LEAP YEAR

Mexico, 2010, 94 minutes, colour.
Directed by Michael Rowe.

Leap year is a very grim film. It is a film about depression, sexual drive, death wish. It focuses on a middle aged woman, a writer, who lives alone. She has a brother who breaks up with his boyfriend. She tries to make out that she is doing better to her family.

However, she spends her time writing, especially at home, going shopping, watching the young neighbours and their sexual life, going out to clubs, bringing home men for anonymous sex.
One night she brings home Arturo. He has sadistic impulses, Laura going along with them. They increase in intensity. She chooses to go along with them. Ultimately, she hopes that she will die in sexual activity with Arturo on February 29. Hence the title.

Arturo visits her. However, she wakes up in the morning, still alive, to begin a new life.

The film was directed and written by Michael Rowe, an Australian writer living in Mexico. The film won the Camera d’Or at the Cannes film festival in 2010.

1. A Mexican film? Mexican sensibilities? Social and religious background? Class? The writer an Australian, and what he brought to this Mexican story?

2. The title, Nora and her attitude towards a leap year, her life, her impending death?

3. The camera work, fixed camera, not flashy style, making the audience something like a voyeur on Laura’s life?

4. Laura’s apartment? seeing her in the market, her groceries? The window, her bed, her desk, the small kitchen? The natural sounds? A confined space?

5. The market, Laura, her appearance, dowdy, dumpy? The shop, the man, watching, her disappointment?

6. Her, unpacking, the phone calls, to her brother, her mother, trying to impress the mother, her working at the typewriter?

7. Laura, sensual, looking out the window, watching the couple, masturbation, her own nudity? The dress, preparing to go out?

8. The range of men? Explicit sequences? The morning, their leaving, no words, her disappointment?

9. Arturo? Laura picking him up? His appearance, his background, his story, sado-masochism? The encounters with Laura? Her response? Her freely choosing this behavior? Moving to extremes?

10. The fantasies, combined with the reality of her ordinary life?

11. Her brother, his situation? His boyfriend? Coming to the apartment? Her consoling him?

12. The final night, Laura expecting to die?

13. The brother, Arturo, her waking up in the morning, March 1?

14. Some of ultimate hope? Laura and her going to the depths, depression? The bleakness of her life? The final glimmer of hope?

THE SON OF NO ONE

US, 2011, 90 minutes, Colour.
Channing Tatum, Ray Liotta, James Ransone Katie Holmes, Al Pacino, Juliette Binoche, Tracy Morgan, Ursula Parker, Jake Cherry.
Directed by Dito Montiel.

The Son of No One was written and directed by Dito Montiel. Drawing on his own New York experiences, he has made A Guide to your Regular Saints and Fighting.
Channing Tatum was the star of Fighting. He has a different role here, a policeman who has a complex past. As a boy, his policeman father was killed; he was looked after by his grandmother, and had a strong friendship with an African American boy, Vincent. Jonathan (Tatum) was responsible for the deaths of two disreputable men. This was covered up by his father’s friend, a police inspector played by Al Pacino.

His career is threatened by letters to a journalist (Juliette Binoche) as is his family. He is married to Katie Holmes. His superior officer, Ray Liotta, is concerned about the reputation of the police force. So is Jonathan’s partner, played by James Ransone.

The film moves in time from the 1980s to 2002 and back again. The situation is complicated by Vincent who has had a life of treatment in institutions. The film climaxes with a moral decision by Jonathan as well as a resolution to the problem, killings, and the cover-up.

1. Dito Montiel and his career, reputation, his New York stories, from the streets? Tough stories?

2. Staten island? The 1980s, 2000s? The contrast with Queens? The different neighborhoods, the buildings, interiors, the rooms, the roofs, the streets, the precincts? Institutions? The musical score?

3. Jonathan, the title of the film, the explanation by Loren,? As a boy, the death of his father, Stanford and his taking them under his wing, the talks? The grandmother and her care? Vincent, friendship? Vicki and her observing? The drug dealer, his threatening Jonathan, entering the room, Jonathan shooting him? Hiding? Vincent, the sexual encounters, Jonathan pushing the man down the stairs? The cover-up? The burden for Jonathan into adulthood?

4. Jonathan, the new century, his love for his wife, his concern about his daughter, her health? The scenes at home, her turns? His decision to become a policeman? Motivation? The tense relationship with his partner? The work? Mathers and his treatment of Jonathan, superior officer? The letters to the journalist? The discussions with Loren? Her disdain for him? Her not believing him? Her death and its effect? Audience sympathies with Jonathan?

5. Loren, her work, the letters, her suspicions, investigations, the threats, the publications, the reaction of the police, the photographs of Jonathan with Loren, her being gunned down?

6. Jonathan and his wife, her being upset, seeing him injured? Her sympathy? The threats to Jonathan, bashed, the truth, motives?

7. Jonathan’s partner, the work, sneering, part of the frame up, with Mathers? His being on the roof, the shootings?

8. Jonathan visiting Vincent, the incident in his life, sexual orientation and behavior, institution, treatment, the adult Vincent and his nerves, suspicion that he had sent the letters? Jonathan confronting him? Mathers and his ultimatum? Sending Jonathan away, in the car, his turning around, coming to the roof?

