THE HUNCHBACK OF NOTRE DAME

US, 1996, 91 minutes, Colour.
Voices of: Tom Hulce, Demi Moore, Kevin Kline, Jason Alexander, Charles Kimbrough, Paul Kandel, David Ogden Stiers.
Directed by Gary Trousdale and Kirk Wise.

Not as popular as previous Disney animation features, this seems a film more for adolescents and adults rather than younger children. It re-creates 15th century Paris most imaginatively, especially the cathedral of Notre Dame, the square and the hidden homes of the gypsies. It also has strong characterisations of Victor Hugo's archetypal characters with excellent voices: Tom Hulce a decent Quasimodo, Anthony Jay a sinister Frollo, Demi Moore a vivacious Esmeralda and Kevin Kline a heroic Phoebus. For enjoyment, Jason Alexander, Mary Wickes are lively gargoyles. The songs are not immediately memorable but, if Beauty and the Beast gained a new life on stage, why not Hunchback? This is thoughtfully entertaining.

1. The popularity of Victor Hugo’s story? The characters? The many film versions? The choice of an animated version? The target audience, younger, older? The musical version?

2. The style of animation, the creation of Paris, Notre Dame and its exteriors and interiors, the style of drawing, the characters, Disney characters? The realism and fantasy, the comedy with the gargoyles and their coming alive? The portrait of Quasimodo? Esmeralda? Phoebus?

3. The range of songs, Out There, Hellfire, In Heaven’s Light...? The characters, the situations and themes?

4. Audience familiarity with the story and characters? The film’s explanation? Clopin, the puppetmaster, his character, his narration of the story, his emphases?

5. The world of the gypsies, the mother and her dying in birth, Frollo and his taking the baby, his harshness, the role of the Archdeadon of Notre Dame? Frollo condemning the woman to death? His raising the child in the cathedral? His evil and monstrous behaviour?

6. Quasimodo, growing up, his appearance, the hunch, his face, the tooth? His way of talking? His tasks in the cathedral? His being a servant for Frollo, waiting on him? Ringing the bells? Staying within the cathedral?

7. The humour of the gargoyles, Hugo, Victor and Laverne? As personalities, as friends of Quasimodo? The song-and-dance routines, bringing the cathedral to life and beauty – and preparing for the Feast of Fools?

8. Esmeralda, her place amongst the gypsies, her life, the persecution, the encounter with Frollo, his threats?

9. Frollo, in the church, politics, his motivation, self-deception, his lies, lust and greed?

10. Phoebus the soldier, the hero, his arrival, reputation? The battles? Finding the Court of Miracles? The capture, his disillusionment, Frollo and his control?

11. Esmeralda, her performance, songs, the Feast of Fools, Quasimodo and the people, their mocking him, her supporting him, sanctuary?

12. The gypsies and their characters, hiding underground, Phoebus and his being taken, his taking sides with the gypsies? In battle?

13. Frollo, Esmeralda, his lust, wanting to execute her, Quasimodo and the rescue?

14. The archdeacon, condemning Frollo?

15. The attack on the cathedral, the weapons, Quasimodo and his pouring the oil?

16. Frollo, the fight outside the cathedral, Frollo’s fall?

17. Esmeralda, her choosing Phoebus? Quasimodo and his happiness – yet still disfigured, still lonely?

18. How well did the film incorporate the serious themes from Victor Hugo’s novel? The interpretation of Parisian history?

‘G' MEN

US, 1935, 85 minutes, Black and white.
James Cagney, Margaret Lindsay, Ann Dvorak, Robert Armstrong, Barton Mac Lane, Lloyd Nolan.
Directed by William Keighley.

In 1949 a prologue was added to the film, commemorating the twenty-five years of the FBI. In this prologue, David Bryan speaks to recruits and agents of the FBI and advises them to watch the film.

The film was propaganda for the Federal Bureau of Investigation. In Clint Eastwood’s J. Edgar, Hoover goes to a screening of ‘G' Men and a clip is included. There is a scene in that film where he meets Shirley Temple, indicating his success with publicising the work of the FBI and keeping public attention.

In fact, there have been many films about the FBI – in the 50s, James Stewart starred in The FBI Story. In the 1980s, Kevin Costner was Eliot Ness combating Al Capone (Robert De Niro) in The Untouchables – based on the television series. In 2008, Johnny Depp starred as John Dillinger in Public Enemies. From the 30s to the 21st century there were many Hollywood films about the range of famous gangsters of the period. James Cagney himself had been a gangster in Public Enemy.

The film is brisk, echoing the style of James Cagney’s screen presence, always fast, fast-talking, fast on the draw. He portrays a law student who has been put through the university by a gangster who wants out. When he has little to do as a lawyer and his agent friend is killed, he applies to the FBI, falling foul of one of the instructors played by Robert Armstrong. Cagney is friends with a dancer in a restaurant, Ann Dvorak, but falls for his instructor’s sister, a haughty nurse, played by Margaret Lindsay.

He is able to give information about murders and bank robberies because of his associations in New York. Instead of going out in the field, his friend and an agent, played by Lloyd Nolan in his first film, goes out and is killed. This makes Cagney more determined to hunt down the killers – and the film is a conventional look at the agents and the sieges trying to oust the gangsters. There are dramatic turns at the end involving both of the women.

The film was directed by William Keighley who directed Cagney in The Fighting 69th, one of Cagney’s vital performances. Keighley made films like The Adventures of Robin Hood and The Master of Ballantrae. The film was written by Seton I. Miller, a prolific writer of films from the 20s to the 50s.

1. The impact of this film now? The status of the FBI? Of J. Edgar Hoover? The origins of the FBI and its history? Its contribution to controlling crime in the United States? The gangster period? The 1949 prologue and its praising of the FBI?

