HITCHCOCK

US, 2012, 97 minutes, Colour.
Anthony Hopkins, Helen Mirren, Toni Collette, Danny Huston, Scarlet Johansson, Jessica Biel, James Mc Avoy, Michael Wincott, Michael Stuhlbarg.
Directed by Sacha Gervasi.

As they might say, ‘Loved the film. Hated him’.

Alfred Hitchcock was a literally larger than life figure, a director who had established himself in England in the 1920s, consolidated his reputation in the 1930s and went to the United States in the late 30s and directed Rebecca, which won the Oscar for Best Film of 1940 (though Hitchcock never won on Oscar, receiving and honorary life-time achievement Oscar in 1979). He flourished in America in the 1940s and 1950s but was hesitating by 1959. This film opens with the premiere of North By Northwest and its success after the seeming failure of Vertigo (in recent years now on the list of critics’ ten best films). Hitchcock was sixty. Should he retire? Should he stay with his television show (which was not his highest film-making ambition?

While this film does show the making of Psycho and all that it meant to the master, it is a dramatic, sometimes fictional, sometimes fantasy imagining of what the process was like for Hitchcock himself and for his wife of decades, Alma Reville. Alma had been his boss in the 1920s. They married in 1926 and were together for more than fifty years.

One of the devices of this film is to have Hitchcock imagining and dreaming of encounters with Ed Gein, the man devoted to his mother but a murderer on whom Robert Bloch based his book, Psycho. Discussions with Ed Gein (Michael Wincott) punctuate the film and are a means of getting us into the mind of Hitchcock, his preoccupation with crime, with bizarre behaviour, his touches of morbidity (including his humour). This leads on to his reputation as being infatuated with his leading ladies, the ‘Hitchcock Blondes’ which included Grace Kelly, Vera Miles, Eva Marie Saint, Kim Novak and Tippi Hedren. In Psycho he had Janet Leigh (Scarlet Johansson) who found him a gentleman and Vera Miles (Jessica Biel) whom he thought betrayed him by wanting marriage and a family.

This is the context for quite some detailed accounts of the making of the film, the studio’s hesitations, the urgings of his agent Lew Wasserman (Michael Stuhlbarg), the wariness of his loyal production assistant of many years, Peggy Robertson (Toni Collette), his investing his own money in the project. There are auditions (James Mc Avoy looking very like Anthony Perkins), building of sets, storyboarding, the filming of the shower sequence, of course, and troubles with censorship – as well as his masterful grandstanding to promote the film (dire warnings of audience response) and his dispute about using Bernard Herrman’s slashing score for the shower murder (and enjoying the audience’s successive screams during early screenings).

That means quite some material in 97 minutes – the making of a film and the study of a strange personality as director.

However, the film is also a portrait of Alfred and Alma, the story of a marriage, the commitment of a practical wife who is also talented in script-doctoring and editing, the pomposity of a man with inner demons (morbidity, the urges for the blondes and who eats and drinks too much). Anthony Hopkins does quite an impersonation of Hitchcock and his speech and manners. It is very clever and well worth seeing (especially for audiences who still remember Hitchcock).

But audiences will be rewarded with a very fine performance by Helen Mirren as Alma Reville. After years of devotion, putting up with her husband, urging him to be abstemious, the film suggests that she needed more support and affection and introduces a fictional relationship with writer Whitfield Cook (Danny Huston) with whom Hitchcock had worked on Strangers on a Train and Stage Fright (with a scene from his The Secret Heart screening on television in one scene). Helen Mirren can suggest a great deal simply by body language, facial expression and silences. She is at her best here – and has the opportunity of a speech telling her husband off, a scene that has had some audiences applauding.

Plenty to interest and to enjoy. And it is not a biography. It is an evocative portrait.


1. The film as entertainment? The personality of Hitchcock? His career? Master of suspense? The making of Psycho?

2. Audience knowledge of Hitchcock, and of Psycho?

3. The Hitchcock mansion? Scenes of the coast? Hollywood, the studios, offices?

4. The visual style of the film? echoing Psycho? The musical score? Bernard Herrmann?

5. A portrait of Hitchcock? Issues of accuracy? Impressions? The opening, the images of Ed Gein? Hitchcoc thek ta the dead lking with him? Dreams? Inspiration? obsessions? The character of Gein, his friends, his dead mother, on the bed, talking to her? Ed Gein’s advice? The effect on Hitchcock?