9. Stanford and his role, his reputation after 9/11? The past, meeting Jonathan again, his seeming sincerity, his part in the cover-up? His reasons, the shooting? The violence?

10. The cover, the headlines, Vincent’s death, Jonathan’s regrets, Vincent being blamed for the shootings? As well as the murders in 1986? Finally seeing Vicki, her sending the letters, her reasons, being satisfied?

11. The film as a variation on New York police stories?

LES EMOTIFS ANONYMES / ROMANTICS ANONYMOUS

France, 2010, 80 minutes, Colour.
Benoit Poelvoorde, Isabelle Carre.
Directed by Jean- Pierre Ameris.

The French title is a better and more accurate, especially when we see Angelique (Isabelle Carre) attending a variation on AA where the participants discuss their highly feeling lives and behaviour.

Angelique is publicly awkward but wants a job at a chocolate factory managed (not too well, they are almost bankrupt) by Jean- Rene (Benoit Poelvoorde). He is more awkward than she and attends sessions with a therapist. The therapist tells him to take someone to dinner (that is a real disaster but Angelique blames herself), then to touch someone, which has some surprising results.

In the meantime, we learn more about Angelique and her extraordinary talent for making perfect chocolates. The factory could make a comeback.

This is a very brief film, quite delightful in its way, with pleasant performances from the two leads as they try to deal with their gawkiness and gaffes, discover their love for each other. It is a fairy tale with touches of realism or a realistic story with touches of fantasy, with the light Gallic touch.

1. The French title and its tone? The bland Romantics Anonymous? The emphasis on emotionality rather than romance? A middle-age story? A fantasy?

2. Audiences accepting the fairy tale, the world of chocolate? Audiences having to let go of expectations of realism?

3. The city of Lyon, the streets, shops, the factory, restaurants, the exhibition and fair? The French tone? The musical score? Songs?

4. The group meeting of the Emotions Anonymous participants? Anguish, the types, the twelve steps, the woman weeping, Angelique telling her story, fainting? Her return to the group, getting their advice? The further stories? Jean- Rene following her, talking to the group, explaining himself, Angelique’s reply? The group being the catalyst for each of them telling the truth, admitting their love?

5. Angelique and her story, her shyness, her mother (and the scene with Frank, Angelique as a contrast with her mother)? Her singing the Sound of Music song, I Have Confidence in Me? Her imitating Julie Andrews’ steps, jauntiness, ankle-kick? Her going for the job, rehearsing in the window, the ladies seeing her, inviting her in, their warning about the boss, the eccentric interview, her earnestness about chocolate? Her promotion job rather than making chocolate? Her attempts to sell the chocolate, the failures, the lady in the chocolate shop declaring the chocolate obsolete? Her change of heart – and her decision to make the chocolate?

6. The story of her studies, her skill in making chocolate, the judges and their admiration? Her nervousness and running away? Monsieur Mercier and his following her, commissioning her chocolates, her being the delivery person? The suddenness of his death? Her need for a job?

7. Jean- Rene, his visits to the psychiatrist, his story about his father fearing everything, hoping that something good would come? The psychologist urging him to invite someone to a meal, his inviting Angelique impulsively, his suitcase and hiding it in the toilet, sweating, changing his shirts, putting on the wrong shirt, his escape out the window, the inability to have conversation, Angelique and her cards? The waiter and the ordering, the wine? Jean- Rene escaping out the toilet window? The psychiatrist telling him to touch someone, his attempts to reach out, with the young men in the factory, shaking hands with Angelique, unable to let go, the kiss – their discussion about the kiss, professional distance?

8. The company, the staff, their working on the chocolates, the two women, the two young men? Bankruptcy? Angelique’s idea, setting up the computer, as if it were a camera and the hermit was dictating the recipes? Her earphone? The success of the chocolates? The women working out what had happened? Going to see the shop owner, her delight in the chocolates, suggesting they go to the exhibition, the judge recognising her, her fainting? Their winning the competition? New orders?

9. Angelique, considering herself a failure, happy with her chocolate, the hotel, the single room, the bed, no couch, going out to the meal, the return, the sexual bonding, the walk, Jean-Rene? and his hurrying out to the air, Angelique thinking she had failed again, packing and leaving? Jean- Rene and the advice of the concierge?

10. Angelique not coming to the shop? Jean- Rene and his speech to the group? Their response, forcing him into the car, supporting him?

11. The anonymous group and the staff both backing Angelique and Jean- Rene? The proposal, the wedding, Angelique hiding in the cupboard – and the two of them walking down the road together?

12. A nice fairytale film – French style?

SPUD

South Africa, 2010, 103 minutes, Colour.
John Cleese, Troye Sivan.
Directed by Donovan Marsh.

Durban, 1990. Life in South Africa is about to change radically. As shown during this film, F.W. de Klerk, makes his speech in parliament and announces the release of Nelson Mandela.

This is the background to this story of a year of a young boy in boarding school. While the film does not focus so much on the politics, the situation comes to the fore in racist remarks, expressions of fears of the blacks and securing homes with barbed wire and in the place of black African boys in the school.

The film is based on a popular book by John van der Ruit. More bloggers than not are of the opinion that it is quite faithful to the book and its spirit.

