LOVE LETTERS

US, 1945, 101 minutes, Black and white.
Jennifer Jones, Joseph Cotten, Ann Richards, Cecil Kellaway, Gladys Cooper, Anita Louise, Robert Sully, Reginald Denny.
Directed by William Dieterle.

Love Letters was a very popular film of 1945, in the vein of so many wartime romance stories. The plot focuses on a soldier who uses his friend to write letters to a woman who falls in love with the letters. He returns from the war, marries the woman against the advice of his friend and is murdered.

The film focuses on the letter-writer, played seriously by Joseph Cotten. He tracks down the woman, and finds that she has lost her memory and has spent a year in prison for the murder of her husband. With the aid of a friend (Australian actress Ann Richards who went to Hollywood after appearing in such films as Dad and Dave Come to Town). The other main character is the aunt who brought up the woman with amnesia, looked after her – and, in a scene where the woman regains her memory, talks about what really happened with the death of her husband.

The film is directed by William Dieterle, German director who made significant biopics at Warner Bros in the 1930s including Louis Pasteur and Emil Zola, who went to Paramount and made quite a number of genre pictures during the 40s and 50s.

1. The popularity of the film? In its time? The war atmosphere? Later decades? A romantic film?

2. The production qualities, the director and his experience, the central cast and their screen presence, the strong supporting cast? The musical score, Victor Young’s music and song?

3. The title, plain and matter-of-fact?

4. The plot, the basis in Cyrano de Bergerac, the anonymous writer expressing his love for the woman beyond his world?

5. The focus on Allen, the opening, his writing the letters for Roger? The warfront? Roger and his casual attitudes? Allen and his intensity? The jokes about the letters, Allen urging the final letter? Advising Roger not to seek out Victoria?

6. Allen being wounded? His going back to England, tracking down Roger? Hearing about the marriage? Its failure? Roger’s murder?

7. His decision to find Victoria, his home in the country? His meeting with Dilly Carson? The discussions with her? Her knowing the truth? Allen and his encounter with Victoria, at the party, calling herself Singleton? Her presence, her charm? His finding her again?

8. Dilly’s explanation? Victoria’s background, orphanage in Canada, Aunt Beatrice bringing her to England, caring for her? The loss of memory? Her imprisonment for the murder of her husband?

9. Allen, the discussions with Victoria, falling in love with her? The marriage? Her saying Roger at the wedding? Their life together – and Allen wondering whether she would regain her memory?

10. The build-up to the climax, Aunt Beatrice, in the house, talking with Victoria? The gradual remembering, the details of what happened, the fight? The revelation that Beatrice killed Roger for Victoria’s sake? Beatrice having the stroke, unable to speak, unable to communicate what had happened? Victoria going to jail? The flashbacks to the court, her honesty, her lack of memory? Her sentence?

11. Allen overhearing the story, their rediscovery of each other, the letters? The happy ending?

12. The supporting characters, Aunt Beatrice and Gladys Cooper’s style? Crucial in the plot? Mac and his friendship with Allen? Helen Wentworth and her love for Allen, the meeting after the war, Allen explaining how things change? Dilly, her friendship with Victoria, with Allen, her contributing to the story?

13. 40s-style romantic films, serious, with the touch of the tragic?

HOUSE OF 9

UK, 2005, 86 minutes, Colour.
Dennis Hopper, Kelly Brook, Hippolyte Girardot, Peter Capaldi, Susie Amy, Raffaello Degruttola, Ashley Walters.
Directed by Steven R. Monroe.

House of 9 is an exercise in psychological horror. The film opens with nine people randomly abducted from the streets of London. They find themselves confined in a mansion, no possibilities for exit. A voice (voiced by Jim Carter) tells them that they are there to survive and gain five million pounds. There is to be only one survivor.

The film’s characters are somewhat stereotypical, easily identifiable from their appearance, behaviour, information about their work. Dennis Hopper is a rather unlikely priest. Kelly Brook is a dancer in the chorus – not likely in real life. French actor Hippolyte Girardot has the most histrionic character to represent while Ashley Walters is a rap singer, bigoted against white people.

For a while, the group bonds together in different ways, not thinking about killing each other. However, after what seems to be an accident and one character dies, the film opens up to antagonisms, attempted killings. Ultimately, there is one survivor – who exits the house, but has hallucinations about some of the dead people holding their bags of money.

While audiences will be interested in the situation, wondering what will happen, the film is really just an exercise rather than a character study and audiences wondering who will be next and how – rather than why.