6. Psycho, of the book, the studios turning it down, the pitch to the producers? response? Alma’s response? Balaban and his not wanting to film it? The support of Lew Wasserman?

7. The premiere of North by Northwest, the success, the media response, the interviews?

8. Hitchcock, searching for his next film? His turning 60, the possibility for retiring? Some doubts and the media?

9. Hitchcock, his size, British background, recognizable mannerisms, his speech, manners, up eating and drinking, formality? His business sense? Memories of the UK? His films, the casts? His needs? Television not sufficient? Anthony Hopkins’ the impersonation? His decision?

10. Alma and their marriage, the quality of the shared life, the critics? Her skills, the film background, writing? The friendship with Whitford Cook? His character, his behavior, skill as a writer, womanizing? Friendship with Alma, wanting a relationship, buying the house, traveling with Alma, her discovery of the woman in the house and her reaction? Hitchcock despising Cook? Alma and the sharing of the house, the affection? Needing something more in her life? Hitchcock's suspicions? Interrogation?

11. Alma, as strong, work in the house, the garden, shopping, cooking, domestic scenes, the bedroom? The telling off of her husband? Seeing his photos of the blondes? Hitchcock and his obsessions and compulsions?

12. Balaban and the studios, his lack of taste, preoccupation with money, hype, ousted from the production? The issues of distribution of the film?

13. Wasserman as his agent, the deals, the issues, the house mortgage, Alma’s reaction, change of lifestyle, the pool and Alma’s swimming? The decisions for the project?

14. Peggy Robertson, proper, loyal, efficient, devotion to Hitchcock, on the set, ensuring everything was in order, calling Alma to the set?

15. The cast, Janet Leigh, Vera Miles, Anthony Perkins? Auditions, interviews, discussions of character, rehearsals? The filming? The censorship, the meetings, objections, Hitchcock’s reactions, the department? The promises, the deals? The significance of the discussion with Vera Miles, his resentments, his wanting to make her a star? Her wanting a home? Her discussions with Janet Leigh? Janet Leigh's caution and dealing with Hitchcock and Alma's appreciation?

16. The filming the scenes, the opening of the film in the apartments, Marion and Sam? The comments on John Gavin? Driving the car? The motel? Its being in the background? The filming of the shower sequence and its detail? Editing? Arbogast?

17. Hitchcock depressed at home, relying on Alma? The decision for including Herrmann’s music?

18. Paramount, the deals, the distribution?

19. Hitchcock and publicity, the risk of failure? The issue of the screams, the score? The posters, and guards on duty? Issues of admittance? Hitchcock waiting outside, nervous, counting the screams during the shower sequence?

20. The success of Psycho, Alma at the center of the press meetings? The final information about Hitchcock and his career? The post credits the scene of Hitchcock, his outline, his music?
NB andadd Vera Miles, the blondes andbut the the [thephotos and his confessions of urges the

QUILLS

UK, 2000, minutes, Colour.
Geoffrey Rush, Joaquin Phoenix, Kate Winslett, Michael Caine, Billie Whitelaw.
Directed by Philip Kaufman.

Quills is a significant title for this somewhat caricatured portrait of the Marquis de Sade in his later years in the asylum at Charenton. De Sade has a compulsion to write his stories, write his phobias, write his fervid stories of sexuality and violence, challenge the authorities, break the taboos. He is desperate for quills, for ink, ultimately writing his stories in blood and excrement. Anyone wanting a more serious view of the Marquis and his 'sadistic' six theories and perspectives might be better served by the French film 'Sade' with Daniel Auteuil as de Sade.