The school itself is a mixture of rules and discipline yet a spirit of freedom (and getting away with what you can) on the part of the students. There is the public school look about it, but not quite as controlled as in ‘the good old days’.

John Milton’s parents (or, at least his father and his grandmother) are oddball, even noticeably eccentric. John thinks it might be better to be at boarding school than at home. He is small for his age. His voice has not broken, and he is not yet at the changes of puberty (which leads to the uncomplimentary nickname given him after his being seen in the showers, ‘Spud’). His initial way of thinking is to be one of the boys, to follow the attitudes and behaviour of his peers. We are introduced to the eight in his dormitory with all their characteristics: the bully, the head boy, the cricketer, the boy who brings in sex magazines, the small, rather intellectual boy that they pick on, Gecko. Speaking of the sex magazines, the first part of the film shares the adolescent boys’ preoccupation with and curiosity about sex.

The teachers are not always prominent, though we see the headmaster and a teacher who has had (allegedly) a mauling accident with a lion and gives sixers for the boys sneaking out for night swimming. But, the main teacher we meet is Mr Edery, ‘The Guv’, played by John Cleese. His first class on books is vintage Cleese, sarcastic, bombastic barbs. That is what we expected from him. However, as the film progresses, a more human side emerges, first comic, then quite tragic, something which Cleese communicates very well.

As the four terms go by, we follow John’s experiences (hopeless at sport), the reading that The Guv urges (Waitiing for Godot, Catch 22, The Lord of the Rings) and its effect on John, misbehaving with the peers, and his infatuation with Debbie, his parent’s neighbour’s daughter. She becomes his ideal, his fantasy. But, when he auditions for the school play, Oliver Twist, he also becomes infatuated with his leading lady, Amanda.

As the year goes by, John matures a little, is influenced by the wise suggestions of The Guv (while tackling The Guv on his red wine problem), experiences the friendship of Gecko and the sadness of his illness, moves to becoming a little more independent, has to face the situation with Debbie and Amanda, and is acclaimed by everyone for his performance as Oliver.

This is all to the credit of Troye Sivan, South African born, now living in Perth. He brings John to credible as well as interesting and often engaging life. A fine performance (including some singing as well).

Spud takes its place among the school stories like Dead Poets Society or The Emperor’s Club.
1. A school story? A boys’ school? Boarding school? 1990? A South African story? Universal?

2. The recreation of the period, Durban, the city, the Milton home?

3. The school, the countryside, the vastness of the school, the country setting, the hills, the boys going out onto the mountains? The buildings, the dormitory, the classrooms, the staff cottages? A sense of realism? The musical score?

4. The author and his memoir, adapting it to the screen? The perspective of an adolescent boy, ordinary, in the context of a changing South Africa?

5. Audiences identifying with the school, the schoolboys – or not? Schoolboys, their age, growing up, their experiences?

6. John, the voice-over? John’s perspective on the year? His oddball family, the mother and her anxiety, the father and his eccentricities, prejudices? The grandmother? Going away – and John thinking boarding school might be better? His arrival, the embarrassment of the old car, his parents’ demonstrativeness? His fears, meeting the boys, the staff, going to the dormitory, relating to the boys, the peer pressure? His decisions about how he would be at school?

7. His age, size, in the shower, the nickname, the effect? His imagining himself exposed before an audience, all laughing at him? The dormitory, the sex talk – the adolescent perspective? The boy with the magazines, everybody looking, sexual behaviour, language? Attitudes towards girls? John and his meeting Debbie, her becoming the ideal, the mermaid, the swimming? His imagining her while he was getting the six? The audition, Amanda, his infatuation, her letter, the kiss, seeing her kissing the other boy, the effect, being hurt? Debbie described as his ex, the hard decision, Amanda and his not kissing her – finding Debbie again, the kiss, all the boys watching?

8. The boys in the group, the eight, the bully and the pranks, Rambo and his behaviour, his relationship with the teacher? The champion cricketer? The boy with the magazines? Gecko, his white hair, intelligent, the outsider? Life in the dormitory, the goings-on, the night swimming?

9. Gecko and his age, ill, accident-prone, the comic touches, the bleeding ear, going to the infirmary, to hospital, John and his seeing him, their discussions, their sharing? His death and its effect?

10. The headmaster and his speech, participating in the play, the teacher with the injury, the rumour about the lion-mauling? His rules and regulations? Giving the six? The wife, her affair with Rambo? Her participation in the concert? Her class and her cleavage – and the boys watching? The drama teacher?

11. The school activities, swimming, cricket, auditions, classes?

12. The holidays, the long weekends, John going home, his grandmother, Dad and the dismissing of the servant, putting up the barbed wire, his fear of the black Africans, the change with the release of Nelson Mandela?

13. The ending of apartheid, the television interview with and the speech of F.W. De Klerk, the remarks, the boys in the school, the black African boys, leadership? The discussions, the demonstrations, the songs – and John feeling that he ought to be black, feeling guilty?

14. Debbie, nice, her attractiveness, talking, the swim, the visits – the final kiss and the tour of the school?

15. The auditions, John singing Amamzing Grace – and later singing it for Gecko as he died? The rehearsals, the wig, the boys mocking him as a sheep? Amanda, the infatuation? The performance, the acclaim – and everybody applauding?