2. A Warner Bros production, black and white photography, New York City, Washington DC, Chicago? The Warner Bros cast? James Cagney as lead – credible as an FBI agent? The musical score?

3. The focus on Brick Davis, in his office, put through university, graduating in law, not much business? His later explanation of his being young, in the gutter, taken on by the gangster – and educated? Vowing not to be a criminal? The application, Davis deciding to apply? His going to see the gangster who supported him? His friendship with Jean, her dancing at the restaurant?

4. Going to Washington, the encounter with Jeff Mc Cord? Mc Cord his antagonism? Not wanting lawyers? The discussions with the head, the training – and the collage of the exercises and training for being an agent? The knockout by Davis?

5. The situation in New York? The robberies, the killings? The evidence from bullets? The fingerprint expert? The discovery of the criminal? The preparations, Hugh Farrell being sent out – and his work, tracking down the criminals? The siege and his being killed?

6. Davis’s determination, Mc Cord and his letting him go? Davis and the encounter with Kay, her haughtiness, his wearing her down?

7. The criminals? The encounter with Jean? Married to Collins? Giving the information about the holiday house? The group there? The police going, the siege? The criminals using the retired gangster as a human shield – and her being shot? By Davis? Davis’s grief?

8. Collins, escaping, going to see Jean? The mechanic indicating that Jean had gone to the police? His confronting her, her phoning? Her death? In hospital, with Davis with her? Her attempt to save Kay?

9. Kay, taken hostage, in the car, Collins’s threats? Davis and the confrontation with Collins? Kay’s safety? Mc Cord and his being wounded – and his increasingly grudging admiration for Davis? Not allowing Davis to go and leave the FBI when he was upset after the death of his patron?

10. A 1930s picture of FBI activity? The interesting comparisons with versions in later decades? And the various films on J. Edgar Hoover and the origins and management of the FBI? Its developments of interstate laws and the plea to government, fingerprinting, files and the improvement of policing and the work of agents over the decades?

POUPOUPIDOU/ NOBODY ELSE BUT YOU

France, 2011, 102 minutes, Colour.
Jean- Paul Rouve, Sophie Quinton, Guillaume Gouix, Arsinee Khanjian.
Directed by Gerald Hustache- Mathieu.


1. The fascination with Marilyn Monroe, fifty years after her death? Marilyn Monroe in herself, her life story, her career, her image, as a world icon? Audiences responding to Marilyn Monroe, the parallels in her life with this story? The people in her life, career? Conspiracy theories?

2. The title, the song from Some Like it Hot, as sung by Martine, the title and the tone of the film?

3. A French story? A winter story? The town, the countryside, the river, the ice? Workplaces? The world of wealth, poverty? Ordinary life and celebrity life? The TV, the weather girl? Media, clubs?

4. David Rousseau and the will, getting the stuffed dog, on the icy road, his expectations – change?

5. David as a writer, the pressure from the publisher, his writer’s block, discussions, failing to write, excited by the discovery of the body?

6. The dog, in the ice, finding the body under the ice? Contacting the police? His own decision to investigate?

7. How well did the film show the parallels with Norm Jean Baker turning into Marilyn Monroe? Martine’s background, her childhood, her needs, her being discovered, the name-change to Candice, the photo shoots, paralleling those of Marilyn Monroe, especially the nude spread? Films, celebrity? The fans? Her sportsman husband? The literary reviewer? Parallels of Joe Di Maggio and Arthur Miller? The local government authority, his interest in her, her relationship with him? His brother warning her off? The parallel with the Kennedys? Her singing Happy Birthday to the official? The official’s wife and her reaction? Her death – and her reliving an iconic life?

8. The investigation, uncovering the leads, the interviews with the psychologist, the visits to the police? The commander, the police assistant, his working with David? The documentation? The research?

9. Martine’s character, as a person, the change, the advertisement, her success, the TV tantrum, her letters to David and his discovery of them afterwards? The authorities and her death? The role of the psychologist?

10. The assistant policeman, his character, becoming more involved, discussions with David?

11. A different kind of thriller? The detection? The parallel with writing detective stories? The connection with Marilyn Monroe? The story of Martine? And the irony of her having written to David – and what might have happened had he met her?

WISH YOU WERE HERE

Australia, 2012, 105 minutes, Colour.
Joel Edgerton, Felicity Price, Teresa Palmer, Anthony Starr, Otto Page, Tina Bursill, Wayne Blair.
Directed by Kieran Darcy- Smith.

If you decided to go to see this drama because of the title, the trailer and the suggestion that this is a tale about four people living the high tourist’s life in Cambodia with something sinister happening, you would be only partly right. Most of the action takes place in Sydney and is the story of an ordinary family whose lives are disrupted by the events in Cambodia.

The early scenes of the film show Western tourists enjoying the high life in Cambodian resorts, not without indulging in alcohol and drugs. Dave (Joel Edgerton) is seen wandering the fields, bewildered. Then he and his wife, Alice (Felicity Price) are back home with their two children in their home which overlooks the cliffs and beaches of Sydney. They have two children and Alice is pregnant. Here sister, Steph (Teresa Palmer) then arrives back after trying to find her boyfriend, Jeremy (Anthony Starr) who has disappeared. They have gone to the authorities without result.

As the film unfolds, we see Dave having panic attacks, confessing an infidelity to his wife, trying to cope with her emotional reaction, trying to deal with Steph. The flashbacks to what actually happened in Cambodia, Dave’s erratic behaviour, the ugliness of his being exploited by local gangsters and Jeremy’s intervention, are gradually revealed. Alice has her own moment of erratic behaviour as she drives away after confronting her sister.

