PERRIER’S BOUNTY

Ireland, 2009, 88 minutes, Colour.
Cillian Murphy, Jim Broadbent, Jodie Whittaker, Brendan Gleeson, Liam Cunningham, Conleth Hill, Domhnall Gleeson.
Directed by Ian Fitzgibbon.

Perrier’s Bounty is a story about Dublin gangsters (though much of the film was made in England). Cillian Murphy is Michael Mc Crea, a young man in debt to the gangster chief, Perrier, played by Brendan Gleeson. Perrier is surrounded by murderous thugs. He is also in league with other money lenders and crooks, especially one played by Liam Cunningham. On the other hand, there is Jim Broadbent as Michael’s father, thinking that he is going to die, wanting to reconcile with his son. There is also Jodie Whittaker, Michael’s neighbour, rather in despair about her relationships.

When this is put in a mix, it comes out in an Irish style of comedy-drama – in the vein of I Went Down, In Bruges and The Guard.

The film is often witty – but is burdened by rather wearying incessant swearing as well.

The film was directed by Ian Fitzgibbon who also directed A Film With Me In It. The film was written by Mark O’ Rowe, writer of Intermission as well as the moving telemovie, Boy A.

1. Irish gangsters? Crime? The serious, the comic?

2. The Dublin settings, the neighbourhoods? The feel of Dublin? The countryside? The musical score?

3. The language, wit and literate, yet incessant swearing? The overall effect?

4. The voice of the Grim Reaper: Death, the voice-over, the introduction to Michael, the comments on the ironies of the tragedy, of the comedy? The comments as regards Jim Mc Crea and his death?

5. Michael, the initial situation, sleeping, being watched by Ivan and his fellow thug, the threats of violence, Michael in debt? Perrier and his demands? The time limit? Michael and Brenda, her being suicidal, her drinking, her boyfriend and his infidelity, taking Michael’s gun after he hid it under the bed? Michael going to the pool hall, the drug information from Clifford? Seeing Jerome with the girl, Michael attacking him? The bar and the fight? Seeing the Mull and his offsider? The offer to participate in the robbery? Michael going along with it? The promise of money?

6. Michael finding his dad on the footpath, the past history, Michael and the assault, saving his mother, alienated from his mother? His mother and father separated? Jim and his preoccupation with death, his vision, thinking he would die if he went to sleep, his efforts at keeping awake, standing on the hill, getting Brenda to slap him, needing the cocaine? His character, manner of speaking?

7. The return, the threats? Ivan and his fellow thug, the irony of their relationship? Brenda shooting him? Taking the body in the car, with Jim, burying it on the hill?

8. Perrier and his type, arrogant, surrounded by yes-men, the issue of the homosexual relationship? His alleged broadmindedness?

9. The Mull, his deal with Michael, the attack on Michael, trying to put him in the boot, Jim coming to the rescue? The Mull going to Perrier, the plans, the money – and Perrier shooting him?

10. Capturing Michael, tying him up, Ivan and the preparation to cut him, the interruption, Michael getting the gun, getting them all on their knees, giving up their guns, his escape?

11. Brenda, her love for Jerome, going to see him, the nude girl, her disillusionment, his return, the break-up?

12. Perrier and his torturing Jim, Jim going to sleep, Michael and the rescue, Jim killed? The prior talk, the reconciliation, Michael’s promise to see his mother?

13. Brenda, telling Michael to get over himself? The importance of the visit to his mother, going to the water, her swimming and waving?

14. The Grim Reaper, his final comments about what the audience had seen? The enjoyment value? The point?

BELLE STARR’S DAUGHTER

US, 1948, 86 minutes, Black and white.
George Montgomery, one to Cameron, Ruth Roman, Wallace Ford.
Directed by Lesley Selander.

Gene Tierney had appeared as Belle Starr, a successful western, highlighting the career of the outlaw. This sequel is small budget film. It focuses on a renegade friend of Belle Starr, played by Rod Cameron, who kills her. He starts a gang. He is pursued by the new Marshall of the town, George Montgomery.

Ruth Roman portrays Rose, Belle Starr’s daughter. After her mother’s death, she is given a job in town, the marshal falls for her, but she goes off with the outlaws. She finds out who was responsible for her mother’s death.

A standard western.

1. A western of the 1940s, standard? outlaws, the law, confrontations, shootouts?

2. The west and settings, the ranch, the open spaces, the town?

3. The title? The story of Belle Starr? Her exploits? At the ranch, the uneasy truce with Antioch? The breaking of the truce? Her death?

4. Rose, young, being with the Bob, training with the gun? Not afraid of anything? Witnessing her mother’s funeral? The lies? Her being protected in town? Her job? The encounter with Tom? Sassy?

5. Bob and his gang? The killing of the marshal? The killing of Belle Starr? His advances towards Rose? Coming to town, the clash with the sheriff, removing the guns, the fights at the bar, his smooth talk? Charming Rose? Taking her with him?

6. Bailey? His knowing the truth, his trying to escape, the drinking, the confrontation with old, pointing his gun, being shot, Rose as witness?

7. Tom, in pursuit, his being injured, the Doctorr.? His deputy? The chase, the local deputy being slack?

8. Bob, becoming desperate, in the town, the marshal shooting him, the disappearance of the horses, Tom and his deputy, the shootout in the street?