16. The importance of The Guv? John Cleese’s performance? The English class and his barbed comments, throwing the books in the bin? The essays – and John the only one passing? The Guv’s interest, inviting him home, meeting The Guv’s wife? The Guv and his drinking red wine? Giving it to John? Recommending Waiting for Godot, The Lord of the Rings, Catch-22? John and his responses, becoming more articulate? John reading the books while the others played cricket? (And his hopelessness at cricket, hitting the wicket?) The Guv, his further drinking, his wife’s arguments, her leaving him? John and his going to The Guv, taunting him about Dickens, The Guv’s reaction, coming alive again? The Guv’s philosophy of life, the emphasis on sexuality – but going beyond? His performance in the play, his wife seeing him? The applause?

17. John as an ordinary boy, having more depth than many of the other boys, the opportunities, transcending his family – but their acclaim for him at the play? His prospects for the future?

THE LUCKY ONE

US, 2012, 101 minutes, Colour.
Zac Efron, Taylor Schilling, Blythe Danner, Riley Thomas Stewart, Jay R. Ferguson, Adam Le Fevre.
Directed by Scott Hicks.

For over twenty years, audiences have enjoyed the emotional and romantic film versions of novels by Nicholas Sparks. They range from Message in a Bottle to The Last Song, a star vehicle for Miley Cyrus. The most popular has been The Notebook. The recent Dear John had a war theme. So does The Lucky One.

Opening in Iraq with an ambush and deaths, the film sets a contemporary tone. Logan (Zac Efron) survives, especially when he notices a photo in the rubble and picks it up, just missing being killed by an explosive device. He is nervous during convalescence with his sister and her children and decides to identify the lighthouse in the photo – which takes him to Louisiana.

All might have been simple had he been able to explain why he had come. The woman in the photo, Beth (a sympathetic Taylor Schilling) thinks he is odd but her feisty mother (Blythe Danner) hires Logan to work in their business of walking and caring for dogs (something of a treat for dog-loving audiences). Beth is divorced from the local policeman, son of the local mayor, who has spent his life trying to match his father’s expectations, and not succeeding. She also has a son.

As expected, Logan bonds with the son, works hard with the dogs, lives a quiet and reflective life, falls in love with Beth and is threatened by the husband. As expected, there has to be something of a crisis when Beth learns the truth about Logan. This is more melodramatic than anticipated.

As with Sparks’ other stories, there is a special communication that is at the core of the story whether it be a message in a bottle, a notebook, letters to Dear John, a song or, in this case, the original photo and another which leads to some kind of reconciliation and peace.

Zac Efron is very nice and gets audience sympathy and the hope that there will be a happy ending, which, of course, is the natural outcome of this kind of wide-audience-friendly film.
1. Nicholas Sparks, the popularity of his novels? Expectations of adaptations? Romantic, emotional? Contemporary? The popular style of storytelling and characterisation? Popular issues?

2. The background of Iraq, the 21st century marines, their experiences, fighting, ambushes, deaths, comrades? Idealised?

3. Louisiana, the roads, the town, the bayous, homes, the church? Realistic atmosphere? The musical score? The songs?

4. The dogs and the setting, for dog-lovers, the range of dogs, training, walking them?

5. The title, Logan and his finding the picture, surviving, wanting to meet Beth? Lucky to meet Beth? Lucky to meet Ben?

6. The battle scenes, night, the ambush, the deaths, Aces and his going to his man and being killed – and the later information from Logan to Beth? The daylight, Logan picking up the photo, the explosion behind him? In the vehicle, talking to his friend, the explosion and his friend’s death?

7. Zac Efron as Logan, his screen presence, his appearance, his eyes? Introverted, introspective? Quiet, reading, loving philosophy? His family tradition of joining the marines? The effect on him, post-traumatic stress? Trying to cope? Visiting his sister, the nephews and their playing war games, rousing him and his fears? His leaving?

8. The computer, identifying the place of the lighthouse, walking from Colorado to Louisiana, asking about Beth and the photo, finding her, the interview, her wariness?

9. Setting up in the old house, walking the dogs, fixing the roofs, starting the tractor, repairing the boat?

10. Beth, the story of her parents’ death in the car accident, her father as a vet? The boat? Her attachment to her brother, close in growing up, looked after by their nana? His death, the mystery of what happened to him in Iraq, grief? The later visit to the cemetery? Her running, her missing out on college, her pregnancy, marrying Keith? Discovering the truth about him? The marriage failing? Her love for Ben, devoted, care? At school – her teaching in the past? Her way with the children? The possibility of her returning to teach? Ben and his playing the violin? His age, the eighth birthday, the celebration? His skill at chess, playing with Logan? Giving him the book to read? His love for his father, the outings with him, measuring up to his demands, the injury at sport? Keith and his thinking that Beth pampered her son? His wanting him to be macho?

11. Keith as a character, dominated by his father, his father as mayor? The behaviour at the garden party, the father and his low opinion of his son? Keith and his criticising Logan? His love for Ben, his threats to Beth, to take Ben away? The meal with his family?