What we have here is a satirically serious take on the Marquis. It opens with a French Revolution execution with de Sade watching but commenting on it in the form of a violent novel. It sets de Sade in the context of the Revolution, its brutality, its politics as well as the Napoleonic era (Napoleon posing for a portrait and authorising the burning of de Sade's books). This means that we are working at many levels even though on the surface it all looks, as some reviewers have noted, like 'Carry On Marquis'. But how else do you present the inmates of an asylum whose life is miserable and whose conditions are squalid and whose madness is at attempt to alleviate the woes and escape them?

This is true of de Sade who is played with devil-may-care (literally) verve by Geoffrey Rush, a blend of insanity and common sense, of exploitation yet expose of social and political hypocrisies. Philip Kaufman, who had made a film about Henry Miller and his sexual obsessions and literature, Henry and June, seems to be asking us to acknowledge that real life is not as pure as claimed and just how much writings like those of de Sade actually do corrupt. What is the value and role of censorship?

Kate Winslett is the laundrymaid who smuggles the manuscripts to avid publishers. Joaquin Phoenix is the chaplain to the asylum, trying to be broad-minded and considerate to the inmates but angry at his betrayal by de Sade and his repressed infatuation for the laundrymaid. Michael Caine is the 'alienist', the allegedly advanced doctor who relies on barbaric treatments and who is commissioned by Napoleon to suppress de Sade's work.

Not an easy film to assess because of the controversies of the subject matter and because of the light, sometimes flippantly serious exploration of de Sade and what he stood for.

1. The reputation of the Marquis De Sade? Character, interest, history? Sexual preoccupations and themes?

2. The re-creation of the period? Napoleon? Society, institutions, costumes, decor, the musical score?

3. The title, the writing, the marquis and his work, frustrations? The abbe, his writings?

4. The marquis and sadism, masochism? the opening and the French revolution, the guillotine? The woman, the big brutal man, the sadism, the blood, the crowd, the guillotine?

5. The Marquis, the institution, his madness, his clothes, the cell, his writing? The maid, smuggling his writings? The visitors? The abbé and the Marquis Deceiving him? The Doctor and the interviews? The theatre performances? His enjoying them? His being put in solitary and stripped naked? No quills? His narrating the story, the many voices relaying the story? Madeleine writing? The torture, the water torture, the marquis and his attitudes, his death?

6. The methods for treating the mentally ill, inhumane, water torture, 18th century attitudes?

7. The doctor, Napoleon, the minister reading the book, Napoleon’s disgust? Burning the book? The doctor and his appointment? His seeking his young wife? his arrival, the reception, the people in charge, his relationship with his wife, her behavior behind his back, her leaving him? his looking down on the Marquis, the young abbe and his confusion? The theatre performances? His disapproval? His angry treatment of the Marquis? The torture and death? His finally being in charge of the institution? Printing the books? The profit from the books? The cynicism of his behavior?

8. The Abbe, his work as a chaplain, his sense of vocation, his attraction towards Madeleine, his sense of his vow of celibacy? Care for the inmates? His interest in the Marquis, his shock at discovering the writings? The theatre and performances? The arrival of the doctor? The disdain of the doctor? His experience of temptation? Madeleine? The death? His sexual behavior with her body? His cell and isolation? His taking up writing? Madeleine's mother and her supplying the material?

9.Madeleine, the age, experience, fascination with the Marquis, doing his laundry, supplying the materials, giving them to the courier? Listening to his words, the interviews? Love the human and devotion? Her relationship with the Abbe, his visit, her death? A virgin? De Sade’s boast?

10. Madeleine's mother, the aftermath, supplying the material to the Abbe?

11. The patients, the work, personalities, in the theatre, in the printing works? The brutal, hulking inmate, attacking Madeleine, his being caged?

12. The arrival of the new chaplain? The tour with the doctor? His seeing the printing press? The doctor in charge? His double standards? The printing of the books? Publicity? Funds?

13. The detail of French Society at the time? Moral standards? The French revolution, the aftermath? The shock writings of the Marquis? The exploitation? His reputation? And his place in history and literature?

THE HUDSUCKER PROXY

US, 1994, 106 minutes, Colour.
Tim Robbins, Jennifer Jason Leigh, Paul Newman, Charles Durning, John Mahoney, William Cobbs.
Directed by Joel Coen.