9. The final chase, Tom alone, bob and his treatment of Rose, his friend and leaving him to die? Rose and the truth, the dying man’s witness?

10. Tom, riding after Bob, the shooting, Bob’s sardonic comment about not being hanged? Tom and Rose together? The happy ending?

THE ART OF GETTING BY

U.S., 2011, 83 minutes, 2011, Colour.
Freddie Highmore, Emma Roberts, Michael Angarano, Rita Wilson, Alicia Silverstone, Blair Underwood.
Directed by Gavin Weisen.

The Art of Getting By is a film about New York high school students. Freddie Highmore portrays George, a pensive 15 year old, whose life experience has shown him little meaning in life. He performs very badly at school, is criticized by his teachers. He meets Sally, Emma Roberts, and they form a friendship. He has problems at home, his mother and stepfather and the mortgage on their house.

The film shows George opening up, experiencing new friends, experiencing disillusionment, being pressurized to graduate, and making a decision to do something with his life.

Freddie Highmore was a child star in such films as Neverland, Charlie and the Chocolate Factory. Emma Roberts made the transition from teenage star to adult actress.

1. High school story, adolescent development, education, family problems, emotions, philosophy of life?

2. New York setting, the city, homes, streets, high school, authentic atmosphere? Musical score?

3. The title, as relating to George? To Sally? To Dustin? To the parents?

4. The focus and George, age? His voiceover and tone? His questions, not having any answers, no inspiration? Philosophical? But in vain? His relationship with his mother, communicating with her, the tensions, his father leaving the family, his lonely time in Tokyo? Jack as his stepfather, unemployed? George following him? The truth, the confrontation, the violence? His not contributing to class work? Idle, sketching, no respect for his teachers, their exasperation with him? Harris and the art class? The discussions with the headmaster? No tests, no assignments? His future and his of hand attitude?

5. Sally, smoking on the roof, making friends with George, the talk? Zoe, her friend, the poster for the party? His drawing the poster? At the party, sitting by himself? Sally, smart, attractive, sharing with George? Sally and her mother’s behaviour? Her reactions? Introduction to Dustin? Going to his studio, admiring the paintings, friendly with him? George putting her on a pedestal? Going to the club, George dancing, getting lost, being sick? Sally’s apology?

6. George at home, his room, tensions, meals, at school, the ultimatum from the principal and from the other teachers?

7. Jack, wandering, losing his job, George seeing his office, making his decisions?

8. Sally, the sexual attraction, asking George his opinions, imagination, George cautious, hurt, alone, seeing her with Dustin, George discovering the truth?

9. Dustin, past student, visiting the school, his speech? George welcoming him, listening? Discussion afterwards? Visit to the studio? Outings? The dance? George upset at Dustin? To Europe with Sally? The airport?

10. George hard at work, the discussions with his mother, the truth about Jack, losing her money? His art, Harris and his demands about something true?

11. Sally, Dustin, explaining her summer to George, backpacking in Europe, going to the airport, Dustin and his allowing Sally to go, her return to the school, seeing her portrait?

12. George, the teachers pleased with his work, Harris pleased, the graduation, his mother and her enthusiasm, his friends, Sally?

13. What future?

OSCAR AND LUCINDA

Australian/ UK, 1998, 140 minutes, Colour.
Ralph Fiennes, Cate Blanchett, Ciaran Hinds, Richard Roxburgh, Tom Wilkinson,
Directed by Gillian Armstrong.

Oscar Hopkins belongs to a strict sect but runs away from home, gambling on which church he should go to. He becomes an Anglican and a priest but has an addiction to gambling. To try to overcome it, he migrates to New South Wales.

Lucinda Leplasterier has grown up poor in New South Wales but inherits a glass factory in Sydney. She also befriends the Reverend Hassett. He is sent to the country because of his relationship with her. She sails to England on business.

On the return home, she meets Oscar and asks to confess. He hears her but is enthralled with meeting another gambler. Together, they gamble on ship and continue in Sydney. This has such a devastating effect on Oscar, that the two pledge never to gamble again.

However, Oscar accepts a bet that he can transport Lucinda's glass church overland to Hassett's parish. The journey is arduous and Oscar confronts Jeffris, a bigoted member of the escort, over his treatment of aborigines and kills him. Arriving in Bellingen, he is seduced by a widow. Distraught at where his life has led him, he sits in the glass church, prays and confesses and loses his life when the church sinks.

Beautifully shot, with sequences in England and in 19th century Sydney as well as the bush and rivers around Grafton, it is a pleasure to watch.

The burden of the characterisation and plot fall to the two stars. Cate Blanchett's Lucinda will remind moviegoers of the strong, individual women of Gillian Armstrong's other period films (My Brilliant Career, Little Women). She is a determined woman who succeeds in business but discovers her flair and her love for gambling. She encounters Oscar, the idiosyncratic priest, whose gambling obsession is even stronger than hers. However, what might seem to be a set-up for a romantic and passionate love story moves in other directions. This seems to have disappointed expectations of some reviewers and, perhaps, some audiences. Ralph Fiennes has also irritated some critics. His Oscar is a bundle of nerves, desires, idealism. He looks eccentrically scruffy.