12. Logan, his work, eating the meal with the family, playing chess, being beaten, his playing the piano, Ben hearing him? The bond between the two? Logan with Beth, his inability to tell a joke, the promise of a beer, their going out, sharing, the boat? The deputy holding them up at Keith’s request?

13. Ellie, strong, in the choir, drinking, her wise comments, her urging Beth on?

14. Keith, his father, the antagonism, his not wanting his son to be weak? In the church, hearing him play the violin? His dislike of Logan, threatening him, going into the house, finding the photo? Going to see Beth? His presumption about friendly fire?

15. Beth, her love for Logan, Logan as gentle with her, the possibilities?

16. Her discussions with Keith, the photo, her interpretation? Logan and his explanation? Her inability to accept it, emotionally? Ben overhearing it?

17. Logan, Keith and the gun, Logan taking it from him, humiliating him? Keith going to his father, his turning in his badge?

18. Logan, finding the photo of Aces, realising that he knew what had happened? Going to the house to tell Beth?

19. Keith, Ben running away, the storm, going to the river, going to the tree house? Crossing the bridge, Ben and his being stranded, Keith and his attempts to help his son, Logan coming, rescuing Ben? Unable to help Keith? The tree house falling, Keith going down the river?

20. The aftermath, Beth and her appreciation of Logan? Ellie? The bonds between them? A future? Seeing them on the boat on the bayou as a family?

21. The popularity of this kind of storytelling characterisation, less sophisticated – and for the widest possible audience?

CYRUS

US, 2010, 91 minutes, Colour.
John C. Reilly, Jonah Hill, Marisa Tomei, Catherine Keener, Matt Walsh.
Directed by Jay Duplass and Mark Duplass.

Cyrus is a small film with a strong cast. The Duplass brothers had made what some commentators call mumblecore films, small-budget, relying on dialogue (not necessarily clear): The Puffy Chair, Baghead. With Cyrus they move to a more mainstream kind of independent film. They followed this with Jeff Who LIves at Home also with a better-known cast.

John C. Reilly has shown himself over many years as a reliable screen presence. Here he portrays John, separated for seven years from his wife (Catherine Keener) who is now wanting to remarry. He is an editor but lives a lonely and somewhat miserable life. He is persuaded to go out, encounters a vivacious woman, Marisa Tomei, and they click instantly. When he follows her after she leaves hurriedly, he discovers she has a twenty-one-year-old son, who lives at home, is an avant-garde musician and composer. He is played by Jonah Hill, best known for his raucous comedy performances including 21 Jump Street and Superbad, but who shows his acting ability here – as he did, winning an Oscar nomination for best supporting actor for his serious role in Moneyball.

The film is really a small-focus drama, what happens to John, his relationship with Molly, the encounters with Cyrus (Hill) and his trying to undermine the relationship.

The film is an interesting small study of relationships, love and betrayal – particularly focused. The film was advertised as a comedy and, while there are some comic touches, it is rather more serious in tone.

1. The film-makers, their reputation, their small independent films, the cast?

2. The limited locations, the two homes, the streets, the party, the office? The musical score?

3. Audience interest in the characters, the portraits, psychological aspects and relationships?

4. The comic touches in a serious film?

5. John C. Reilly as John, his age, alone, seven years since his wife left him, Jamie and her visit, her assertiveness, her wanting to marry again? Urging him to go out? His finally going to the party, his failure at small talk and people moving away from him, his meeting with Molly, urinating in the garden, going inside with her, the music, his dancing, her joining him? Everybody dancing?

6. John and Molly and their clicking, the night together, the bond, two needy people? The phone calls? The visits, Molly leaving early, John deciding to follow?

7. John and his discovering Cyrus, Cyrus and his age, home schooling, no father, his music, playing some for John? His being friendly? The welcoming words – yet the stealing of the shoes? John’s later discovery of them? Cyrus’s relationship with his mother, dependence on her, the open door, the shower, the close relationship of mother and son, going out together, the picnic, the photography? Jamie and her watching them – and supportive of them?

8. Jamie and Tim, the engagement, the preparations, their advice for John, John getting Jamie to jog with him, watching the couple, Jamie’s approval? Tim’s reaction to John consulting Jamie?

9. Cyrus, his tantrum, moving out, the moods, it being sudden for Molly, her not understanding? John and his suspicions, packing Cyrus’s things, discovering his shoes?

10. Cyrus, manipulation, misquoting what each had said to the other? Playing on Molly’s feelings?

11. The build-up to the confrontation, the truth about the shoes, the truth about Cyrus’s attitudes, Cyrus and his threats, the two pretending for Molly that they were friends?

12. The wedding, Cyrus and his behaviour, John and his attack?

13. Molly, her plea, talking with John, her acknowledging the truth?

14. Cyrus arriving, John giving him a lift, their talking, hugging, forgiving – the end? And what would happen when John and Molly married? Cyrus’s place?

THE CROSS OF LORRAINE

US, 1943, 90 minutes, Black and white.
Jean- Pierre Aumont, Gene Kelly, Cedric Hardwicke, Richard Whorf, Joseph Calleia, Peter Lorre, Hume Cronyn, Wallace Ford.
Directed by Tay Garnett.