Moments of truth come for both Dave and Alice. For him, going to the authorities and telling the truth. For her, the birth of her baby and whether she can forgive Dave. By the end, we are quite a way from the beaches and the dives of Cambodia and firmly settled in suburban Sydney.

Audiences will be able to identify with Dave and Alice, if not in the holiday, very much in the troubles in a marriage and how they might be resolved. The screenplay was written by the director, Kieran Darcy- Smith, in collaboration with his wife, Felicity Price, who plays Alice.

1. The title? Postcards and suggestions of holidays? Cambodia and tourists? The contrast with life in Sydney? The irony?

2. The Sydney settings, the coast, the beach, the house, overlooking the sea? Workplaces? Government offices? Ordinary Sydney life? The musical score?

3. The exotic Cambodian locations, the sequences in Phomn Penh, in Sihanoukville? The countryside? The beaches, the resort? The sleazy and dark areas of Cambodia?

4. The introduction, the holiday, the four central characters? The beaches, the sun, touristic activities? The parties, alcohol, the drugs? The Ecstasy? Westerners on holidays in Cambodia? The Cambodian criminals exploiting the tourists?

5. The consequences, David wandering, the recapping of this sequence at the end, with more meaning? Jeremy disappearing? Alice and Dave going home? Steph and her being upset, communications? Going back to Sydney and ordinary way of life, to the family, but the change in attitude? The behaviour?

6. The return home, Dave and Alice and their marriage, their love for their children, domestic ordinariness at home, Alice’s pregnancy? Picking up the kids at school, the cars? The concern about Jeremy, about Steph? The authorities and information?

7. Steph, her return, being upset, her past relationship with Jeremy? The short time? Being Alice’s sister? The parents, home? The revelation about Cambodia, Alice’s being upset? Steph contacting David, Alice seeing the email? Alice going out, her drinking, confronting Steph?

8. Dave, in himself, his love for Alice, the children, the bonds? Upset coming home from Cambodia? His panic attack in the street? The visit to the officials, not having anything to offer? The revelation about his behaviour with Steph? The tension with Alice? Wanting him out? His regrets? At work? Steph contacting him, the email, going to visit her? His wanting her to back off? The insertion of the flashbacks, the gradual build-up of the story? The drinking, the drugs? Dave going out, the local and his tempting Dave with the alcohol, with the drugs? Going to the bar? The group of gamblers? The issue of money? Their presumption that he wanted a little girl, their bringing her out, Dave’s disgust?

9. Alice as strong, her treatment of Dave, her visiting Jeremy’s family? Her relationship with her mother, with Steph? The drinking, going to argue with Steph? The booze bus and her being moved on? The suddenness of the crash? Hospital, the premature birth? At hospital, at home?

10. Dave and the final flashbacks, his behaviour at the bar, his surliness, the attack, Jeremy trying to save him, his continued outbursts, Jeremy’s death? His fear, running away, his fear for the family? His final decision, explaining to Alice, going back to the government official, the dogs and the drugs in Jeremy’s warehouse?

11. The experience, the honesty between Dave and Alice, bringing them together again, hope?

12. The final sequence and the credits, their moving into the new house? The children, the new baby? Dave and his consciousness of what he had done? Alice and her strength?

13. A film about Australians, holidays abroad, letting loose, the consequences – and the contrast with day-by-day ordinary life, having to deal with a crisis? Honesty?
 

GHOST RIDER: SPIRIT OF VENGEANCE

US, 2011, 95 minutes, Colour.
Nicolas Cage, Violante Placido, Ciaran Hinds, Idris Elba, Johnny Whitworth, Jacek Koman, Christopher Lambert.
Directed by Mark Nevildean and Brian Taylor.

For those who recognise the names of Neveldine and Taylor, they will know what to expect. Yes, it does have some resemblances to the much better written, acted and intriguing original Ghost Rider (2007 – and made in Melbourne). Nicolas Cage reprises his role (though a stunt double spends a lot of time riding Ghost Rider’s bike, his head a flaming skull, and his wreaking vengeance on mercenary pursuers led by Johnny Whitworth). I am not sure that Cage’s heart is in it sometimes.

But, back to Neveldine and Taylor. Their films so far are action extravaganzas, lots of flair, very showy, not too worried about characterisation, credibility or even themes and issues. It’s just go for broke. They came into our awareness with the two Crank films with Jason Statham no holds barred. Another film was the Gerard Butler computer game flashy actioner, Gamer. As we watch their films and are carried along with the energy (or exhausted by it!), the pace of the editing and the almost non-stop action, we might think that they storyboard everything, that they plan each sequence and frame, wanting them to be full and busy. So, its cinema flair for a fair bit of dramatic nonsense.

Ciaran Hinds is a devil who has made a pact with John Blaze (Cage) with the result that Blaze is possessed by the demon to wreak vengeance on whomsoever. Blaze would like to be exorcised (and, at one stage, he is), but demons are hard to shake and it is just as well the ghost rider returns otherwise the end might have been a bit of a fizz.

Oh, the plot.

The devil has impregnated a woman as part of her deal with him. There are some prophecies (spoken by whom is not explained), but the apocalypse seems to be upon the world and the devil wants his son so that he can possess him – and rule the world, of course. Blaze rescues mother and son but they keep being caught...

One fascinating aspect of this screenplay is the religious dimension, not facets of faith, but the use of religious symbols. We have monasteries of friars (Christopher Lambert is the abbott of one of them) who are alert to the prophecy. We have an itinerant priest/warrior (Idris Elba) who does the exorcism for Blaze after his confession and bringing out of his bag bread which he calls the Lamb of God and proceeds to break it and give it to Blaze in communion. I wonder what the graphic novel fans make of this. It does mean that they ought to have some knowledge of the Christian and Gospel traditions.