But it is the religious dimension to the film and characters that is fascinating in an Australian novel and film. There is considerable explicit talk about God. Oscar comes from a severe Plymouth Brethren but converts to the Church of England. Lucinda is also a believer. The gambling theme and its obsessions are woven through the story culminating in the journey to move a glass church from Sydney to Bellingen (and the theme of the brutal treatment of aborigines) - and a confession scene that captures the experience of repentance.

1. The writings of Peter Carey? The adaptation for the screen? The re-creation of the period? Themes?

2. Production values, the international cast, costumes and décor, the musical score, religious overtones, choral singing?


3. Australian/British Co production? The settings in Devon? The coast, the cliffs, the beaches? Life in the small town, the church, the rectory? Oxford, the university, the races? The sailing ship? The contrast with Australia, the prologue and the transporting of the ship, the country, the city, the wharves, the factory, the glass church, travelling through the countryside, the town of Bellingen?

4. The title, the focus on each character, the childhood and adulthood? The meeting, communicating, the pleasure of gambling, religious dimensions, love?


5. The role of the narrator, the great grandson, comments on the characters, behaviour, perspectives?

6. The character of Oscar? As a boy, the ages, his religious father? The sect? The meetings, stern? No celebration of Christmas? Anti-Roman? attitudes? The servants and the pudding, Oscar tasting it, his father’s reaction? Will Oscars prayer, his sense of vocation, leaving his father, going to Mr. Stratton? Meeting Mr. and Mrs. Stratton? Stratton and his ambitions? Four Oscar to go to Oxford, to study for holy orders? Oscar and Oxford, the loner, friendship with th cattle fish? Awkwardness, his clothes? The fish introducing him to the races, gambling, the visit to the track, his success, giving the money to the pool, his personal conscience? His fear of the seaC and water? The decision to go to New South Wales?

7. Lucinda, her relationship with her parents, the gift of the glass, breaking it, her fascination? The death of her father? The concern of her mother? Wanting her to return to England? The mother’s illness, death? The funeral, the lawyer? Her owning the properties? Getting the money? Growing up, her going to Sydney, Mr. Hassett? The discussions? Her wanting to buy the property, wanting him to help her? Her own gambling, playing cards in the night, her friends and lawyers? Mr. Hassett and his confrontation of her? Her going to London, buying the machinery? On the boat?

8. Oscar, his father coming to the boat, some reconciliation, kneeling in prayer? His later death? Lucinda overhearing Oscar? Her curiosity? Her wanting to go to confession, explaining and gambling, Oscar’s knowledge? The excitement? Their playing?

9. Oscar and his arrival in Sydney, the meeting with the bishop, the bishop and the clergy, his gambling? Some disapproval? The plan for the glass church? The decision to build it?

10. The captain, Percy, the planning of the expedition? Getting the parts together, the wagons, setting out, the countryside?

11. The aborigines, the contrast with Christian attitudes and aboriginal religion? The officer and his attack on the aborigines, callously killing them? Oscar’s reaction? Percy’s reaction? The officer, Oscar attacking him, his inhumane behaviour, Percy killing him?

12. The effect on Oscar, Percy as his friend? Supporting him? Continuing to sail? Arriving in Belingen? Oscar in the church?

13. Mr. Hassett, life in Bellingen? The widow, her advances, her attraction towards Hassett, towards Oscar?

14. The boat, the heat, the warnings about the heat? Oscar, within the Church, the donation to Mr. Hassett? His contemplation, enumerating his sins? His being trapped? The Church going down, his fear of water, acceptance of his death?

15. The funeral, Lucinda arrival and regrets? The attendance at the funeral?

16. The widow, her pregnancy, giving birth to the child, Lucinda caring for the child? Her devotion to Oscar? The narrator, the great grandson, and the visuals of Lucinda tending the child?

17. The achievement of the film, adaptation of the novel, recreation of an era? Themes of religion? The secular world of Sydney? The glass industry? The issue of gambling and integrity?

HOTEL LUX

Germany, 2011, 102 minutes, Colour.
Michael Bully Herbig, Jurgen Vogel, Thekler Reuten, Valery Grishko.
Directed by Leander Haussmann.

Hotel Lux is a euphemism for the rather dingy hotel in Moscow 1939. The film opens with a voiceover of the central character, a cabaret comedian from Berlin, Hans (Michael Bully Herbig) perched on the Red Star shining from the hotel roof. That is certainly different. So are the flashbacks when we see him and his Communist friend, Meyer (Jurgen Vogel) performing their act, a send-up of both Hitler and Stalin. Well, perhaps it is not so different insofar as many in the audience will think Mel Brooks and The Producers. I think Mel Brooks would be quite a fan of this film – especially since it veers into the territory charted by Jack Benny during World War II in To Be or Not to Be, mocking Hitler and the Nazis, a film that Mel Brooks and his wife, Anne Bancroft, remade in the 1980s.

As the film goes on and Hans grows a moustache, he could easily pass for a young Mel Brooks.

It is 1933 and, we remember from Cabaret, the night clubs in Berlin catered to a wide range of clients (including the Nationalist Socialist police) and it was still possible to imitate Hitler, his look, his voice and his mannerisms quite freely. That we are familiar with. It is the satire on Stalin that is new – and tellingly effective. Meyer is Hitler, Hans is Stalin.