The Hudsucker Proxy is the least appreciated of the Cohen brothers' films. Having started with both murder-thriller and comedy with Blood Simple and Raising Arizona, the brothers Cohen were able to excel at all kinds of movie genres, from gangsters in Miller's Crossing to paranoid thrillers about screenwriters in Barton Fink. They were to achieve success with an Oscar for their screenplay for Fargo as well as an Oscar for Frances McDormand? (Joel Cohen's wife) for her performance as the Minnesota detective in Fargo. Other films included The Big Lebowski, Oh Brother, Where Art Thou, The Man Who Wasn't There and the light comedy, Intolerable Cruelty. They have shown a great skill in absorbing Hollywood culture, the range of genres and making them their own with witty dialogue, stylish camerawork, interesting editing and an overall pace that makes their work distinctive.

With The Hudsucker Proxy they went back to the fast-talking screwball comedies of the 30s and 40s, although this film is set at New Year's Day 1959. Tim Robbins is the ingenuous young man, thinking of Mr Deeds and Mr Smith, who comes to New York with all kinds of ambitions but falls foul of the intrigues of big business, in the person of Paul Newman. Jennifer Jason Leigh does an imitation of Katherine Hepburn or Rosalind Russell, especially Rosalind Russell in His Girl Friday.

The film is entertaining although the action seems so contrived, touches of magical realism at various places, especially at the end with Charles Durning, who had killed himself at the beginning of the film, reappearing as an angel to give a warning to the hero. The film is good-natured in its presentation of Tim Robbins' nicely and sweetly innocent American hoping to fulfil the American dream. The cynicism is there in the character played by Jennifer Jason Leigh but very much so in the Paul Newman character - in order for the company to get out of difficulty, the plan is to install a nitwit as the president, watch the shares go down in price and then buy them off cheaply and make a profit. Needless to say, this plan doesn't entirely work because Robbins offers the invention of the hula hoop, at first unsuccessful, then becoming a craze and sending skyrocketing.

The film then offers wry comment on the American dream, on big business. Perhaps the fast-talking pace of the 30s and 40s fitted better into the cinema sensibility of that time and seems somewhat out of place in the 1990s. (It is interesting to note that Sam Raimi - The Evil Dead, Dark Man, The Quick and the Dead, The Gift and, of course, Spider Man - was co-writer of the film.

1. The work and popularity of the Cohen Brothers, their critical acclaim? This film in their canon?

2. The genre of the film, the fast-paced, fast-talking screwball comedies of the 30s and 40s with their social dimension? Translated to action in the late 50s? As perceived by the 90s?

3. The New York settings, realism, magic realism, artificiality and fantasy? New York City, its buildings and streets? The stylised interiors of the Hudsucker Company's building, the vast office space, the windows, the exteriors - especially for the executives falling? The newspaper offices? The blend of realism and fantasy? The musical score, the use of Katchaturian and other classical pieces?

4. The little man against the system? The style of the 30s and 40s films, James Stewart and Gary Cooper and their struggle against big business, politics, power? The final victory?

5. The voice-over, the commentary by Moses? Norville and his wanting to kill himself? The clock going back to the past, the action, the narrative, Norville again standing on the ledge, his throwing himself over, his being held in suspension by the clock not moving, Hudsucker appearing to him, the gentle fall and his possibility of starting over again?

6. Norville as a character, Tim Robbins' style, height, presence, appearance? Ingenuous, the hula hoop? Arriving, making enquiries, the incredulous responses of the hard-bitten New Yorkers? His looking for jobs, at the diner, the piece of paper clinging to his legs, "The future is the present"? Going to Hudsucker's, getting a job in the mail room, the fast-paced list of instructions and the possibility of his being sacked or docked? The messages, getting the blue envelope, going up in the elevator, people's reactions, Buzz and his comments? Norville and his going into the office, encountering Sidney J. Mussburger? Talking with him, the papers blowing out the window, his disturbing everything? Mussburger and his decision to make him president, putting him in the chair, the cigar?