Just to see these scenes is not a reason to see Ghost Rider. It is really for the comics aficionados and the admirers of the extravagances of Neveldine/Taylor.
1. The popularity of Marvel Comics and their films? Expectations? Fantasy? The continuity with the original Ghost Rider film?

2. The directors and their reputation, their cinematic flair, the touch of excess, the wild imagination?

3. The eastern European settings, Romania and the roads, the mountains, the castles, monasteries? The Turkish sequences, the mountains and the desert? An atmosphere for the film? For

4. Action, stunts, CGI, images of hell, monsters? The animation and its tone? Action and the editing flair? Pace?

5. The exotic plot, audiences believing it or not? Hell, devils and deals? Transformations? Angels? The incarnation of a satanic child? Themes of destiny, prophecy, apocalypse?

6. The Ghost Rider, John Blaze’s deal with the Devil, his reasons for his father, his later explanations that they were not authentic? John, the encounter with Nadya, the consequences? The Rider taking possession of John Blaze, images of fire, the bike, vengeance? Nadya and her child?

7. The religious dimensions of the film, credible? The religious order, the habits, the monasteries? The child and their knowledge of the prophecy? The day in which the Devil will become incarnate? Roarke and his henchmen, the abbot, the murder of the monks? The capture of the child? Moreau and his being a roving priest? The reappearance in Turkey, the monastery and the abbot, his face? The use of Latin? Knowledge of the prophecy? The executions? The destruction? Moreau, the bread, the Lamb of God, Blaze’s confession, giving him communion, the exorcism?

8. Roarke as an incarnation of the Devil, his character, control, use of Carrigan, his motivations, the firewall? His pursuit of the child, in Turkey, the monastery, the rituals, Daniel and his face, Roarke turning? Daniel revived, the Ghost Rider taking the road again, the chase, the fight against Carrigan and the villains? Hell?

9. Nadya, her child, the incarnation of the Devil through Roarke? The boy’s age? Relationship with his mother? Carrigan and his pursuit, taking the mother and child? The Ghost Rider, the pursuit, taking them? Their being recaptured? John Blaze, his explanation, the rescue, going to the monastery, the confrontation with Roarke, the pursuit, the car, the fight?

10. Carrigan, the mercenary, his men, the chases, the abduction, fighting John? Roarke and his continuing his pursuit, the monastery? His defying Blaze?

11. The saving of the boy, the prophecy not being fulfilled? Audiences reactions to these themes – as well as to the action and the fights?

LA SOURCE DES FEMMES/THE SOURCE

France, 2011, 135 minutes, Colour.
Lila Bekhti, Saleh Bakri, Hiam Abbass.
Directed by Radu Mihaileanu.

Director Radu Mihaileanu has a Romanian Jewish background and lives in Paris. He has been interested for many years in a variety of cultures and religious backgrounds for his films. He has made a drama about Jews in Central Europe (Train of Life), about the Falashas in Ethiopia and their being considered Jewish and their being taken to Israel (Live and Become). His most recent film was the entertaining story of an orchestra from Russia playing in Paris which was also a tongue in cheek lampoon of Communism.

This time he is in north Africa, in Morocco, in a Muslim village, the dialogue spoken in Arabic.

While there is a very serious underlying theme about the place of women in traditional Muslim society – that they are not mere chattels at their husbands’ disposal – there is also a basic comedy theme, one exploited by Aristophanes millennia ago: to achieve change, women go on strike, withholding sexual relationships with their husbands.

At the centre is Leila, considered an outsider in a very self-contained village, because she came from somewhere else, though she is married to the local teacher. The government has failed to bring water directly into the village. The women have to walk into the hills to a pipe source and carry the water. This would be unthinkable for men to do. When tensions come to a head, Leila and the women go on strike. The men are baffled and angry – and seek the advice of the Imam. The women maintain their stances.

A complication arises when a journalist who had previously wanted to marry Leila arrives to study ants (and analogies are made between the insects’ behaviour and the villagers’). It creates tension in Leila’s own marriage but, eventually, an article is published and, suddenly, the government can’t do enough to help. And the women go into the city to sing and dance their theme and their protest and are welcomed.

The film is rather heavy-handed at times in making its points. But, it does remind us of the power of the modern media in mirroring society as well as being a catalyst for social change.
1. The work of the director? His Romanian/French/Jewish background? Bringing this eye to a Muslim story and themes?

2. The Moroccan settings, the landscapes, the mountains? The village and homes, the meeting places, the school and the mosque? Buses? The city, the markets, contemporary offices? A feel for morocco?

3. The score and its moods?

4. The title, the source of water, the spring, the community, access to the water, the difficulties, the women having to carry the water, their labour, the men and tradition, not intervening, the influence of the Koran?

5. The title and the reference to women, women as the source of life, the birth sequences?

6. Life in the village, the initial scene with the women talking, joyful, carrying the water? Their ages? The personalities in the group? The pregnant woman collapsing? The birth sequence, the role of the older women, sending the boy to tell the father, the homes, the traditions? Fatima and her staunch holding of the traditions?

7. The contrast with Rifle, her story, her appearance, her stances, support of the women, her son and her disillusionment with him, ousting him? Her participation in the demonstrations, urging the protests, her vitality, the processes, the contrast with Fatima? Fatima and her severity, her husband and his age, her son, her resentment of her older son and the difficulties of her giving birth when she was so young? Her hostility to Lila?

8. Lila, a stranger in the village, not being accepted after many years, seemingly infertile, her relationship with her husband, love for him, her carrying the water?