1. An international production? French and American actors with British? The London setting?

2. The credibility of the plot? Contrived for the sake of the situation, the characters, the eliminations? The abductions – and the nine people in the elaborate mansion, the television surveillance?

3. The title, the nine different people, finding themselves drugged, awakening in the house? One to survive?

4. The voice, ethereal, disembodied? The presentation of the situation, the promise of the money, switching off – but the film showing the surveillance cameras being watched.

5. The characters and their self-assertion or non-self-assertion? How well delineated were the characters – how credible? Dennis Hopper as Father Duffy, the mock-Irish accent? His mouthing religious themes? His attempt at control? The policeman giving him the gun? His not wanting to use it? The confrontation with Francis, his shooting? The surprise of his being stabbed to death? Lea, her background in dancing, attractive, self-effacing? Her interactions with the others, Francis trying to electrocute her? The audience thinking she was dead? Her recovery, the confrontation, stabbing Francis? Surviving? Max, the businessman, entrepreneur, well known, his knowing Claire? His fears, self-assertion? The discussions with Father Duffy, with the others? His taking the food? His being shot? Claire, the tennis player, arrogant, wanting to drink, the clashes with Shona? Her death? Shone, in prison, on parole, angry, assertive? Sharing with Claire? Their fight and her death? Al B, his prejudices, his eruptions in racist rants? His rap singing? His dancing with Francis’s wife? Her death? Deliberate or not? His being attacked, the confrontations with Jay? His killing Jay? His being put in seclusion, Max giving him the food? His being found hanged? Francis’s wife, her fears, her being the first to die?

6. The building itself, the attempt at bashing the door and failing? The food and the limitations? People being greedy, hiding the food? The accommodation? The growing bickering, the antagonism?

7. The film as an exercise in film-making rather than a psychological study?

happythankyoumoreplease

US, 2010, 100 minutes, Colour.
Josh Radnor, Malin Akerman, Michael Algieri, Kate Mara, Zoe Kazan, Tony Hale, Pablo Schreiber, Richard Jenkins.
Directed by Josh Radner.

Happythankyoumoreplease is a story of three couples in New York City, all around the thirty mark. The film shows the woes and the messes that these individuals have in their lives – but the thrust of the film is towards commitment and to happy endings. Learning by experience.

The film was written and directed by Josh Radnor who appears as Sam. He is an ingratiating screen presence, akin to John Krasinski, of the self-deprecating style. He is matched by Malin Akerman as someone suffering from a disease, trying to cope with life. His partner is Kate Mara, a singer from Mississippi whose life is in a mess.

The complication with Sam is that on his way to an interview he took pity on a young African American boy in the subway, only to find that the boy wanted to stay with him. He keeps the boy, against the advice of his friends, finally going to the welfare officer and then being arrested. However, he is bailed out – and this has a happy ending as well. There is his cousin Mary Catherine (Zoe Kazan) who depends on her relationship with Charlie (Pablo Schreiber). She becomes pregnant, he proposes without knowing this, she thinking that he wants to leave her. Ultimately, the pregnancy brings them together.

Annie (Malin Akerman) is stalked at work by an older rather geeky man. However, we have judged on appearances. He takes photos of her and when she sees them, she changes her mind about him, goes out with him, they are able to talk at a deeper level and he declares his love for her.

Familiar material, a touch of the young Woody Allen (and some jokes at Woody Allen’s expense about making a film every year).

1. Romantic comedy? For thirtysomethings? American style?

2. The New York settings, the apartments, the streets, offices, restaurants, the subway? Authentic? The contrast with driving around LA? The musical score – and the range of songs and their commentary on the characters and the situations?

3. The title, Annie’s explanation to Sam 2? A hopeful outlook?

4. Audiences identifying with the characters, those of their age, younger audiences, older audiences – and the demand for a bit of tolerance?

5. The lifestyle of the characters, their values, relationships, jobs, commitment and lack of commitment, lives in a mess, life-changing experiences?

6. Sam, getting up, late for his interview, his writing the novel, his background of short stories? Annie on the phone, giving him her advice, tucking the shirt in? On the subway, his seeing Rasheen? Helping him, taking him to the authorities, his decision, concern, going to his meeting, the editor not being interested? On the street with Rasheen afterwards, noticing Mississippi?

7. His decision to keep Rasheen, Rasheen not talking much, the bond between the two, life at home, Rasheen’s drawings and Sam’s amazement? Noticing Mississippi in the street, going into the diner, explaining that he was a Big Brother? Later having to admit his lie? Going to Annie’s party, her speech about her illness, taking Rasheen? Mary Catherine and her negative reaction?

