the phone and his insulting Jenko?

18. The prom, after their suspension, Molly, the pursuit of the criminals?

19. The code, the drop, going out of the play, the setup, Eric inviting the two of them to participate? Their being invited because they didn't seem to be cops? The bikies, initially not recognising them? Molly, her coming in, the revelation? The coach emerging as the criminal?

20. The shootout in the hotel, action and slapstick?

21. The car chase, the tankers, the hens, the expected explosions, the final fire?

22. Getting back to the play, Molly and her being upset, the fight with Jenko on stage, the reaction of the audience – including the coach?

23. The happy ending, the achievement, going back to Captain Dickson? His having to admit their success?
 

THE DOOR (DIE TUR)

Germany, 2009, 103 minutes, Colour.
Mads Mikkelson, Jessica Schwarz, Valeria Eisenbart.
Directed by Anno Saul.

The Door is a drama that has a conventional setting but becomes a time-travel fantasy.

The basic situation is that of an artist, unfaithful to his wife, visiting a girlfriend, leaving his daughter chasing butterflies – and she falls into a pool and drowns. He is stricken with grief. After five years, he finds a tunnel with a door and goes through it, only to find that he is back in the initial situation before his daughter’s death. However, he also has to confront his former self. The two struggle and the former self is killed.

He attempts to make amends, is faithful to his wife, caring for his daughter. However, the troublesome neighbour reveals that he too is someone who has returned from the future. His wife, sensing something different about him, also wants to do the same thing. His daughter also realises that he is not the same person as before but agrees to go through with the pretence.

It is interesting to see time-travel and alternate worlds in a much more serious, German context than the Hollywood stories. While it defies logic, it gives another angle to the story of someone who is given a second chance to make amends for his previous life. However, this is a German film, and the ending is not neat Hollywood.

The central character is played by Danish actor Mads Mikkelson who in the first decade of the 21st century emerged as an international star as well as one of the main character actors in Denmark.

1. Familiar drama and situations? Change? Time-travel? Possibilities of moral change, opportunities?

2. The serious nature of the German treatment of the material? The serious ending?

3. The suburban setting, homes, pools, studios, the streets and bars? The musical score?

4. The fantasy, the tunnel, suburbia transformed?

5. The idea that people can go back in time, parallel worlds, their other selves and dealing with them? The pessimistic aspect that one of the characters has to die?

6. The basic plot, David, his art, the nature of his portraits? His little girl, chasing the butterflies? His going across the street, the complaining neighbour? His girlfriend, their clash, the sexual encounter? His return, his daughter in the pool, her laces caught, dead, his attempting to revive her?

7. The consequences, his grief, in the bar, the years passing, visiting his ex-wife and her husband? His attempt at suicide, Max saving him?

8. The tunnel, going into the tunnel, going through the door?

9. The two Davids, the five years difference, the confrontation, the former self in the struggle, death? David burying him in the garden? Ineffectually? The new David, relationship with his wife, his daughter, her knowing that he was different, trying to change his life? The birthday, the cake, possibilities?

10. The annoying neighbour, the revelation of the truth, his own story, his return?

11. The irony of the mobile phone, David going to find it, his wife and her suspicions? His thinking that he had buried it?

12. Max, the bar, his telling his story, talking about the future?

13. The wife and daughter, the wife wanting to go into the tunnel, coming back as a new wife? The interaction of the two women?

14. The deaths, the burial in the garden?

15. David becoming desperate, wanting to bury the tunnel, in the car, his wife and daughter going into the tunnel, destruction? An ending that was not neat and happy – requiring audiences to reflect not only on the plot and characters, but the consequences of such time-travel and change?

MAGIC BEYOND WORDS: THE J.K. ROWLING STORY

US, 2011, 90 minutes, Colour.
Poppy Montgomery, Emily Holmes, Antonio Cupo, Janet Kidder, Andy Maton.
Directed by Paul Kaufman.

It is often difficult to watch a biography of a person who is still living and active. People make comparisons with what they have read, seen on television, the image that they have formed of the particular celebrity. This is definitely the case with J.K. Rowling.

This film is more in the Reader’s Digest vein, something of a movie snapshot of J.K. Rowling and her life. To the extent that it offers some kind of narrative, indicating the influences on her writing, details of some of her own life story, the film is not without interest.

Australian-born Poppy Montgomery is quite persuasive as Joanne Rowling. Emily Holmes is her sister Diane with whom she has a strong relationship. While in Portugal teaching English, Joanne Rowling married Jorge Arantes (Antonio Cupo) who proved to be a womaniser and a very macho man in terms of supporting his wife and the dominance of the Mediterranean character. Janet Kidder is Anne Rowling, Joanne’s devoted mother who had MS. Andy Maton is Christopher Little, the agent who did so much to sell the manuscript of the first Harry Potter story in the United Kingdom as well as in the United States.

The film has touches of fantasy, suggesting possible influences on Joanne Rowling for her books. It also shows the difficulty she had, family, schooling, not being able to go to Oxford University, her jobs, her marriage, finishing the novel, sending it to agents.

The framing of the film is the London premiere of the first Harry Potter film.

Director Paul Kaufman has produced and directed many American television movies.

1. Audience interest in J.K. Rowling, interest from the novels, interest to (**?in?) the author, her life, the influences, career, success?

2. The title, Magic, Beyond Words? Evocations?

3. The Scots background, the village that the Rowlings lived in, the woods, homes, schools? The 1970s and 80s? The change in the 90s? The Portuguese settings, work in London, life in Edinburgh?

4. The musical score – and evoking the Harry Potter films?

5. An unauthorised biography, the appearance of J.K. Rowling herself at the end of the film? An easy biography, the outline of a life and career, crises, talent, opportunities?