The Cross of Lorraine is an American film but focuses on French soldiers who are persuaded by Marshal Petaìn to surrender to the Germans and promised a return home, but who are transported to prisoner-of-war camps in Germany.

The film captures the French atmosphere, despite so many of the cast speaking with very American accents. It creates the atmosphere of France at the outbreak of World War Two, the fight against the Germans, the establishment of Vichy France as well as a picture of the concentration camps.

Jean- Pierre Aumont had been a French film and stage actor who came to the United States in 1942 and performed in Assignment in Brittany and this film. He then fought with the Free French in north Africa. This was an early film for Gene Kelly (and he did something of the same role in Pilot #5). Cedric Hardwicke is the dignified priest who is in the military and is executed in the camp after conducting a service in memory of the dead. His performance indicates the high respect for the padres in World War Two (just as Pat O’ Brien showed with his portrayal of Father Duffy in The Fighting 69th). Peter Lorre is a wheedling and horrible German guard. Hume Cronyn is the happy-go-lucky stooge of the Germans who is the victim of his collaboration. Joseph Calleia is rather sinister as a Spanish prisoner who had fought against the fascists during the Civil War. Wallace Ford is an older sympathetic farmer who is killed while attempting to escape.

Because this film is early in the stories of the war and concentration camps, it might seem derivative. However, other films tend to be derivative of this one. It was directed by Tay Garnett, a World War One aviator who entered films in the early 1920s, directed many films but had a high pojnt around this time and the years following with Mrs Parkington, Valley of Decision and, especially, The Postman Always Rings Twice.

This is a very interesting and entertaining war propaganda film.

1. The impact of the film in its time? The portrait of the French? The oppression of the French? The status of the Free French under General De Gaulle at this time? The film seen in retrospect? With the understanding and knowledge of the history of the war? A perspective on war propaganda? (Released the same year as Calablanca.)

2. The black and white photography, the suggested French locations on the Hollywood sets? The villages, the countryside? The picture of the concentration camp? The musical score?

3. The title? The emblem of the Resistance? Of the Free French? The Cross of Lorraine and the memory of Joan of Arc?

4. The introduction to the characters, the war in France? The survey of the range of men, their backgrounds, homes, farms, taxi-driving in Marseilles, lawyers, Spanish prisoners, wine cellars? Their joining up? Their fighting together? The German attack? Deaths? The round-up? Their leader, persuaded by the Germans to speak out? The surrender, the promises of the Germans and of Marshal Petain? The round-up, their being put on the trains, not going home, arriving in Germany? The concentration camp?

5. The camp itself, the commandant, his seeming urbaneness, yet his ruthlessness? The guards? Peter Lorre as Sergeant Berger? His sinister style? His disdain of the prisoners? His torturing Victor? Victor spitting at him? His vengeance? His using Duval? The trips across the border, the pretences, smuggling the goods? His talking with Paul? Persuading him to take Duval’s place? The setup? Paul and his taking the opportunity of freeing his fellow prisoners, the documents? The substitution of Victor in the ambulance? At the border, the pursuit? Paul stabbing Berger in the neck? The escape? The portrait of the Germans – in the context of 1942-43?

6. Paul, his background as a lawyer? His manner? His friendship? Heroism? His friendship with Victor, Victor as irascible, the taxi driver, the patriot, violent? His outbursts? His being taken and tortured, spitting on Berger? The crushing of his spirit? His unwillingness to leave the camp?

7. The range of other prisoners, Francois and his support of Paul? Rodriguez and the memories of the fascists in Spain, imprisonment? His fierce anti-German attitudes? Pierre, the background of the farm, the possibility of escape, the seeming lack of surveillance, his running to the wall, his being shot? Surviving in the infirmary, his death? The range of other characters? Their attitudes towards Duval?

8. Duval, his background, smooth talker, ability to speak German? His being given the position of translator, his manner of doing it, his sneering, humour? His health, food? With the other men? Their despising him? Their ultimately killing him?

9. Paul, his taking Duval’s place? The attitude of the men? His trying to do right by them? A man of conscience? The discussions with Father Sebastian? His final decisions, the documents, the escape?

10. Father Sebastian, his work in the church, as a chaplain? In the camp, wearing his clerical robes? His wise counsel for the men? The issue of the bread, one loaf for the whole group, Victor and his seizing it? Father Sebastian’s quiet control, blessing and breaking the bread – the Eucharistic overtones? His decision to pray for the dead, Berger telling him not to? His being shot?

11. The escape? The men freed with Paul’s certificates? Their gathering at the house? The mother and her welcoming the group, the meal? The Germans and the reprisals? The confrontation, the village rising up against the Nazis, chasing them away? Victor and his going into action? Paul and his leadership? The villagers and their decision, that the Germans would return, the decision to burn the village and move on?

12. The atmosphere of 1943, the French Resistance – and the Free French under De Gaulle’s leadership?

STALLION ROAD

US, 1947, 97 minutes, Black and white.
Ronald Reagan, Alexis Smith, Zachary Scott, Peggy Knudsen, Patti Brady, Harry Davenport, Frank Puglia.
Directed by James V. Kern.