7. Hudsucker and the meeting, the great litany of progress and everything good happening for the company, the president standing on the table, taking the running jump, through the window and killing himself? The reaction of the board members, their quickly getting their composure? Mussburger taking over, his attitudes, the decision about the company, the stock, the decision to get a fool to be president, lower the rate of the stock, buy it back and make a profit? The character of Mussburger, hard, a caricature of the hard-bitten employer tycoon? His personal manner, speech? The fact that it was Paul Newman playing the part?

8. Amy Archer, her work at the paper, paper's suspicions of Norville, wanting to get behind him - the various headlines? The editor, his criticism of his reporters, Amy and her referring to her Pulitzer? Her visiting Norville, interviewing him, taking the job, undercover? Her own personality, brittle, manner, dress, manner of speaking? Norville and his immediate reaction to her condemnatory article, making acute comments about her personality, struggling in a man's world? Her doing the work for him, her understanding, gradually changing her attitude? His ambitions, his attraction to her, her attraction to him? Trying to tell him? The social, the dance? His discovery of the truth, his being upset with her, yet trying to make excuses? Her trying to change her attitude, helping him, the rescue? By his side - and the romance?

9. Norville, as president, nothing to do, thinking that he was doing important work, his dress, haircut, nails, manner? With Sidney? Cigars, the socials? His attitude towards Amy? Falling in love with her? His reaction to the press, the press conferences? The glib answers about the market? The presentation of the hula hoop, Sidney and his allowing it, the demonstration, the board asking questions and making difficulties? The failure, the collage of the prices going up, coming down? The boy with the hula hoop, the children, it becoming a craze? The irony of the visit to hospital, the bent straw and Norville's not seeing that it had any future?

10. Buzz, the elevator driver, his wisecracks, comments? Obsequious? Norville and the interview with him, firing him? Buzz and his reaction, leaking things to the press, the bent straw invention? Its later being a success and he and his girlfriend being reconciled with Norville and Amy?

11. Norville and his growing despair, Sidney and his reaction? His attempted suicide, the fall, the wisdom of Hudsucker appearing as an angel, the combination of wisecracks and wisdom? Helping him literally to land, get on his feet, try again?

12. Sidney, his failure, being taken to an institution?

13. The combination of American humour, crackling dialogue, eccentric personalities, magic realism - and contemporary social criticism and comment?

HALLOWEEN H20: 20 YEARS LATER

US, 1998, 87 minutes, Colour.
Jamie Lee Curtis, Adam Arkin, Josh Hartnett, Michelle Williams, Joseph Gordon-Levitt?, L.L. Cool J, Adam Hann-Byrd?, Janet Leigh.
Directed by Steve Miner.

Halloween H20 is the anniversary film. Halloween made a great impact in 1978, introducing Michael Myers as the serial killer, struggling with his sister Jamie Lee Curtis. They appeared in a sequel the next year. However, the franchise then developed without the immediate contributions of John Carpenter and those responsible for the original film. They decided that it was time to go back to the sources and so Jamie Lee Curtis is reintroduced, principal of a school, alcoholic, with a 17-year-old son, apprehensive of what will happen on the twentieth anniversary of Halloween. She has reason to be afraid because Michael Myers visits the filing cabinets of the institution where Dr Loomis (Donald Pleasence in the original and seen here in a photo) treated him and he finds the address of his sister.

There is the usual pursuit of victims. It seems sad that Jamie Lee Curtis finding a romantic lead with Adam Arkin only has him killed off by Michael Myers. Josh Hartnett is introduced in the film and went on to much bigger and better things, including Pearl Harbor and Hollywood Homicide. Janet Leigh gets a small opportunity to act with her daughter, Jamie Lee Curtis. Director Steve Miner made a number of Friday the 13th films.

1. The continuing popularity of the Halloween films? Michael Myers as a cult horror figure? The contribution of Jamie Lee Curtis to the series? Director John Carpenter's invention - and the creature living on for several decades.

2. The Illinois settings, middle America, the high school, homes? The ordinariness of American life? The musical score?

3. The twentieth anniversary of the original, Laurie and her apprehensions, communicated to her son? People and their scepticism about the return of Michael Myers?