8. The bond with the two, the best friend, drawing, the friends giving advice, going to the shop for Mary Catherine and getting the paints, the further paintings?

9. Sam and his decision to go to the welfare officer, the interview, walking out, the police arriving, in the car, bailed, the foster home – and finding Rasheen again?

10. Mississippi, coming from the South, her work at the bar, her singing career, talking with Sam, liking him? Going home, her resistance, his persuading her to stay three days, the contract and conditions? The key? Her going out, coming back – and wondering whether Sam was interested? Her singing, Sam’s presence? Her blunt talk to Sam in the street, calling him a child?

11. Mary Catherine, her friendship with Sam, her dependence on Charlie, his being in California, phoning, driving around, his return? At the party? Her life in a mess? Her dependence on Charlie? Talking with Sam at the shop, advising him about Rasheen? Charlie’s proposal, her being taken aback, her negative reaction? Her pregnancy, going to the doctor? Whispering the truth to Charlie? Each prepared to give up their plans for the other? Love and commitment?

12. Annie, her illness, relationships, Ira and his contact, spending the night with him, the discussions pro and con, his saying that he was seeing another woman – her disillusionment?

13. Sam 2, nerdish, on her floor, snapping the photos, seeming to stalk her, her resistance? Looking at his portfolio of photos – their quality? Her being impressed? Consenting to go out, the meals, the talk, his declaration of love, asking her to shut her eyes, her really listening? Hopes for the future? Her explanation of Sam 2 to Sam?

14. A cross-section of New York thirtysomethings, ordinary or not? Living in the city, their struggles?

15. Finally feelgood, with hope and commitment?

THE ICE FOLLIES OF 1939

US, 1939, 82 minutes, Black and white.
Joan Crawford, James Stewart, Lew Ayres, Lewis Stone.
Directed by Reinhold Schunzel.

The Ice Follies of 1939 seems an extravagant name for this rather modest drama. Joan Crawford stars, rather at her most benign, with James Stewart starring as a former skater-become-entrepreneur. Lew Ayres is their best friend. Lewis Stone is an executive.

The film is the age-old Star is Born kind of story. When their skating act is cancelled, there is tension between Mary and Larry, though they marry. Mary then gets a contract and becomes a famous film star, leading to separations and tensions for Larry. However, with the help of the promoter, Larry gets the opportunity to design his show and to present a segment of a film (and this film goes into colour for it) of song and dance and skating.

It is something of a curiosity item in the careers of its stars.

1. A film of the 1930s? The Broadway Melodies and Ice Follies on screen? The skating? The finale in colour with the skating sequences and song and dance?

2. 1939, entertainment, ice follies, theatre, films? The audiences?

3. A star vehicle for James Stewart and Joan Crawford? Playing against type? Their characters, Mary, her devotion to Larry, willing to be fired from the skating show, thinking she was not good? The interview, her shrewdness with Doug Tolliver? Returning, auditioning, getting the contract? Her becoming a star? Her films, her being away from home? The effect on Larry? Larry, the James Stewart style, the background in skating, Eddie as his best friend? The marriage? Willing that Mary should become a star, finding it difficult in practice? The tensions? Her getting him the show? Doug and his support? The end and their watching the film – while Mary still wants to skate?

4. Eddie, his friend, his comic style, his going off to be an actor, the return, the friendship?

5. Doug Tolliver, the producer, films, the background of Hollywood versus theatre? The auditions? The promotion of Mary? Not wanting her to be married – changing his mind, Mary persuading him? Giving Larry the chance? And the happy ending?

6. An odd film for 1939 – considered one of the best of the Golden Years of Hollywood?

MUTINY

US/UK, 1952, 77 minutes, Colour.
Mark Stevens, Angela Lansbury, Patric Knowles, Gene Evans, Rhys Williams.
Directed by Edward Dimytryk.

Mutiny is a slight swashbuckling story, set in 1812, with the Americans trying to get gold and naval resources to fight the British, to break the British line and get the information and resources from France.

Mark Stevens portrays the leader of the expedition, relying on Patrick Knowles as the captain. Knowles had been dismissed for misconduct earlier, trying to get finances to pay his wife’s debt. She is played by Angela Lansbury – a femme fatale, opportunist if ever there was one.

The sailors decide to mutiny to get the gold, enlist the help of the captain. However, with an attack from the British, there is a need for heroism – and the captain saves the leader of the expedition, but not his wife.

The film has words of American patriotism – interesting because the director, Edward Dimytryk, after successful films in Hollywood including Crossfire, became one of the Hollywood Ten and was blacklisted. However, within two years he was back in Hollywood to make such films as The Caine Mutiny and Broken Lance and have a long career.