It couldn’t last too long as ideology tightens in Germany and some anti-Semitic routines are introduced. Meyer is a Communist with his friend, , and they go underground. Hans survives until 1938 when the friendly dresser at the club gets him a fake passport. He is on his way to Hollywood. Well, not exactly. He has to escape in a hurry and finds himself in Moscow where he is mistaken for Hitler’s personal astrologer whose passport he has.

We don’t see much satire on Stalin on our screens, so this film is welcome. Hans becomes Stalin’s adviser (meeting in the toilet with the tap running for security) and finds himself with many privileges, though the KGB want to expose him. Meyer turns up again as does and Hans is in love with her.

How will they manage? How did Hans find himself stranded on the Red Star? That is part of the enjoyment of this comic excursion back into a very serious past.
1. An interesting and entertaining satire? The targets? Sensitivities – German? Russian? The period of Hitler? Of Stalin? The satire in the past? The present? The effect?

2. The Mel Brooks style, Hans and his looking like a young Mel Brooks? Mel Brooks’ tone?

3. The use of satire, farce, parody? The skills in performance, dialogue, song and dance?

4. Berlin in the early 30s, the cabarets and clubs? Audiences accepting the performances? The visits of the police? The anti-Semitic tones? The fights? The applause? The mocking of Hitler, his look, speech? Stalin and his appearance? Issues of Germany and Russia in the 1930s?

5. Frida in the audience, Meyer and his response? Hans and his falling in love? The underground, their both disappearing?

6. Hans, staying in Germany, the changes in Germany, the owner of the cabaret and the pressures from the authorities, his being Jewish? Jewish humour – and the rise of anti-Semitic jokes? The performer and his jealousy, fighting? The audiences, acceptance? The closing of the club? The need to escape? Frida’s reappearance?

7. Hans’s Hollywood ambitions, the letter from the agent? The cabaret dresser and his help, the passport? His being shot? Hans and his identity, assuming the identity of the astrologer, going to Moscow?

8. The opening of the film, Hans on top of the Russian star, his explanations, the flashbacks? Resuming the plot?

9. Hans, his fears, the concierge at the hotel, the demands? The KGB? Their expecting the astrologer? The assumptions about Hans, his room, taking him to Stalin?

10. The portrait of Stalin, in the toilet, the secrecy, running the taps to avoid recordings? Stalin and his interest in the stars, admiration for Hitler’s astrologer? The range of the sessions, Hans and his skill in surviving, giving the right answers? Stalin’s assumptions? Hans and his growing influence? The medal, the status, his meals? People and their admiration? The truth, the KGB, wanting to arrest him? The real astrologer and his arrival, his being taken away as a fake?

11. The final visit to Stalin, Stalin saying that he knew all the time, yet finding Hans useful, his being used?

12. Frida and Meyer and their reappearance in Moscow? The dangers? The policy of returning Germans from Russia? Hans, his helping the people at the hotel, the corridor chases, finding himself on the top of the star?

13. The arrest, the photos, Hans pretending to be Stalin, his Hitler card and Meyer saying he was his best friend? The arrest of Frida? Imprisonment? Her not confessing?

14. The situation, the secrecy, the arrival of Ribbentrop in Moscow? The pretence that Hitler had arrived, the disguises, shaving Stalin’s head? Frida as pilot – and their escape? Stalin and his head being shaved? The mix-ups with the bureaucracy, the military, the escape?

15. The fact of the pact between Russia and Germany in August 1939?

16. The final credits, the letter to the agent, the Hollywood icons appearing on the screen?

17. How effective a satire at the beginning of the 21st century?

SALMON FISHING IN THE YEMEN

UK, 2011, 107 minutes, Colour.
Ewan Mc Gregor, Emily Blunt, Kristen Scott Thomas, Amr Waked, Tom Mison, Rachel Stirling, Conleth Hill.
Directed by Lasse Hallstrom.

Incongruous might be one word to react to the title of this entertaining film for older audiences. Just the right thing for a bus excursion to the local cinema.

But, it is also much more than that. Billed as a comedy, it is in the vein of old-style British comedy, not American, with an emphasis on character, dialogue and wit and an enjoyment of poking fun at authorities, government machinations and pomposity. But, it also has an underlying theme of respect for humanity, for differences and for mutual collaboration rather than mere opportunism.

Not only does the title seem incongruous, but the idea contained in it might seem ludicrous. And, that is what the central character thinks when he is approached about working on it. He is Alfred Jones, a scientist and civil servant, not blessed with a sense of humour, single-mindedly devoted to his area of fish and fishing, an amateur when it comes to emotions and feelings. He is played by Ewan McGregor? with just the right touches of niceness and the ability to irritate.

A Yemeni sheik (Egyptian actor Amr Waked in a sympathetic performance) wants to import salmon into the Yemen, not just for his own pleasure (he is a devoted fly fisherman with a castle in Scotland as well) but for the possible development of agriculture and industry in his country. He is referred to as a visionary and has set up a dam and the means for salmon spawning. He is offering 50 million pounds to the UK for his scheme. (Do Yemeni sheiks have so much money?). His investment advisor is a sensible young Englishwoman, Harriet (plus a double-barrelled surname) played by Emily Blunt.

Alfred and Harriet are something of an odd couple, she convinced that the project is worthwhile and patient with and tolerant of Alfred’s rejection of the plan.