4. Michael Myers as a cult horror figure, the original, his madness, slashing killings, the work of Dr Loomis? His mask? His continued returns? His killing the nurse at the opening of the film, getting the information, arriving in Illinois for Halloween, the attacks, the pursuit of the young people, the confrontations with Laurie, Will and his death? Laurie trapping him, driving him away, reaching out and touching his fingers - his pleading look? The decapitation?

5. Laurie, her age, drinking, separated from her husband, comments on his late birthday cards, her having trouble with John, his age? Her work in the school, Norma and her being busy around Laurie? The relationship with Will, out with him, the meals, the discussions, the explanation of the situation? His courage - his death? Her feeling she was losing John, his getting out of the school but her taking him back? His telling her that Michael Myers would not return? The Halloween night, the pursuit, her fears? Her killing her brother?

6. The young people, at school, Josh, his friendships, Charlie and Sarah, his relationship with Molly? Persuading Ronnie to let them out from detention? Meeting his mother? His stance at independence? Not wanting to go on the trip? Reassuring his mother, with his friends in the school, the pursuit, the deaths? His future?

7. Ronnie, caretaker, composing novels, reading them to his wife over the phone, continually interrupted, gates opening, creaking noises, his being attacked - but surviving and helping in the attack on Michael Myers?

8. The school, classes, Norma and her worries, talking with Laurie about trauma? The other members of the staff? The students?

9. The popularity of this kind of film, audiences getting frights, the emphasis on the horror and the monster rather than on character development? Yet the screen presence of Michael Myers and what this implies?

HOLLYWOOD CONFIDENTIAL

US, 1997, 88 minutes, Colour.
Edward James Olmos, Rick Aiello, Anthony Yerkovich, Richard T. Jones, Charlize Theron, Angela Alverado.
Directed by Reynaldo Villalobos.

Hollywood Confidential was released the same year as Curtis Hansen's Oscar-winning LA Confidential. This film has a 90s setting, consists of a bureau made up of ex-police and ex-FBI agents who do surveillance and security work amongst the wealthy and the stars in Los Angeles. Edward James Olmos is very serious as the head of the agency, continually having flashbacks to a time when he didn't save a victim when he was a policeman. Anthony Yerkovich (who wrote the screenplay) is Jack, the former FBI agent who went beyond the pale and who then joined the agency in order to write a book. Charlize Theron, in one of her earliest Hollywood films, provides a great deal of glamour.

Needless to say, the stories being investigated have their prurient touch, a famous screenwriter having a lesbian affair, a director who is receiving an award form a women's association because of his treatment of women, has a seventeen-year-old girlfriend whom he has made pregnant and who attempts suicide.

The film is made up of headline stuff, with an attempt to give some kind of depth to the central characters as well as a confrontative moral tone at the end.

1. An enjoyable expose of Hollywood? Security, investigative bureaux? Crime? Morals?

2. Hollywood in the 90s, the studios, the awards? The bureau? The police? Surveillance? The musical score?

3. The title, echoes of the magazines of the past? Gossip? Investigations? Exposes?

4. Stan as the head of the bureau, his own personal integrity, family life? His staff and good relationships? The memories of his police work, the continued flashbacks and his sense of failure? The daily work, the assignments? The routine at the office? The dangers, the moral issues? The surveillance of the screenwriter and the discovery of her lesbian relationship? The pressure from the agent about the director? Stan being given the money to pay off Heather? His interviews with her? His decisions, the surveillance, her attempted suicide? His confrontation of the director after watching the awards on the television? The assault? Throwing the money away?

5. The various members of the team and their work, surveillance, the hotel bar attendant and his assaulting Sally? The cars, the binoculars, the recordings? The personalities of the different characters, Mike and his sternness, Jack and his writing, his own personal bewilderment, Joey and his being tough? Gatecrashing the acting class? Jack and his going to the course, having to read out his diary and the poem? The use of Yeats' poem about civilisation and the centre not holding? Sally and her work at the bar, her being assaulted, in hospital, going to help Heather at the end? Dexter and his assistant, her leaving the police force, her file being secret, her freezing? The surveillance on Heather, not realising she had tried to kill herself? The secretarial staff?