1. Popular swashbuckling stories? The British attack on America in 1812? Patriotism?

2. The locations, the sea, the atmosphere of the period? The ship? Action sequences? The submarine? The musical score?

3. The situation, the British and the attack, the response of the Americans? Memories of the American Revolution? The request to Captain Marshall to go to France? Get the money, the information? The contact? His proposing Captain Waldridge as the captain of the ship? Talking with Ben? His reputation with the navy? The authorities and their agreement?

4. The voyage, the men? The arrival in France? Leslie, her coming aboard, making up with Ben? Angry with him for being second-in-charge? Wanting to leave? Hearing about the gold, the anchor? Her plotting with the sailors? Her staying on board?

5. The voyage, the contact, the risks? Getting the anchor? Eluding the British? The planned return to America?

6. Hook and Redlegs? Their plotting? The other men in on the mutiny? Contact with Ben? His agreement? His motivation, for Leslie?

7. The mutiny, Captain Marshall and his being imprisoned? The risk from the British? The attack?

8. The action, the deaths, the end of the mutiny? Ben and his helping Captain Marshall? The submarine, its malfunctioning, sinking? Ben and his giving his life for Captain Marshall?

9. The successful achievement of the mission?

10. The combination of American politics and history – with sea stories and mutinies of the 19th century?

THE INTERROGATION OF MICHAEL CROWE

US, 2002, 100 minutes, Colour.
Ally Sheedy, Mark Rendall, Michael Riley, Rosemary Dunsmore.
Directed by Don Mc Brearty.

The Interrogation of Michael Crowe is a court TV drama, based on actual transcripts. When the film was made, a civil action was still pending against the detectives who carried out the interrogation. A note at the end says that the actual Michael Crowe saw the film and was satisfied by it.

The screenplay by Alan Hines is very strong, concentrating very much on the interrogation sessions between the fourteen-year-old Michael Crowe and the two detectives. In many ways this is a harrowing experience to watch.

The film opens with the interrogation but goes back to the murder situation in the Crowe household. Michael is shown with some kind of sibling rivalry with his sister Stephanie, yet helping her with her homework. During the night she is found murdered, stabbed to death. The action of the police is very severe, parents being taken away, separated from the children. They are all dressed in white clothing and interrogated separately as well. The children are then put into custody. Michael spends many months in juvenile detention awaiting trial. There is the question of whether he should be tried as an adult. If so, he would be let out on his own recognisance. In the meantime, two other boys, friends of his, are also accused of conspiracy to murder and interrogated.

Mark Rendall is quite persuasive as Michael Crowe, a melancholy boy, feeling the hardships of the imprisonment, facing the interrogation and being tricked by the detectives (in legal fashion). He eventually confesses to the crime, stating that it is still a lie.

Ally Sheedy conveys the emotions of the bewildered mother. Michael Riley is the father. Rosemary Dunsmore is very effective as the counsel who advises them and is strong enough to take on authorities.

The film represents the side of the Crowe family, but it is based on transcripts and the interrogation reports and videos. The film makes the point at the end that in many states in America, the videoing of interrogations is not permitted. This was in 2002.

1. The film based on an actual case? Court television? The audiences interested in such cases? Trials? The characters, the role of law? The role of interrogations – and their being videoed?

2. The title, the clear focus? The opening with Michael, the range of questions, the video, the transcripts? The role of the detectives, the lawyers, the judge considering admission of the videos? The arrest of the other boys, their interrogations? What was admissible – and the interrogations not providing evidence? The plea for legislation for videoing interrogations?

3. The film as a true story, the final information about the Crowe family? About the case?

4. The introduction to Michael, the camera, the detectives, their methods? Michael at fourteen, having to cope in an adult way, audience and suspicions that he might have committed the crime?

5. The family, Michael and his room, the games, the morbid touch, the drawings, his privacy? The parents, ordinary, with the children, Stephanie as popular at school, clever, getting help from Michael with her homework, the showing of the dress? Shannon and her age? The photos?

6. The night, the parents awakening with the noise, perhaps the cat? The discovery of the body? The children’s reactions, Michael and his reactions, seeming somewhat impersonal?

7. The police, at the scene of the crime, their detailed work, the policeman noticing Michael’s reaction, suspicion?

8. The ordeal, the house itself, the blood on the clothes, the parents and children taken separately? The amount of time apart, at the station, the interrogations of each, the white clothes, the children taken into custody? Their room? The authorities?