But, of course, you know that they are going to pursue the project and that we are going to be caught up in their growing enthusiasm, charmed by the Sheikh and his pointing out to the scientist who holds no brief for faith just how much we do act on faith in our lives), that we will be interested in the trips to the Yemen (Morocco locations standing in as usual), and that we hope it will be a success.

It does not all proceed as hoped for. There are fundamentalist terrorists who see the Sheikh as destroying traditions. There are bureaucratic difficulties and a revolt of British salmon fishers who refuse to let the objects of their sport migrate beyond their shores. And there is the British government. Which is where Kristin Scott Thomas comes in. She is the Prime Minister’s press officer, a wheeler-dealer with a capacity for spin that real spin doctors might envy. She has a way with words and invective as well as seizing every moment and exploiting it that would not be out of place in the series and film, In the Loop. She has done variations on this performance many times but is given so many good lines that she often steals the show – even in talking to her young children.

There is a romantic sub-plot. Harriet is in a relationship with a soldier sent to Afghanistan. Alfred takes his wife, who is a respected consultant, for granted without realising it. Again, this does not quite proceed as audiences might think, so there are elements of surprise towards the end.

The film looks good and has been directed by Swedish Lasse Halstrom who has had a twenty year career in Hollywood with such films as Cider House Rules, Chocolat and The Shipping News.
1. The title, expectations, the tone?

2. A British entertainment? The age of the target audience? Older, younger? A romantic comedy British style? Issues of development, foreign aid, British politics? Exploitation and spin?

3. The use of irony, Patricia Maxwell, a character, her attitude towards her family, towards her job, the nature of spin, her deals, pressurising people, on the phone all the time, taking advantage of the news, her public comments, manipulation? The animation style of her communication with the prime minister? With the minister?

4. Yemen, the sheikhs, their money, the salmon fishing hobby, the sheikh’s faith? His Scottish home, castle? Fishing in Scotland? The giving of fifty thousand pounds? Negotiations, investment, discussions? The dam and the hatchery in Yemen? The credibility of the enterprise? The dark side, the rebel Yemenis, traditions, assassination attempt, the final terrorism?

5. The introduction to Alfred and Harriet via their correspondence? Harriet, her role, investment, her double-barrelled name, her hopes? Alfred, his work, his reply, mocking the idea? The government wanting a good story? The background of Afghanistan and the Middle East? Patricia Maxwell, her pressure? The prime minister, his office and department?

6. Alfred, his personality, the suggestion of Asperger’s, his work, single-minded, his expertise, inventing the fishing flies, fishing, writing? His library? His attacking his boss? His relationship with Mary, the tension, the pain,sexual relationship? His being opposed to the scheme?

7. Harriet’s story, her work, investment, her relationship with Robert? Meeting him, the playful attitude, the sexual relationship? The suddenness of his transfer? Her fears?

8. Her skills in trying to persuade Fred about the project? Various incidents at the office, the meetings, the Three Gorges Dam, engineers? Going to Scotland, the fishing, Fred and his encounter with the sheikh? The discussions, the nature of faith? Seeing the sheikh was genuine? His relationship with his boss, demanding the salmon? The political implications, the salmon fishers, the bureaucrat organising the headlines against the project? Patricia Maxwell and her interventions? Her pressure on the boss? Her solution of going to the salmon farms? The commercial limitations? Fred’s scepticism?

9. The visits to Yemen, the preparations, the work done, the nature of the progress, the terrorists, their hostility to the sheikh, sending the assassin to Scotland, Fred and his saving the sheikh with his fly-fishing rod? Fred and the reasons for his changing his mind? Meeting the sheikh, his love of science, the influence of Harriet? Mary and her attitudes? The bonding between Fred and Harriet?

10. Mary, her character, her work, going to Geneva, the plainness and tension, the visit home, texting Fred, not wanting a divorce?

11. Harriet, Robert missing in action, her grief and inability to act, Fred and his coming to help, the sandwich, her attack on him, her apology? Persuading her to go to Yemen?

12. The developments in Yemen, bringing the salmon, hoping that they would move upstream?

13. Patricia Maxwell, the minister going to Yemen, discussions with the prime minister, the revelation about Robert and his survival? The photo opportunities? Everybody going to the Yemen?

14. The salmon, the change of direction, their going upstream? The dam? The terrorists, opening the sluices, the flooding of the salmon?

15. The sheikh, his hopes dashed – but his Muslim faith, his attitude towards fate and destiny? His hopes?

16. Harriet, the reunion with Robert, her being overcome? Robert, his character? Sensing something wrong? Their being together, the preparation for the goodbye? Robert and his being willing to bow out? Harriet, saying goodbye to Fred, the salmon alive, her decision?

17. Fred, his finding something worthwhile in life, his love for Harriet, meeting with her, the declaration, Robert coming back, his needing to step back, his discussions with Robert, Robert doing the decent thing? Fred and his deciding to stay?

18. A contemporary fairy tale – with touches of irony and political satire?

THE PIRATES! BAND OF MISFITS

UK, 2012, 88 minutes, Colour.
Voices of: Hugh Grant, Martin Freeman, David Tennant, Imelda Staunton, Brendan Gleeson, Jeremy Piven, Brian Blessed, Lenny Henry, Salma Hayek, Peter Lord.
Directed by Peter Lord.