9. The men, drinking, sitting and watching, the severity of their attitudes, their attitudes towards their wives? Going to the imam, his authority, his advice?

10. The issue of the water, the women’s protest, going on strike, Rifle and her influence, Lila and her leadership? The women and their support, the declaration of going on strike, warning off their husbands? The emphasis of the screenplay on women’s business, their talk, reactions?

11. Sami, held by the traditions, yet educated, his friend (and the later clash about the success and his friend feeling that he was put down, not being able to be a writer, being sent out of school by his parents)? His work at the school, being fired, going to town, the discussions with the officials? The severity of his older brother and his wife?

12. The effect of the strike, the alienation of the husbands? The tension, the hostilities in the town, time passing?

13. The visit of the journalist, his studying insects, the scenes of him writing, using the analogy of insects’ life with the people in the village? The true reason for his visit? His attachment to Lila, the past, loving her, marrying someone else? Sami and the request for an article about the situation? His finally agreeing to this?

14. Sami, upset with Lila, her attitude, the petty differences, the declarations, the reconciliation?

15. The authorities from the city, the issue of water, the examination of the village, the previous delays? Hurrying through the reforms because they had been publicised in the papers?

16. The feast in the town, the plan, the children and their participation, the boy with the messages? The women in disguise? The children in disguise? Their being stopped? The women able to go into the town, their dance, the singing – and public support?

17. Lila and her sister-in-law, writing the love letters for her, the man and his ignorance of the love, the anger, the girl leaving, the final letter to Lila, thanking her, going away from the village to a new life?

18. Themes of change in Muslim society? Respect for the Koran and reinterpretation of the text? Possibilities? The role of women in traditional Muslim society? The opportunity through this film to see different interpretations, clashes and protests? The importance of the role of the media – in Muslims, especially Muslim women, from different countries seeing this story and it influencing their future attitudes?

WRATH OF THE TITANS

US, 2012, 99 minutes, Colour.
Sam Worthington, Liam Neeson, Ralph Fiennes, Edgar Ramirez, Toby Kebbell, Rosamund Pike, Bill Nighy, Danny Huston, John Bell.
Directed by Jonathan Liebesman.

Like olden days matinees, this is adventure material without too much worry about making a classic! And they haven’t.

The 2009 Clash of the Titans was not favourably reviewed because it was this same type of matinee movie (and the rather less effective 3D processing was done in post-production). It will be the same here although the 3D is much better – and it is being shown on Imax screens as well which gives it a quite spectacular presentation.

This is quoting a friend/reviewer after the preview. Someone was talking to him about the plot. He was surprised at this development because he thought the plot was simply,’Hey, there’s another monster...’. Actually, there is some basic plot surrounding the fights with the monsters. Perseus, who had defeated the Kracken in the first film, has now settled into life in a fishing village to bring up his son. He has renounced his divine origin and opted for the human part of him – perhaps that is why Sam Worthington’s accent this time is even more pronouncedly Australian, contrasting with the fine elocution of Liam Neeson as Zeus and, especially, the almost Shakespearean delivery of Ralph Fiennes as Hades. Perhaps this is the best moment to mention that Bill Nighy, mugging to more than his heart’s content as Hephaestus, has an accent from Yorkshire or somewhere up there. Edgar Ramirez as the villain, Ares, is from Venezuela and has a Hispanic touch to his accent. Rosamund Pike as Andromeda seems to come from London.

But, then, with its popular audience, who is listening to accents!

This is the twilight of the gods (they are declining in their powers and immortality and people don’t pray any more) – they seem to be an unworthy lot, especially Ares (Mars), Zeus’ son who is jealous of his half brother, Perseus (who does get to ride Pegasus into the air, twice). But this is special effects Gotterdamerung, especially Perseus’ fight with the Titan, Cronos, renewed by energy drained from Zeus and appearing in gigantic flames.

So, plenty (plenty) of fights and action, often impressive sets, a poly-accented cast, with some comedy thanks to Bill Nighy’s antics and Toby Kebbel as Poseidon’s son Agenor who seems to be channelling Russell Brand.

Box office success will rely on word of mouth rather than reviews.

1. A sequel to The Clash of the Titans? The reviews of the former film? The reviews of this film? Changes? Improvement?

2. The production values, the cast, the locations, the sets, the action, the special effects? The musical score?

3. Audience knowledge of the history of the gods? Kronos and the Titans? Zeus, Perseus, Poseidon? Poseidon and Hades? The children of the gods? The battles of the gods? The fading of the gods? Loss of human belief? The attempt of the freedom of the Titans?

4. The focus on Perseus? His role in the defeat of the Kraken? The hero of the first film? Sam Worthington’s Australian accent? With the range of other accents? Having chosen to be human rather than divine? His sense of the presence of Zeus, Zeus’s appearances, calling him to a mission? His declining, wanting to be with his son, help him to grow up? Memories of his dead wife? The attack of the Titans on the village? Perseus and his having to go to war? His mother’s strength of mind, encouraging him? His riding Pegasus? Going to the armies, meeting Andromeda? The strategies? His encounter with Poseidon? His encounter with Ares, the two sons of Poseidon, the mutual antagonism? Ares as villain? In Hades? In Tartarus? His going with the armies? His visit to Hephaestus? Hephaestus and his making the instruments of war? His going with Agenor, his cousin? Freeing Agenor, the trident, going to the island? The struggle with the Cyclops? The battles? Getting the better of the Cyclops? Finding Hephaestus, and the owl? Hephaestus and his taking them to the labyrinth, the pursuit of Ares and the fight? Getting in the door? The labyrinth, its dangers? Finally finding Tartarus? Finding Zeus and his being drained of his energies? Another fight with Ares, the help of Hades, freeing his father? Taking him back to freedom? Getting the powers from his father? The final confrontation with Kronos, the special effects and fire? Peace, the restoration of his son (after seeing him in his dreams and hallucinations)? His bond with Andromeda? The future warrior?