9. Michael and the effect, Shannon and the effect, being together?

10. The detectives, their characters, their techniques, seemingly friendly, the assumption that Michael was guilty, attempting to persuade him, cajole him, trick him? Their language? Their asking questions about his father? Michael as tired and hungry, the succession of days? The truth and detection – and the false machine? Telling Michael that they have evidence which was not true? Michael and his intelligence, but his fear? Blaming himself, blaming himself that he didn't remember? Ultimately confessing – but saying what he was confessing was lies?

11. The effect of the months in custody? The effect of the visits of his parents? The effect on the parents?

12. The revelation about the other boys, their being arrested? The conspiracy? The interrogations?

13. The vagrant, his arrest, his mental state, the detectives questioning him, letting him go? Not believing that he had anything to do with the murder? The neighbours reporting him to the police? The Crowe parents learning of the vagrant some time later?

14. Dorothy, the lawyer, strong-minded woman, clear with her explanations? The evidence, the interrogations and her examination of them? The issue of the boys being tried as adults, in the court, the judge and the attitude towards the videos? Not accepting them except for one boy? The decision to try them as adults? Michael able to go home?

15. The court case, the three boys together, the district attorney and her severe scenario about the boys’ behaviour, mental states, violence? The defence?

16. The arrest of the vagrant, the further interviews, using the same techniques as with Michael? The detectives withdrawing the case – but allowing themselves to reopen it later?

17. The appeals? The civil action?

18. The ordeal for the parents, the death of the child, coping with Michael’s imprisonment? The ordeal for Michael, one year of his life, the traumatic experiences, the injustice? The other boys and their families?

19. The value of this kind of film? From the point of view of Michael and the Crowe family? But based on the actual transcripts?
 

THAT’S WHAT I AM

US, 2011, 101 minutes, Colour.
Ed Harris, Greg Kinnear, Chase Ellison, Molly Parker, Daniel Roebuck, Randy Orton, Daniel Yelsky, Alexander Walters, Mia Rose Frampton, Amy Madigan.
Directed by Mike Pavone.

That’s What I Am is a story from the 1960s. It opens with television footage of events in the 1950s into the 1960s, especially the assassination of John F. Kennedy, Lyndon Johnson becoming president, the war in Vietnam.

However, the film is set in a small town, focusing on a family, focusing on school. Chase Ellison portrays Andy Nichol, an intelligent young boy, rather awkward, influenced by peers and something of a moral coward as regards bullying in the school. It is a coming of age film for Andy as he becomes infatuated with Mary Clear and has to deal with it as well as with the bullies. The film also focuses on a tall and very awkward young boy in the school, Big G., Stanley. He is played by Alexander Walters in his only film performance – and very effectively.

The film also focuses on what happens in the school. Ed Harris is Mr Simon, one of the best teachers in the state. He encourages a love of literature in his students, they listen rapt as he reads the story of Joan of Arc. He sets up a project whereby two students work with each other and nominates Andy to work with Stanley. The other students react – and Stanley seen as the victim of bullying, along with his best friend, the smallest boy in the school, Norman, played by Daniel Yelsky. The film shows something of a transformation in Andy as he works with Stanley, gets up som courage, finally confronts the bully.

However, there is a subplot with Mr Simon. He is a widower of nineteen years, literary, dressing somewhat flamboyantly. A rumour goes around the school that he is homosexual, and this is taken seriously by one of the parents (Randy Orton) whose son is also a bully in the school, picking on a young girl who has pockmarks as well as elaborate wires for her teeth. Andy also talks about the rumour – but has good advice from his thoughtful mother but is interrogated rather brutally at the meal table by his father, who is continually correcting Andy and helping to fix practical things with him like mowing the lawn properly.

Amy Madigan (Ed Harris’s real-life wife) plays the principal of the school, the first woman principal in the county. She confronts Mr Simon, asking him to deny the rumours. He does not want to do this. Since this is the 1960s, he decides to move away to Florida. At the end of the film there is a talent quest, Stanley singing a song and making an impression on students and parents. With a farewell to Mr Simon, and acclaim by his class, Andy goes to visit him. Mr Simon thinks it is to check up on the homosexuality and points out that he has been a widower for nineteen years. However, Andy’s question is why he chose Andy to work with Stanley – and Mr Simon knew that he had the capacity to be successful and to be transformed.

The film is told in voice-over from later decades with Andy as a writer. The title of the film comes from Mr Simon’s making his students acknowledge their gifts and say ‘That’s what I am.’ At one stage, Mr Simon wins a car in a competition for stating what peace is in twenty-five words or less. His statement was, ‘Human dignity plus compassion equals peace.’ (The narration is by Greg Kinnear.)