This is a bit of a gulity pleasure for adults, but so are most of the films from Bristol’s Aardman Studios, makers of those delightful and funny animation films, Creature Comforts and the Wallace and Grommit shorts and The Curse of the Were Rabbit. They also made Chicken Run some years ago.

Here they are with a daffy pirate story which is so full of anachronisms, that littlies might not even notice, that it makes for an imagination bending adventure. It is 1837 and Queen Victoria has just ascended the throne – and declared her hatred of pirates. In the meantime, over in Blood Island, the often charmingly incompetent Captain Pirate, his loyal Number Two and his small but motley crew are encouraging him to enter the competition again for Pirate of the Year. He has been part of it for twenty years, has never won, and is the butt of the more successful, treasure laden pirates.

Off they go to prove themselves but encounter a ghost ship, kids on a geography excursion, naturists – no one with any gold. Another failure with booty is The Beagle with a small-sized Charles Darwin who saves himself from walking the plank – well, no, he is pushed off but rescued – when he realises that Captain Pirate’s parrot is actually a dodo, not extinct. Between many jigs and many reels, off they go to London for the Royal Society competition, which the dodo wins. Darwin, kept out of the celebrations, connives with Queen Victoria who desperately wants the dodo, not for her pet zoo, as she claims, but for the revelation of something much more dastardly. Queen Victoria is the villain of the film.

The final adventure (after the Pirate King strips Captain Pirate of being Pirate of the Year at a kind of 19th century Oscar ceremony) involves Pirate Captain, Darwin, his Manzee (who communicates by holding up cards) and the crew coming to the rescue in a final combat with Victoria.
There are plenty of aside jokes if you are attentive, lots of anachronisms as mentioned and playing around with dates, and a gallery of amusing ads and signs throughout which are all shown during the final credits. The line I liked was, ‘Nothing is impossible until you really think about it!’.

The voices are excellent, Hugh Grant at his Hugh Grantish best as Captain Pirate. Martin Freeman is the loyal Number Two. David Tennant is Darwin. Imelda Staunton lets rip as Queen Victoria.

The animation is detailed and lively (and there is a 3D release of the film). There is enough for younger audiences to enjoy and the jokes and references will amuse adults.

Fortunately, we are told at the end that the characters do not relate to any real persons – any reference is purely coincidental. But, if you feel the earth rumble beneath your feet, it is not an earthquake, not a sign of tsunami. It is Queen Victoria turning, no, rapidly revolving, in her grave!

1. The popularity of Aardman Animation, the British style, stories, characters, humour?

2. The visual style, the moulding of the characters, in action? The sets, the ship, the inn, the palace, the Royal Society, the gourmet ship, the balloon? The staging of the action sequences?

3. The songs, the shanties, the modern songs, the musical score?

4. The British humour, the British Empire, the Victorian era, its dark side? The conventions about pirates, booty and cutlasses, slicing people through, the pirates’ club and the awards? The pirate captain as the underdog, his crew, the irony of trying to plunder ghost ships, school excursions, naturists? The dodo? Darwin, walking the plank, the role of science, the parody of the Oscars, the villains? Greed, gluttony? True selves? The verbal humour, the jokes, the anachronisms, the advertisements, the street signs – all gathered together in the final credits?

5. The pirate plot, the old boat, the crew, Ham Night? The competition for Pirate of the Year? The pirate captain’s annual humiliation for twenty years? The captain and his personality, Hugh Grant’s voice, his vanity, his being a loser, his love for the dodo, the loyalty of Number Two? The other members of the crew? The cross-dresser? Entry into the competition, his being laughed at? The attacks on the various ships – futile? Encountering the Beagle, the consequences? Darwin and the plank, his plea about the dodo? The captain’s ambitions, going to London, his disguise – and the fires burning off the disguises? His winning the award? His treatment of Darwin, the Manzee? The queen and her pardoning him? Her wanting the dodo, showing him the vast treasure, giving him the treasure, his surrendering the dodo? His going to the pirates’ club, the award, his being stripped of his award? Going to London to sell babywear? The truth, going with Darwin on the balloon, the gluttony ship, the confrontation and fights? Confronting Victoria? The loyalty of his crew and coming in support?

6. Number Two, nice, loyal, a conscience for the pirate captain, leader of the crew?

7. The range of other pirates, the voices and the variety of nationalities, stars in the cast? The pirate king and his boisterousness? The inn, the award?

8. Darwin, small man, the jokes about origins, the Royal Society, seeing the dodo, persuading the pirate captain to go back to London? His wanting a woman to love him? His betrayal, the pirate captain and his treatment? The Manzee and his cards? Darwin and his changing heart, helping the captain, on the balloon, the fights? His eventually going to the Galapagos Islands – with the touch of the tourist attraction?

9. Queen Victoria, 1837, ascending the throne, her being alone, her vendettas against pirates? Her wanting the dodo, the pardoning of the pirate captain, showing him the treasure, the truth about her wanting to join the other heads of state and eat the dodo? The scenes of the banquet, the menu list, the chef? The rescue of the dodo?

10. The British Empire, the opening, the sea chiefs, the maps? Authorities and their attitudes towards the pirates? Familiar pirate stories – and the mocking of empire and pirate stories?

11. The basic plot and humour for younger audiences, the touches of slapstick? The ironic humour for older audiences?

A FROZEN FLOWER

Korea, 2008, 133 minutes, Colour.
Jin- mo Ju, Ji- hyo Song, In- seong Jo.
Directed by Ha Yoo.