5. The presentation of Zeus, Liam Neeson and his voice, accent, dignity? The fading of the gods? Going to his son? The betrayal by Hades and Hades’ jealousy? The attack by Ares? His being chained, drained of his energy by his father? His defiance, his forgiveness of Hades? Rescued by Perseus? His breathing his powers into Perseus, his collapsing?

6. Hades, exiled by his brother, Ralph Fiennes and the elocution voice? His vengeance against his brother, Poseidon? Ares and support of him? His torture of Zeus, change of heart, forgiveness? His escaping from Ares? His final talk with Perseus, returning – and the loss of his immortality?

7. Ares, son of Zeus, jealous of Perseus? His antagonism, taking Zeus, torturing him? His loss of energy? Hades’ support? Hades’ control, his defiance of Hades? The fights with Perseus, the death of Hephaestus? The final confrontation and his death?

8. Agenor, the comic touch, his attentions to Andromeda, in prison, freed, his promise to take them to Hephaestus? The boat, his love of water? His joining in the quest for Hephaestus, the battles, the happy ending?

9. Andromeda, queen of the Greeks, the warrior, her strategies, going on the quest with Perseus? Korrina and her praying to Ares, his appearance, his killing her? Andromeda and the labyrinth, the final preparations for battle, the kiss?

10. Hephaestus, Bill Nighy’s accent, the comic touches, with the owl, the weapons, leading them to the labyrinth, opening the door, his death?

11. Poseidon, the fall of the gods, his son, his death?

12. Helios, trained by his father, his absence, in his father’s dreams? In the labyrinth? His being restored, the warrior, Perseus passing on the power to him?

13. The world of the gods – credible? For action adventure? Matinee style? Audience interest in and belief that there were Greek gods?

CAFE DE FLORE

Canada, 2011, 120 minutes, Colour.
Vanessa Paradis, Kevin Parent, Helene Florent, Evelyne Brochu, Marin Gerrier.
Directed by Jean- Marc Vallee.

This is a film to surrender to if you can rather than detach yourself from and analyse the plots. Because there are plots, two of them. If you are alert to music, clothes and fashions as well as makes of cars, you will soon realise that one of the stories takes place in Paris in the late 1960s. The other story is contemporary. Set in Canada. We are introduced to the central character in each story with an extensive explanation which sets a tone for our feelings and response.

This would be all right if each story were self-contained. But, they are not. The film, edited by its director, Jean-Marc? Vallee, moves constantly between one and the other (and the stories move around in time as well). Are there connections?

The discarded wife in Canada looks like the mother in the Paris story. The song Café de Flore recurs, as do other songs in each story, the songs becoming something like themes for particular characters. They also evoke memories of past experiences. The Canadian daughter uses music to goad her father about his breaking up his marriage.

Towards the end, the ex-wife consults a medium and there is discussion about soul-mates in life and love, as well as possible links with (reincarnation?) soul-mates living in other times and places. These are evocative suggestions rather than logical arguments – and may be hard to accept by those who would prefer some clear reasoning rather than mystical intimations.

Kevin Parent is Antoine, turning forty. We are told he exudes happiness. But, he is in therapy, is leaving his devoted wife and daughters, wants to marry a pretty young woman, half his age, who is in love with him. Depending on how much we identify with the ex-wife and her pain, Antoine becomes less and less sympathetic. This is familiar material, worth dramatising nonetheless.

But, it will be the Paris story which commands our attention and feelings. Jacqueline (a fine Vanessa Paradis) gives birth to a Downs baby and her husband abandons them – he says he doesn’t want to spend his life as a missionary. The film traces Jacqueline’s devotion to her son, Laurent. She has a moment in Church when she realises that Laurent is the mission and meaning of her life. At seven, he is enrolled in a school for ‘ordinary’ children, managing generally but not quite. Jacqueline could not do more for him, lavishing her love. Laurent deeply loves his mother. When he becomes attached to another Downs child, Vero, literally holding on to her, it is a challenge to Jacqueline who realises but refuses to face the fact that she eventually has to let him go. The child actor is wonderful and this story, though sad, is often exhilarating.

The mystical suggestion is that Laurent and Antoine are soul-mates. Not sure that many would want to spend time reflecting on this. So, staying with the stories themselves and their unfolding dramas, there is a great deal to interest and to enjoy.

1. The impact of the stories, characters, themes?

2. A Canadian production, Canadian locations, Paris in the 1960s?

3. The complex structure: the two stories, the separate introductions and explanations of the central characters? The intercutting and editing? The parallels? The mutual comment? The role of music, affirmation, weapon? The episode of the medium – and the creating of the links of soulmates?

4. Audiences wanting rational explanations? The lack of these? Intuitions, mystical connections? How rational?

5. The distances in time and place, the 60s and 2011? Paris and Canada? Issues of reincarnation and soulmates?

6. Antoine as the focus, the explanation of his life, his happiness, twenty years married, the daughters, his job, the music, his travels? Yet his going to the therapist, their discussions? In the apartment overseas, his being upset? His questioning himself? At home, with the family, swimming, happiness? The New Year celebration? His father and the blessing?

7. The change, leaving Carole? His taking up with Rose? Her age? Her being in love with him? Their life together? Separation from his wife? The daughters coming to stay, their reactions, the older daughter, using the music against him? The effect on them? The new New Year? His father and the refusal of a blessing, denouncing his son? Antoine proposing to Rose? Her acceptance?