1. A 60s memoir? The perceptions of almost half a century later?

2. The United States in the 60s, the visuals of the 1950s and 60s on television? The achievement of the 50s and 60s? The transition to the Vietnam War, Lyndon Johnson as president, the year 1965? Patriotism and jingoism? Bullying in the school – though less racism? The sexual issues for twelve-year-olds?

3. The two streams of plot: Andy, approaching puberty, Mr Simon and his skill as a teacher, the sexual rumour? The blend of the two streams, the resolution? The glimpse of the past and issues and the way attitudes have changed over the half-century?

4. The title, Mr Simon’s assertion? That each child should be able to say, ‘That’s what I am,’ a writer, a teacher?

5. The voice-over, the older writer? The retrospect and what he had learnt?

6. The focus on Big G., his name as Stanley? The narrator’s description, the visuals, seeing him in class, the project and sharing with Andy, his being bullied with the water pistol by Rick Brown, his stoicism, intelligence, his friendship with Norman? Sitting alone? The group of outsiders in the school grounds? His character, intimidating but non-violent? The achievement, the poetry, his song at the end, his acclaim? The narrator indicating that he would still be bullied?

7. Andy’s story, in class, the project, his reluctance, the pressure of the peers, his cowardice in not helping Stanley against Rick Brown? At home, his father and his helping glue the plane, criticism of the lawn-mowing? His son’s having a different approach – and at the end, asserting himself against his father? His love for his mother, her common sense, getting him to call Big G. Stanley, her wise words about going steady, about age, about homosexuality? Andy as his puzzle, the rumours, the discussions at home? Delivering the papers, his infatuation with Mary Clear? Talking with her, going steady, Ricky Brown and his reactions, bullying? Meeting at the tunnel? The kiss and her helping him to kiss? Her having the timer? Mr Simon and the task, his skill as a writer, supporting Mr Simon, at the talent quest, kicking Ricky Brown in the groin and preventing the upset for Stanley? The final visit, Mr Simon answering his questions, but the question of why Mr Simon thought he could do the project with Stanley?

8. Ricky Brown, the bully? With Big G., taking Norman’s food? At home, the other boys in the class, especially Jason? At the concert, the kick and his being taken out?

9. Norman, small, smart, friends with Stanley, defensive for him, not wanting to go to the talent quest, finally going, his surprise?

10. The girls in the school, Mary, her father and the delivery of the paper, her age, Andy buying the bracelet (and the issue of the three cards – worth a fortune later)? The boy and his sales?

11. Karen, pockmarks, her teeth, Jason and his bullying her, cutting her, the superstition? His parents and their attitude, the rumours?

12. The character of the principal, the first woman in the county, her being accosted by Jason’s father, his threats? Her defending Mr Simon, going to see him in the classroom, wanting him to deny the accusation, his stances? Her going to the house, meeting the mother, the discussions with the father – and his rationalisation of every aspect to prove that Mr Simon was homosexual? Wanting him sacked? The issue of an example and role model?

13. Mr Simon, his work as a teacher, the awards, reading Joan of Arc and his obvious enjoyment, the response of the students? Sharing with them? The project, his setting up Andy with Stanley? His flamboyant look and clothes? The car, winning, taking the children for rides? His slogan: Dignity plus compassion equals peace? His situation, the meeting with the principal, his decision not to deny the rumours? His wife, widower for nineteen years? His decision to move? His final classes, the enthusiastic farewell from the students?

14. The issue of homosexuality in the 1960s in American society? Ignorance? Assumptions of perversion? The father and his rationalising symptoms?

15. Andy, the final visit, the discussions with Mr Simon – and learning why he had been chosen? His potential to be successful with Stanley?

16. A portrait of characters, issues, coming of age, the 1960s, learning, change? Changes in American society? The tone of the final comments on each of the characters and their subsequent history – semi-facetious?

L'AGE D' HOMME .. MAINTENANT OU JAMAIS / MANHOOD

France, 2007, 88 minutes, Colour.
Romain Duris, Aissa Maiga, Clement Sibony.
Directed by Raphael Fejto.

L'Age D' Homme is a short film, comic touches, focusing on a young man who has to make some kind of commitment for his life and to his partner. It is treated partly in a realistic style but often in a comic and fantasy style.