A Frozen Flower is quite a spectacular historical Korean story, the time of the Koryo Dynasty and the Empire of Yuan. The specific focus is on the king and his relationship with his wife, a daughter from Yuan, welding the two areas of empire together. The difficulty is that the king is of a homosexual orientation and unable to consummate the marriage. He has set up a special band of thirty-six boys who have been trained in martial arts to be his team and bodyguard. He is particularly fond of one, the chief, Hong-rim. The idea comes to him that he ought to ask Hong-rim to join with the queen and impregnate her, secretly, so that he will have an heir and there will be peace in the kingdom.

The film develops into a threesome, but not in the way expected. The chief falls in love with the queen and begins a relationship with her which she reciprocates. When the king discovers it, he is consumed by jealousy of both. The film turns violent – a conspiracy against the king, and a massacre at a banquet of the conspirators. The king then turns his attention to his friend as well as to the queen, becoming ever more vindictive, castrating his friend, subjecting the queen to a humiliating life.

Matters come to a head when the chief returns from exile, confronts the king, and duels with him – with the inevitable death of both.

There are a variety of martial arts and sword-fighting sequences, a number of very colourful banquet, singing and dancing sequences. The film is spectacular in scope, beautifully photographed.

While it recreates the period and the difficulties and conflicts of the period, it is more specifically interesting in the character of the king, the chief, the queen, and the entanglements between them.

1. The impact of the film? Korean history? Audiences knowing or not knowing the background? How important?

2. The title, flower, the flower shop, the song and its lyrics?

3. The recreation of the period, the film as spectacular, costumes and decor, sets? Action sequences? Spectacle sequences? The beauty of the photography? The musical score?

4. The focus on the king, his role in the empire? His ruling, his being subject to the Yuan Empire? The setting aside of the thirty-six boys? Their military training, their seclusion? The special force for the king? Singling out Hong-rim to be the leader? The arrival of the queen, the ceremony in her honour, the songs, the king and his singing and playing? The attack, the masked soldiers? The defence of the king? His fighting and his skills? The chief saving his life from the flying dagger? The king receiving him in audience? Honouring him?

5. The sequence of the guard who escaped, with the maid, the pursuit by the special guard? Capture and death? Indication of themes to come? The sense of honour with all the special guard, wanting to die for honour’s sake?

6. The relationship between the king and Hong- rim? The homosexuality? It being covered over in Korean history? The effect on Hong -rim? The marriage, the role of the queen? The decision of the king to ask Hong- rim to impregnate the queen? The attempts, the change in Hong-rim, in the queen? Their falling in love? The episodes in the library? Clandestine meetings? The queen leaving the function where the king was playing? The consequences? The pregnancy not eventuating?

7. The intrigue against the king, the ministers, their meeting, the queen’s brother becoming involved? The special force and their discovery of the truth? Following the conspirators? Explaining to the king, the special ceremony, the returning troops? The king and his decision, locking the doors, the chief and his leading the group and the arrest of the conspirators? Their execution? The minister pleading for his life, his death? The queen’s brother, the chief relenting and letting him escape?

8. The effect on the king? His suspicions of the queen? His suspicions of the chief, sending him away for supervising investigations into the conspiracy? The chief’s return? His meeting the queen, the king and his inquiries, interrogating him about the tactics book he read? Their fighting and his overcoming the chief, warning him?

9. The discovery of the queen and the chief together in the library? The consequences? The queen and her wanting to die, suicide attempts? The confrontation with Hong-rim, the castration? His being allowed to escape? His meeting with other members of the guard? His decision to return to confront the king? Discovering the friends had been executed after torture?

10. The confrontation with the king, the guards holding back, the queen and her arrival? The fight to the death, the king superior in martial arts to the chief? The chief and the sword in him? His killing the king? The guard and their handling the situation, the cover-up?

11. A spectacular film, the life in the kingdom? Issues of power, jealousy, passion? The combination?

THE MOTHMAN PROPHECIES

US, 2002, 119 minutes, Colour.
Richard Gere, Laura Linney, Will Patton, Debra Messing, Lucinda Jenney.
Directed by Mark Pellington.

The Mothman Prophecies is based on a book by John Keel – allegedly based on events in West Virginia in the 1960s. However, fans of The X Files will believe in this kind of reality. Others may well dismiss it as the imagination of the author.

The film focuses on Richard Gere as a journalist, married to Debra Messing, buying a new house, upwardly mobile in his career when his wife is killed in a car accident, stating that she saw a large moth and had a book of drawings which is given to him after her death.

Two years later he is travelling to Richmond, Virginia, veers towards West Virginia and has a strange experience involving Will Patton and a confrontation at 2.30 in the morning. The local police chief, played by Laura Linney, is called in. Gere is bewildered by what is happening to him, discovers connections with the Mothman, especially from Will Patton. Prophecies are involved, especially about disasters and the number of people to be killed. Gere neglects his job, stays in the town, works with the police chief, discovers other people who have had similar kinds of experiences. The Will Patton character is tormented and kills himself. The motivation for the journalist seems to be to solve the mystery but also hoping to get in touch with his dead wife.

Finally, there is a prophecy of a disaster near the town – when it happens, it is one of the more spectacular special effects of a bridge’s destruction, filmed very realistically. It brings the musings and the mysteries to a rather dramatic conclusion.