Stallion Road is based on a novel by Stephen Longstreet who wrote the screenplay. It is a star vehicle for Ronald Reagan, generally a genial, even folksy, presence on screen as he is here as a vet in southern California. His leading lady is Alexis Smith, enjoying a rather relaxed role. Zachary Scott appears as a novelist who visits his old friend on the ranch, falls in love with Alexis Smith, does the decent thing in standing back.

There are various subplots in the life of the vet apart from his relationships. There is an outbreak of anthrax, he is involved in trying to develop some antidote for the disease, contracts it himself, and is injected with his antidote which is successful.

The film is geared to those who love seeing films about horses, the galloping horses, corralled horses, horses on the beach and in the water.

Patti Brady appears as Alexis Smith’s younger sister, Peggy Knudsen is the femme fatale married to the local banker who has set her cap at Reagan. Frank Puglia is sympathetic as a Mexican hand on the farm.

The director is James V. Kern, who made a number of feature films at this stage but spent a long career in television.

1. The appeal of the film? Folksy? Horses and ranches? The life of a vet? Romance?

2. The southern California settings, the ranch, the sea? The musical score? The cast – and their place at Warner Bros as contract artists in this period?

3. The focus on Stephen Purcell, his writing his novel, his dedication, his memories? His visit to the Stallion Road ranch? His long friendship with Larry? The city slicker, adapting to the ranch? Meeting Rory? In love with her? His helping around the farm, getting the doctor for the horses, his social life? His decision to leave, the situation with Rory, his staying? The possibility of marrying her? His doing the decent thing and leaving – and his writing the novel?

4. Larry, the vet, dedication to his work? Daisy and her pursuing him? Her husband and the need for money, the bank? His being called out for Rory’s horse? Meeting Rory and Chris? Becoming friends? Healing the horse? His own horse, the training, Daisy wanting to ride it in the steeplechase? His being at home with Rory, discussions? The fair, the race, the little child running onto the course, Rory falling? Her getting up? Succeeding? Daisy losing? The scenes with Daisy? The discussions with Stephen? The anthrax outbreak, his doing his best to discover the truth, the cattlemen? Rory and her message, her own horse being ill? Stephen’s explanation – insufficient? Her upset with Larry, the break-off? The discovery of the truth? His own illness, her keeping vigil? His work on the vaccine, her decision to inject him? His recovery? A future with Larry?

5. Larry and his scientific investigations, the anthrax situation, his contracting the disease? Possibly dying? Recovery?

6. Chris, a bright young girl? Love for the horse? Love for her sister, friends with Larry? Her grief at the death of the horse? Her interactions with Pelon’s son?

7. Pelon, genial man, his admiration for Larry, his sensible work about the ranch?

8. The fair, community life? The races? Ben Otis as the banker? Daisy leaving him? The farmhands, the cattlemen? The picture of life in southern California on the ranches in the 1940s?
 

WHITE HUNTER, BLACK HEART

US, 1990, 112 minutes, Colour.
Clint Eastwood, Jeff Fahey, George Dzundza, Marisa Berenson, Alun Armstrong, Timothy Spall.
Directed by Clint Eastwood.

White Hunter, Black Heart is based on a novel by Peter Viertel who also wrote the screenplay. Viertel was a screenwriter and novelist, working with director John Huston, accompanying him to Africa for the making of The African Queen. This film is a disguised (very lightly) version of the making of the film as well as a portrait of John Huston.

The film is something of a change of pace for Clint Eastwood after many westerns and police thrillers. His next film was to be Unforgiven for which he would receive the first of his Academy Awards for best director (the second in 2004 for Million Dollar Baby). Clint Eastwood was obviously interested in John Huston – a larger-than-life character, something like Cling Eastwood on screen but not in real life though Eastwood was a successful actor, one of the most prolific of actors who became directors in Hollywood, serving as mayor of Carmel and involved in American social and political life.

John Huston, however, was a law unto himself, a rip-roaring drinker, and a would-be hunter as demonstrated in this film. He wanted to go Africa, less for the film, than to bag an elephant. This theme is explored in the film – and the director having to face his own passions as well as his egocentricity when his guide is killed by an elephant.

Jeff Fahey plays Pete Verrill, the alter-ego for Peter Viertel. Fahey was also best known for his action films rather than drama. He acquits himself very well here, playing off Clint Eastwood’s boisterousness. George Dzundza portrays the put-upon producer. British actors Alun Armstrong and Timothy Spall play part of the technical crew, puzzled by and critical of the director. Marisa Berenson does an impersonation of Katharine Hepburn and Richard Vanstone of Humphrey Bogart. Jamie Koss is the wife of Phil Duncan, the Bogart character, and is played like Lauren Bacall.

The film gives some insight into the difficulties of making films, the caprices of directors, the hopes of cast, the exasperations of writers, the exasperations of producers. The film also has the atmosphere of Africa from such films of the 1950s as Mogambo.

This is an interesting film in its portrait of real-life characters as well as taking audiences into their personal lives and behind the scenes for film-making.

1. Clint Eastwood, his career at this stage, as actor, as director? His moving into more serious film-making?

2. The film based on the making of The African Queen, Peter Viertel and his novel, screenplay, based on his own experiences with John Huston? Africa, Viertel’s perspective, his being heroic and handsome – and playing off the boisterous Wilson?