The film opens with the young man, Samuel, experiencing drowning but hearing a voice that gives him twenty-four hours to make a commitment. During the twenty-four hours, he is very moody, a film director who is proud of himself but in something of a rut. He also goes over his character, his faults, even to infidelity. He is also advised by his friends, some of whom are permissive, one of whom is in love with a lesbian and impregnates her, a group that plays poker together and talks about sex and gives each other advice. Eventually, the young man goes a holiday with his partner, goes to the beach, once again experiences a drowning situation and finds that he can stand on the bottom off water, come out and commit himself. Part of the fantasy is that he is reading a book about Leonardo Da Vinci – and Da Vinci appears to him, with a fondness for rap music, trying to give some kind of advice and provoke the young man into a decision. Romain Duris also portrays Leonardo.

There is an odd half-minute towards the end of the film. Earlier in the film there had been a discussion about whether Christ was the surname of Jesus Christ or what was the meaning of his name. His partner, who rings her parents as well, does not know. When the young man is in the water, Jesus appears walking on the water and explains that Christ is the title he was given as Messiah. There is no other explanation – just an interesting Christian interlude in the film.

For anyone wanting a realistic portrait of a man going through a crisis, this is not it. Rather, with the incessant chatter, the imagination, there are plenty of provocative and challenging aspects to his life – and whether he would remain Peter Pan all his life or grow up.

This is in contrast to Aissa Maiga’s performance as the partner, a very practical woman, organising life, very indulgent and forgiving towards the young man. She has a very charming and attractive on-screen personality – which puts pressure on the young man to make his commitment.

1. A French film? Very French? French comedy?

2. The realism – the city, apartments, bars, the streets? The atmosphere of the city? The contrast with the fantasy? In Samuel’s imagination? The voices, the appearance of Leonardo Da Vinci and his style, the appearance of Jesus? The continual challenge for commitment within twenty-four hours?

3. The title, with reference to Samuel, his age? His still being childish? Unable to take responsibility? Avoiding responsibility?

4. The portrait of Samuel, as a film director, as a person, his relationship with Tina, the first anniversary? At home, his erratic behaviour? Her forgiveness? Their discussions? Her shopping for him, his not wanting the clothes? Her arranging the trip? Her arranging the scenery for the photo shoot? His reaction, his submission? His relationship with his friends, Jorge, his sex talk, his advice? Rashid, the relationship with Sylvia, the lesbian, the pregnancy? With Vittorio?

5. Samuel and his activities, going swimming, the encounter with the girl, their discussion? His going to the club, playing poker? The pick-up? Going to her house? His infidelity and his reactions?

6. The appearance of Leonardo Da Vinci, Samuel reading the book, the illustrations, Da Vinci and his advice, the rap music? The alter-ego of Samuel?

7. Tina, her charm, poise, abilities? Her love for Samuel? Staying in the relationship? At home, her work? Her arranging things, the shopping, the decorations, the flight? Her moods with Samuel? Easily accommodating?

8. Samuel, going to look at the apartment, meeting the girl? Their discussions?

9. The holiday, the beach, Samuel going into the water, swimming – and the advice he got about swimming from his friend, going with the rhythm? His going out to sea? His panic? The question previously about Jesus and his name? The meaning of Christ? Jesus appearing on the water, explaining his name?

10. Samuel, thinking he was in deep water, putting his feet on the sand, walking to the shore? Able to commit?

11. A film for young men, a challenge to their attitudes towards themselves, their strengths, flaws? Commitment? A film for women? Identifying with Tina – her love, her needs?

DESPERATE JOURNEY

US, 1942, 108 minutes, Black and white.

Errol Flynn, Ronald Reagan, Nancy Coleman, Raymond Massey, Alan Hale, Arthur Kennedy, Sig Ruman.
Directed by Raoul Walsh.

Desperate Journey is one of several films about World War Two which featured Errol Flynn – and the comment at the time that it was Errol Flynn winning the war (later used about John Wayne). Desperate Journey goes along with Edge of Darkness, Northern Pursuit and Objective, Burma as Errol Flynn’s war films. He is his usual self, the touch of the debonair, actually playing an Australian pilot. His co-star is Ronald Reagan, giving a rather relaxed performance with comic touches. Nancy Coleman who also appeared in Edge of Darkness is a German woman who helps on the escape. In the party are Alan Hale, a regular in Warner Bros films at this period, Arthur Kennedy at the beginning of his career. Raymond Massey is the German officer who loses the group and pursues them across Germany.

The film was directed by Raoul Walsh, a veteran of all kinds of action films.

While the episodes may seem farfetched and comparatively easy for the group on their desperate journey, nevertheless the action is well paced, the incidents interesting and exciting, and it stands up rather better than many of the war propaganda films.