8. The story of Carole, her devastation in the separation, nightmares, sleepwalking, taking the drugs, confiding in her friend? The advice, Antoine being her only love? Love for her daughters? Her hopes for reconciliation?

9. Her dreams, the link to Jacqueline in Paris? The driving, the boy, the eventual crash?

10. Carole going to the medium, their discussions, the friend challenging the medium, no charge? The explanation of the visit, the issue of soulmates, advice?

11. Jacqueline’s story, the birth of her son, her husband refusing to acknowledge him, not wanting to be a missionary? The boy with Down Syndrome? Her caring for the baby? The episode in the church, her making her life decision for Laurent? The expectation of his life, no more than twenty-five years? Her determination for him to live longer, more normally? Laurent at seven, his character, at the ordinary school, the detail of home life, the demonstrative love between son and mother? At school, the lessons, his learning by imitating? Not wanting to box? Jacqueline teaching him to use strong language to defend himself? His meeting with Vero, his clinging to her, his love for her, discussions with his mother? Jacqueline’s reaction, Vero’s parents and the discussions? His stay-over, his troubled behaviour, Jacqueline coming to get him, confrontation and the slap? Her regret? The school authorities? The suitability of a school for him? Jacqueline’s determination? Vero moving away? Her hopes for her son? The end?

12. Jacqueline’s story, the 1960s?

13. The happy gathering for Antoine and his family, his parents, their continued love for Carole? The daughters, Rose and Antoine happy together?

14. What was the audience left with – the happy ending of the Canadian story? The mystery of Jacqueline and Laurent and his future?

IRVINE WELSH’S ECSTASY

Canada, 2011, 95 minutes, Colour.
Adam Sinclair, Kristin Kreuk, Billy Boyd, Carlo Rota, Keram Malicki- Sanchez, Stephen Mc Hattie.
Directed by Rob Heydon.

Irvine Welsh is famous for his books, especially about the world of drugs. Trainspotting became a cult film by Danny Boyle which was followed by Paul Mc Guigan’s The Acid House. A film version of Welsh’s novel Filth was set to follow Ecstasy. With Ecstasy, as the title immediately suggests, he is back in the drug world.

While this is a Canadian production, the exteriors were filmed in Edinburgh where the story is set. With so much of the filming done on the streets of the city, those who know the city will find it very familiar, giving the film an authentic feel. Interiors were filmed in Canada with some Canadian cast.

However, the central role is taken by Scot Adam Sinclair. He plays 28 year old Lloyd Buist, no job, man about town, especially at the clubs where he loves to dance, involved at times as a drug courier, with trips to Amsterdam, spending drug-high time with his close friends. No future, only the present.

For the first half hour, we are immersed in the club world, the music, the noise, the sex, the drugs. We begin to feel that if this is all the ecstasy world can offer, it would be better to leave. The appeal would be only to clubbers who wanted to see images of themselves on screen.

However, with some relief for us, a few human feelings are eventually introduced. Lloyd loves his old father (an interesting performance from Stephen Mc Hattie) who is still grieving his wife’s death, drinking and diagnosed with cancer. Lloyd is not without some redemptive values. However, even though he becomes attracted to a visiting Canadian woman (Kristin Kreuk) and is offered the possibility to change, he can’t do it. He is in debt to the deputy to the Edinburgh drug boss, a merciless brute with thug henchmen, who is not above bashing Lloyd’s girlfriend. Lloyd is forced to go on another trip to Amsterdam, buys some extra drugs to sell and pay off his debts. He swallows the bags – and they burst on the flight back home. He still gets through passport control as he is disguised as a priest.

The trouble for Lloyd is that he lacks vision, the possibilities for an alternate life. His girlfriend finally gives up on him.

One of Lloyd’s friends, Woodsy, is played by Billy Boyd as an obsessed ecstasy-taker, an ecstasy-devourer, an apostle for the drugs, who is taken off to hospital and rehabilitation. He clashes with a priest which gives him the chance to sound off against God and to declare that the drugs are the means of salvation.

While watching the clubbing can be wearying, the film moves to something of a moralising end, especially with the death and funeral of Lloyd’s father. Whether it would convert characters like Woodsy, it is difficult to say – though there is Woodsy sitting in the front row at the funeral. With Irvine Welsh’s name as part of the title, it is definitely an immersion in an Irvine Welsh world.


1. Irvine Welsh and his books? Film versions? His world? Scotland? The drug world?

2. The film immersing audiences in the drug world, identifying with the characters or not? The audiences and their age and different responses? Experiences?

3. The film as a cautionary tale, the target audience? The ending?

4. The Scottish drug world, the proliferation of drugs, recreational use, the addicts? The apostles of drugs, especially ecstasy? The hard world of the gangsters? Smuggling? The police and customs? Ecstasy itself, its effect?

5. Edinburgh, its landmarks, real and authentic? Ordinary life in Edinburgh? The streets? The contrast with the club world? The lights, the music, the beat? The smuggler’s world? Ordinary flats? Lloyd’s father and his home?

6. Lloyd’s story, his voice-over, age, experience, the death of his mother, the care for his father? Woodsy and Ally? Heather? The girls, clubbing, Lloyd and his being absorbed in the dancing? The flats, with his friends, more drug-taking? His huge debt? His living only in the present? Sometimes slow-witted? Drug euphoria? The trip to Amsterdam, the discussion with the dealer? His taking extra drugs, to make a profit? His passport control check, the examination of his luggage, his shrewdness with the inspector? The setting up of the dance in the church, the discussions with the priest? The music, the gangsters seeing what was happening, the information, the police raid? Lloyd’s aim in life?

7. Woodsy and his intensity, his back-talk to the priest, his attitude towards God, towards ecstasy, his behaviour, preaching ecstasy? His arrest, in the institution, the treatment? The various characters visiting him? His appearing at the end at the funeral? Ally, his restaurant, drugs? The girls and their involvement?