6. Joanne as a child, her relationship with her parents, her pragmatic father, idealist and supportive mother? The bond with her sister? Loving stories, The Wind in the Willows? Playing in the woods, dressing up as a witch? The boy called Potter, the spells? Her poor examination at maths, the teacher putting her lowest in the class, the children calling her a dunce? Her sadness at home?

7. Further schooling, her friend whom she thought was weasely? (**?) The teacher, criticising her in class, her clever answers, her boredom in school? Her marks, hoping to go to Oxford, not getting in – and the social class comments about her failure to be accepted?

8. Joanne’s father, wanting her to do practical courses? Her mother, the collapse, MS, the birthday party? The university graduation and the delight of her parents? Going to Exeter and studying literature?

9. Post-university, the jobs, with Amnesty, her trying to write? Not holding down the jobs for long? On the train, her dream and imagination, the Harry Potter stories? The woman on the train – and the quaint gift? Her writing, the box with all her writings in it?

10. At home, teaching? The decision to go to Portugal, her friends, social life? Meeting Jorge, the attraction? His macho style, their clashes, her forgiving him, the marriage, the birth of Jessica? His not having a job, wanting to support the family, his expectations, his relationships with women? Brutality, the police? Her going home, the interview with the welfare agent, the harshness? Trying to get jobs?

11. Diane, her support of her sister, reading the novel, urging Joanne to finish? Sending it to the agent – and the collage of the post and the journey of the manuscript? The rejections? Taking the job at the school? The phone call, Christopher Little and his being persuaded by his assistant to take on the novel?

12. The agency, Little’s assistant, going to Bloomsbury, the thousand pounds? The year passing, the American sale, the advance?

13. The transformation for Joanne’s life, the masculine name, J.K. Rowling and the initial from her mother, going to shop, the reading and the small group there? Assumptions that the author was a man?

14. The framework of the film premiere, the interviews, going home to Jessica, reading her The Wind in the Willows?

15. A variety of influences shown during the film? Ideas, characters, the platforms at the railway station...?

16. J.K. Rowling’s achievement, the books, the films? The importance of her charitable foundations?

FORSAKING ALL OTHERS

US, 1934, 83 minutes, Black and white.
Robert Montgomery, Joan Crawford, Clark Gable, Charles Butterworth, Billie Burke, Frances Drake, Rosalind Russell.
Directed by W.S. Van Dyke.

Forsaking All Others is based on a play which starred Tallulah Bankhead on Broadway. It has been adapted for the screen by Joseph Mankiewicz who, in the 1940s, was to win Academy Awards for A Letter to Three Wives and All About Eve.

This is an MGM farce, a dash of the screwball comedy of the period. The credits show Robert Montgomery, Joan Crawford and Clark Gable walking together – and the film is about an unwitting triangle. The three have been childhood friends. Joan Crawford is about to marry Robert Montgomery but he falls under the wiles of a girlfriend, played by Frances Drake. Joan is left at the altar. Clark Gable portrays their friend, a journalist who worked in Spain, devoted to Joan but not expressing his love for her. Eventually, Joan decides to marry Robert Montgomery – but this time, Gable declares his love, Joan realises the truth – and is prepared to jilt Montgomery.

The film has some witty lines, some delivered by Charles Butterworth as Gable’s friend. Billie Burke does her usual fluttering thing. Rosalind Russell has a small role – but is, as always, a strong presence. The film, however, relies on the presence of Joan Crawford, Clark Gable’s attractiveness, Robert Montgomery’s skill at light comedy.

1. A pleasant screwball comedy from the 1930s? MGM style?

2. The stars, their strong screen presence? The dialogue – and the touches of wit?

3. The title, the marriage ceremony – and the two episodes of jilting?

4. The friendship between Dill, Mary and Jeff? The childhood photo? The love of May for each of the men, her love for Dill? Not realising her love for Jeff? Dill and his marrying Mary, the preparations? Jeff and his arrival home, the plan to propose? His hearing the news?

5. Mary, her character, in love with Dill, the marriage preparations, the massage and everybody coming in? The dress, the parties? The flowers sent by Jeff? In the church, the marriage called off? Her stoic reaction? Going away, supported by Jeff, by Paula? Her reliance on Paula? The time passing, discussions with Jeff? Connie and the invitation to the party, her motives for the invitation, Mary’s motives for going, meeting Connie and the sharp exchanges? Meeting Dill? Mary and her still being in love with Dill? Time passing, his clash with Connie? Going out together, the car crash, the going to the house? The plan to marry? Mary ready, Jeff leaving, his declaration of love, the fact that it was he who sent the flowers? Her change of heart – and her leaving Dill?

6. Dill, the playboy, rich, smart repartee? In love with Mary? His fling with Connie, the bachelor party, Connie’s arriving, his eloping with her? The clashes with Connie? Meeting Mary at the party? Renewing the relationship, going out, the day in the country, the crash, walking? His being left high and dry?

7. Jeff, the Clark Gable style, coming from Spain, his friendship with Shemp, buying the flowers, the balloons, about to propose, learning the news? His standing back, prepared to be the best man? His drinking with Shemp? The news about Connie? His going to Mary, supporting her, listening to her? Going to the party? The clash with Connie? His hopes, his declaration of love, the happy ending?

8. The contribution of the minor characters, Shemp, the best friend, his repartee? Aunt Paula, her dithering, love for Mary? Connie, hard, her comeuppance? Eleanor and her smart remarks? Friendship with Shemp?

9. The popularity of this kind of screwball comedy in the 1930s? Later?