Richard Gere and Laura Linney had appeared previously in Primal Fear.

The film was directed by Mark Pellington whose other significant films include Going All the Way and Arlington Road.

1. The film based on a popular novel, apocalyptic, futuristic, mysterious? The transcendent?

2. How plausible the plot? A plot for science fantasy?

3. The presentation of normal life and activity, the workplaces, the media, house-searching, politics?

4. The contrast with Point Pleasant, the mysterious roads, farms? The role of the police? The cafes, motels? Ordinary but sinister?

5. The introduction to John Klein, at work, his colleagues, later covering for him, his reputation, house-hunting, going to meet his wife, the strength of their relationship, joyful, the decision about the house, meeting, the drive, the fear in his wife, the crash, her death? The hospital, his grief? The puzzle about the drawings and her speaking of the moth?

6. Two years passing, Klein and his work, going to interview politicians, travelling, the stop in West Virginia, going to the house for help, Gordon Smallwood and his hostility? His violence? The arrival of Connie Mills, her practicality, common sense, handling the situations? An effective policewoman?

7. Klein and his experiences, mentally disturbed, not accounting well for time, the encounters with Gordon and his wife? Talking things over with Connie? The strange events, his encountering other people, the drawings? The elaboration of the Mothman theory?

8. The events in the town, the people who had experienced the Mothman? Ordinary – but symbolic of something strange? Victims?

9. The discovery of Alexander Leek, contact with him, the phone calls? Premonitions? The numbers of dead? Klein and his going to visit Leek, their discussions? Insight?

10. The warning about the disaster, thirty-seven to die, the bridge? His going to the bridge, Connie on the bridge? The spectacle of the effects for the destruction of the bridge, the cars, people, the river? Klein and his ability to save some people? The apocalyptic tone?

11. Connie, her being caught, Klein and getting her out of the car, the rescue?

12. A sense of peace, no Mothman intervening? But always the possibilities?

13. The effect of the audience, the X Files kind of mentality, people and their credulity, superstitions, New Age? An interesting example of this kind of fiction?

R

Denmark, 2010, 99 minutes, Colour.
Pilou Asbaek, Dulfi Al- Jabouri.
Directed by Tobias Lindholm and Michael Noer.

R is a prison film, a grim portrait of life in a Danish prison.

The R of the title can refer to the central character, Rune, played by Pilar Asbaek or to his friend in the prison Rashid, played by Dulfi Al- Jabouri.

The film opens with Rune going into prison, following the usual routines, rough, inspections by the police, the cell. He begins to meet the inmates, something of a loner at first. He is in for violent assault. He is pressurised by a friend of his victim to assault another prisoner which he does successfully and shrewdly. He is able to cover his tracks. He has some good aspects of his life, and this is seen in his obsessive cleaning of his room and other parts of the prison. However, learning of the power struggles within the prisoner group, he befriends a Middle Eastern prisoner, Rashid. When his grandmother brings him some chocolate eggs, he discovers a way of transmitting drugs through the sewage system. With Rashid, he begins to form a business, making contacts – until he is found out by the higher-ups.

After an angry outburst, he is put into isolation. When he comes out of this, there are further clashes – and he is tortured and, surprisingly, killed, fifteen minutes before the end of the film. He has fallen out with Rashid who enables the killers to attack Rune in the freezer room in the kitchen. It is only a matter of time before people turn on Rashid. He has the option to follow the pressures or to talk to the authorities. The film ends with him leaving jail.

There have been many prison films but this Danish style is straightforward, stark, often brutal and ugly. It was compared to Jacques Audiard’s film of the same year, an award winner in Cannes, Un Prophete. Un Prophete is a far more sophisticated film, covering many of the same issues, but with more subtlety, intense performances and a more developed screenplay.

1. The impact of prison films? The realism of life within the prisons? The ugliness, the power struggles, the violence? Death?

2. The realism of the prison setting? Arrival at the building, the overall impact of the exterior? The interior? The search rooms? The cells? The cell block? Kitchen, dining room, workplaces? The yard? The muted colour photography for effect? The musical score?

3. The title, for Rune, for Rashid?

4. The film principally about Rune? His age, background, his violent attack, imprisonment? His attitudes? The only contact, his grandmother? Her visit, the gift of the eggs? His presence in the cell, his interaction with other prisoners? Friendly? Unfriendly? The orders to attack the Albanian? The consequences? The boss? Rune and his plan with the drugs, testing out in the toilet, work with Rashid? The orders, the contacts, the sales? Others finding out? The boss’s intervening? The violent attacks, Rune and his being put by himself? His isolation, his protecting himself, the showers? His getting out, contact with Rashid, the clash with him? Going into the freezing room? His being attacked, tortured, his death? The suddenness of this episode before the end of the film?

5. Rashid, Middle Eastern background, the reason for his being in prison, the ethnic groups? Friendship with Rune? Their schemes for drugs, carrying them out? The pressures from other prisoners, the clash with Rune? The threats, the gangs in the prison, or the authorities? The final image?

6. The range of powers-that-be within the prisoners, their influence, ordering attacks, drug control? Murder?

7. The authorities, the guards, control, treatment of the prisoners?

8. The overall effect of this kind of immersion of an audience in prison life?