8. Lloyd’s dad, his story, hardworking all of his life, the death of his mother, hitting him hard, his sitting at home, the cigarettes, drinking, watching television? Talking with his son? His cancer? His giving his son money? His death, the funeral, the crowd, the eulogies?

9. Lloyd and the distribution, the church fiasco, the priest and his comment? The consequences? His debt going up?

10. The drug lords, the boss of Edinburgh? His intermediary, a hard man? Attitudes, force, threats?

11. Heather, with her friend at the club? Trying out ecstasy? Meeting Lloyd, the interest, falling in love, sharing with him? Going along with his lifestyle, yet criticising? Her job in the anti-drug campaign? Her finally giving up on Lloyd?

12. The boss, telling Lloyd to go to Holland again, his visit, buying more drugs, disguised as a priest? At the customs control? Swallowing the drugs – ill on the plane? Hospital? Surviving?

13. The boss and his bashing Heather?

14. Lloyd’s final decision, the confrontation, the deaths?

15. Lloyd and the possibility of change? His future, support from Heather? Hope? The moral encouragement to the audience?

SAFE

US, 2012, 94 minutes, Colour.
Jason Statham, Catherine Chan, Robert John Burke, Chris Sarandon, James Hong, Anson Mount, Reggie Lee.
Directed by Boaz Yakin.

It’s a Jason Statham film. That is enough for film fans to know whether they want to see Safe or not. Statham, formerly a champion British Olympic diver, has made a name for himself for more than a decade as an action hero. Acting is not his forte but he is certainly a screen presence. He is strong (very strong in Safe with multi-martial arts), not exactly silent but pretty laconic, somewhat stolid in his approach to life but invigorated by what he sees as injustice and is not inhibited by scruples about a vigilante approach to life and death –generally, death – for the crooked and the corrupt.

And that is what happens here. Actually, there are two initial premises which are interesting though quite disturbing for an action thriller. On the one hand, there is a little Chinese girl who is ultra-gifted in memory and maths. She is taken to the US to be a human computer for a powerful Triad group. They are in conflict for power and money with a brutal Russian gang. And a crack squad of New York’s not so finest are in on the deals. When the Russians abduct the little girl (Catherine Chan is quite effective in the role), she is rescued by Statham.

The Statham sub-plot has tensions in it. In a fixed multi-martial arts fight that he wins instead of losing, the Russians lose money, kill his wife and leave him alive, threatening to kill anyone he gets close to. On the edge, he contemplates killing himself until he notices the little girl hiding on a subway platform. And…. off they go.

The Chinese want Mei back with the important numbers she has memorized for them. The Russians want her. The police want her. This leads to some massive shootouts in Manhattan. The body count is more than excessive, making the action more cartoonish than realistic and so runs the danger of seeming ridiculous.

But, that’s the Jason Statham action genre. This one is fast-paced, introduces a couple of feeling elements (and a tear or two in Statham’s eyes) and is designed to please the fans – which it will.
1. A Jason Statham action movie? Real? Beyond real? Cartoonish? Audiences accepting this?

2. The Beijing story, the atmosphere of China? Ordinary life, school, family? The triads? Abduction?

3. The New York story, the Chinese versus the Russians, the restaurants, the offices? The streets? The police involvement? The subways? The musical score?

4. The title, Mei and her safety? The risks? Luke and his not being safe? Mei and Luke together?

5. The Mei premise, her skill at maths, her memory, the report by the children, the teachers? Han Jiao and his wanting to use her? Appointing his deputy her adopted father? Checking with the police for the visa? The payoffs? Protection rackets? Mei, New York, memorising the lists? Her being an accurate ledger for the protection money?

6. Luke, in the multi-martial arts, winning the bout, its being fixed, his style? His wife, the Russians, murdering her? Confronting him, the son of the chief and his brutality? Making his way in the rackets? Letting Luke live, warning him that he endangered anyone who came in contact with him, Luke in the crowds, alone in the restaurants? At the shelter, the man wanting the shoes, his death? His meeting with the police, the revelations about his past? His decision to kill himself, the subway?

7. The introduction to Mei, the subway, the Russian pursuit, her abduction, Luke seeing her, the chase in the trains, Luke on the back of the subway train, getting Mei, eluding the pursuers? Their puzzle about him? Mei and her growing trust, the bond?

8. The drama and editing of the chases, the hotel, the tracking device, the mayhem in the hotel, the fashionable guests, the restaurant, the escape?

9. Luke, the truth about his past, the special squad, living by his wits, the vigilante authority? His speaking Russian? His being part of the squad? The Chinese versus the Russians, the police chief playing them off against each other, the setups? The phone call and Luke pretending to be a Russian?

10. The restaurant, the boss, the police, the massacre, the escape?

11. The police squad, their corruption, their link with the mayor?

12. The character of the mayor, his dependence on his assistant and relationship with him? The plan, Mei and the memorising of the numbers? To rob the safes? The casino? Getting the money, the CD with the information list? The payoffs?

13. Luke, playing the Russians off against the Chinese and vice-versa? The confrontation with Mei’s adoptive father? Mei and her danger? His gathering the police together, playing them off as well?

14. The police, the final help, the raid, the restaurant, the deaths, the deaths of the police, Luke using the chief – and letting him have the money to retire?

15. The mayor’s assistant, the meet-up, the fights, Mei shooting him, the expose of the mayor?

16. Luke and his choices, with Mei – going to Seattle and the future?

17. The overall effect of this kind of action show, the recklessness of the hero, the arbitrary deaths – in the name of justice? Beyond reality?