1. The Hollywood war effort? This film early in the war? Patriotism? Supporting the war effort?

2. Errol Flynn, his status at Warner Bros, his list of films to this point, his 40s films and participation in war action? A debonair hero? The comparison with Ronald Reagan, his career, starring roles, the American in the war?

3. The strong cast, Nancy Coleman as the German helper, Alan Hale and Arthur Kennedy as part of the group, Raymond Massey as the heavy?

4. The situation in Britain, the air force? The flights, the personnel, the difficulties? The authorities, the maps and plans? An authentic feel about the air bases in England? The missions to Germany?

5. Errol Flynn as Terry Forbes, the Australian background, his skills? Going out on the mission? His friendship with Johnny Hammond, Ronald Reagan’s relaxed style? The American tone? Kirk Edwards, his joking nature, his spitting at people? A support? Jed Forrest as the accountant, his letter-of-the-law approach? His having to concede to Terry’s leadership? Lloyd Hollis, the young man, the reputation of his father during World War One?

6. The mission, the length of the flight, the plans? The cloud cover? Terry and his going down steeply on the target? The dropping of the bombs? The crash landing in the forest? The escape?

7. The final arrest? Hollis being wounded? Their being taken to the authorities?

8. Raymond Massey as the major? The Germanic style? The interrogations? The defiance of the group? Johnny Hammond and the indication that he was collaborating, his gobbledygook in explaining engineering to the major? The relaxed atmosphere, Hammond turning the tables, attacking the major, the escape?

9. The desperate journey, going through Germany, by foot, by train? The bombs, the bridges? Hiding? The help along the way? The friends in Germany, the young woman, the doctor, his trying to help Hollis? Hollis’s death? The journey to Hamburg? Being welcomed – and then betrayed? The shootout? Kirk Edwards and his giving his life for the others? The stealing of the plane, the derring-do? Flying back to England, contact with headquarters, the return?

10. The major, his officials, the pursuit, getting closer, but missing the group all the time? His relentlessness?

11. An early picture of the war? In fact, an indication of many of the episodes that were to come, with America’s entry into the war? This film in 1942 – and the many films over the next fifteen years or more recreating war episodes?

TRAVELLER

US, 1997, 101 minutes, Colour.
Bill Paxton, Mark Wahlberg, Julianna Margulies, Luke Askew, James Gammon.

Traveler is a story of about a group of American gypsies. It stars Bill Paxton and Mark Wahlberg.

The presumption of the film is that gypsies are con men, travelling around the United States, deceiving customers, making money. This is illustrated by their offers to pour fake tar down on car ports, on water towers. They buy trailers and sell them at a profit. The main con illustrated in the film concerns Julianna Margulies and the pretense of a reward for finding a jewel pin. However, Paxton, against the rule of the community, falls in love with Julianna Margulies.

Luke Askew, usually a sinister in films, is the boss of the gypsies. Because Mark Wahlberg’s father had left the community, the son was not welcome at the funeral. However, he is taken on by Paxton.

James Gammon is very good and is the roguish Double D. There is a subplot about a con with counterfeit money, which ultimately is a threat to Julianna Margulies and her daughter.

The film was directed by Jack Green, who worked as a photographer and director of photography for many Clint Eastwood films (there is a glimpse of one of them, Every which way but Loose).

1. An offbeat tale of crime and confidence tricks? The implications for the gypsy community? Justified or not?

2. The road film, the gypsy community, Bokky and Pat, motels, diners? Authentic American atmosphere? ‘King of the Road’ during the opening credits? The musical score?

3. The laws of the community, Pat coming for the funeral, boss Jack not wanting him there, denunciation of his father for marrying outside the community, Bokky and his helping Pat?

4. Bokky, his character, age, genial, seeing him trick the couple with their car port? His return home? His not being married? The con trick with Pat? And the water tower, the old farmer, seeing through the trick, his previous losses, his gun?

5. Meeting Jean at the bar, Pat with his story? The pin, his pretence, drinks for everyone, playing pool, losing the pin? His offering the big reward? Leaving the motel?

6. Bokky, genial, finding the pin, bargaining about the money, taking the money from Jean?

7. Jean, her daughter, the need for operation? Her divorce? Encountering Bokky and Pat? Giving the money back? Bokky and his continued visits to Jean, their relationship?

8. The deal with the counterfeit money? The selling of the trailers and making a profit? Double D, his personality, his suggestion about the con? Meeting the dealers, carrying off the deception? The dealers and the discovering the false papers? Killing Double D?

9. The threats to Jean and her daughter, the shootouts? Rescued by boss Jack?

10. The light touch with the Bokky and Pat? The seriousness of their cons? Romance, Pat and Boss Jack’s daughter?