3. Cinema history, John Wilson, as John Huston, larger-than-life, manner of talking, in action, interest in The African Queen, more interested in Africa, hunting, elephants? Katharine Hepburn and Humphrey Bogart, Lauren Bacall and their presence in Africa? The staff and the technical crew? Their functions? The producer? Frustrations, clashes, finally filming?

4. The title, as applied to John Wilson, the big white hunter, colonial attitudes, obsessions, the advice of guides and his disregard of them? The white guides? Kivu and his collaborating with Wilson? Wilson relying on him? Wilson’s whims, the elephants, his being warned away? The older elephant and the young? His unwillingness to be warned, the sighting of the elephant, his leaving the filming, Kivu and his approaching the elephant, his death? The drums giving the message of Kivu’s death – and the translation: white hunter, black heart? The child’s grief and its effect on Wilson?

5. The British sequences, the planning of the film, Peter arriving, Wilson and his secretary, his attitude towards her? Peter and his novels, the screenplay, friendly relationship with Wilson? Their discussions? The writer, her glamour, the night out, her incessant telling of the story of her screenplay, The Dog? Wilson and his appetites? Peter, breakfast, the discussion of the ending? The arrival of the producer, Wilson’s attitude towards him, his treatment of him, talking about him, meeting with the money people? The difficulties, talking about the problems in Africa, the producer trying to smooth things out, getting the backing? The producer and his discussions with Peter?

6. Wilson, arriving in Africa, his ambitions, at Entebbe airport, the quarters, the guide, the meals, the drinking? The arrangements with the guides, with Kivu?

7. Katharine Hepburn, Marisa Berenson’s impersonation, her enthusiasm for Africa and the film? The ride in the jeep, the welcome, Wilson and his hosting the lavish meal? The Humphrey Bogart parallel, Lauren Bacall?

8. The set designer, his spurning of Hollywood, Wilson lecturing him about Hollywood? The humiliation? His drinking? The other members of the crew, observing Wilson? The arguments? The drinking, the mockery?

9. The producer, his frustration, the issues of finance, cajoling Wilson to start?

10. The effect of the tragedy on everybody, the effect on Wilson, his becoming quiet?

11. The film ready to roll, his quiet saying of ‘Action’? The white hunter, backing down, in the director’s chair? The set, the lighting? The making of The African Queen – and audience knowledge of its success as a film and commercially? John Huston making films for almost another thirty years?
 

INFERNAL AFFAIRS 3

Hong Kong, 2003, 118 minutes, Colour.
Tony Leung Chiu Wai, Andy Lau, Leon Lai, Kelly Chen, Anthony Wong Chau- Sang, Eric Tsang, Edison Chen, Shawn Yue.
Directed by Wai-keung Lau and Alan Mak.

Infernal Affairs 3 is the end of the trilogy. Infernal Affairs 2 (which Martin Scorsese remade as his Oscar-winning film, The Departed) is the story of two young men, both going underground, but one as infiltrating the police, the other as infiltrating the triads. The second film is the prequel, showing the backgrounds of the two young men, their experiences, their training, their going underground. The third film operates on several time levels. The earlier films were set in the 1990s, moving towards the handover from Britain to China of Hong Kong. This film is set in 2002, the aftermath for the two young men.

It also focuses on the death of the young man who infiltrated the triads, Chan. The film moves around in time, investigating Chan’s death. It also gives the opportunity for the triad mole to consolidate himself in the police force – but finally, unmasked.

Tony Wong also appears, but only in a minor role, the influential man who had advised Chan to go into the triads but who himself had compromised his integrity by organising a hit on the head of the triads.

The film shows the police working in Hong Kong after the handover, very little different from the time before. The film also is an interesting psychological study of the disintegration of the mole yet his trying to preserve his position in the police. The admiration is for the dead man who had successfully infiltrated the triads and was able to help the police in their work. Once again, the fat and jovial head of a triad group, Sam, appears and shows that one can outlive all kinds of difficulties in the triads.

1. The third film in the series? Presupposing the others? Its time span immediately following the first film? Hong Kong, the police, the triads, the handing over to Chinese rule from the British?

2. The Hong Kong settings, after the handover, the authorities, the continuity?

3. The vistas of Hong Kong, the feel of the city, outside the city, the cemetery? The musical score?

4. The ironic title of the series, Infernal for internal?

5. The complexity of the structure: the time shifts, the perspectives, the past and the undercover work, of both men? The effect for the police, the effect for the triads? The investigation into Chan’s death?

6. The death of Chan, his place in the first films, audience sympathy for him, deep cover, the effect? His reporting to Inspector Wong? The build-up to his death?

7. The visualising of his death? The scenes in the cemetery? Grief from his friends?

8. The undercover policeman, his office, the files, the parking space, the information, respectable on the surface? The infatuation with Mary – and the complexity of his murder of Mary in the past?

9. The building up of the setup, the confrontation?

10. The investigation, the issue of parking, offices, files, archives? Suspicions?

11. Inspector Wong – his place in the past? His contribution to police work?

12. The reappearance of Sam, continuing his work, the truth about undercover agents?

13. The conclusion of the trilogy – yet the story and the possibilities for it continuing?