6. The agent, his protecting the director, the seventeen-year-old girl from the country, infatuated with the director, the phone calls? Her being pregnant? Getting Stan to buy her off? Her refusing, her trying to drown herself? Her diary and Stan reading the entries? Her recovery?

7. The material of newspapers and magazines - with a touch of realism behind the scenes?

HAPPY, TEXAS

US, 1999, 99 minutes, Colour.
Jeremy Northam, Steve Zahn, Ally Walker, Ileana Douglas, William H. Macy, M. C. Gainey, Ron Perlman, Paul Dooley.
Directed by Mark Illsley.

Happy, Texas is a very engaging comedy. It is a lower-key version of such films as The Adventures of Priscilla, Queen of the Desert. This time, two convicts escape and hijack a Winnebago. It belongs to two men, two gay men, who are experts at putting on town pageants. The two convicts then, welcomed into the town, decide to assume their identities. While one of them is planning a bank robbery during the pageant, he leaves the other to work with the children and he discovers his feminine side and becomes more and more enthralled in his work. Englishman Jeremy Northam is very good as the tougher of the two criminals, Steve Zahn does variations on his enjoyably eccentric characterisations (Riding in Cars with Boys, the Stuart Little movies). The two women with whom they fall in love are played effectively by Ally Walker and Ileana Douglas.

The star of the show is William H. Macy as the low-key sheriff of the town, who gradually falls in love with one of the criminals. There is a moving scene where he takes him to a gay bar and they dance. He is distraught when he knows the truth - but becomes the hero of foiling the bank robbery. There is a tongue-in-cheek ending as he pairs up with Ron Perlman as a Texas Ranger.

The film is not crass in its presentation of its issues, the people of Happy, Texas are very genial, the children cooperative, the two men find that they can survive in their gay identity.

While the film is presented as a light comedy, the strength of the performances and the delineation of characters give it a depth which is unexpected.

1. A pleasant and cheerful film? A funny comedy? The pathos of relationships?

2. The Texas settings, the chain gang, the open road, the town of Happy, the bank, homes, the hall, church? Ordinary Americana? The musical score, the songs, the routines for the pageant? The irony of the title - and its straightforwardness?

3. The chain gang, Wayne and Harry, their work, Wayne fighting Bob, the van and the crash? Bob taking off, Harry and Wayne finding the Winnebago, taking it, discovering the identity of the owners? And the comedy with the owners in the story and discovering their vehicle missing? Their taking a holiday?

4. Harry and Wayne and their arrival in the town, the escort, the friendship of the sheriff? The discovery of what they were meant to do? Harry and his quick thinking, getting out of the situation? Leaving Wayne to face the training for the pageant? Harry and his quick thinking, thinking of himself, forcing Wayne to do the hard work? Wayne and his being agreeable, reacting against the pageant at first, getting to like it?

5. The gay themes, the town and its lack of homophobia? The two men welcomed, the hopes for the pageant? The sheriff, the support of the judge, the teachers, the parents? Harry and Wayne and their taking over the gay identity, its effect on each of them, discovering something more of their inner selves?

6. Harry, the brains, manoeuvring about the robbery? His meeting Jo, the discussions, falling in love with her? Yet his gay façade? Wayne and his staying in the school, meeting Miss Schaefer, working with her, the attraction, the sexual encounter?

7. Jo, her background, the law, the town itself? Wary of men? With Harry, the possibility of being disillusioned? Miss Schaefer, her work, falling in love with Wayne?

8. The people in the town, the arrangement for the rehearsals, the pageant itself? The performance? The interruption of the robbery?

9. Bob and his return to town, putting the pressure on Harry and Wayne, wanting to do the robbery? The strategy, their putting it into practice? Harry having to do some quick thinking, changing the time, the explosions, the music being particularly loud - and the difficulties of getting the timing right? The failure of the robbery? The sheriff and his confronting Bob, saving the day? Harry and Wayne letting the sheriff take the credit?

10. The character of the sheriff, quiet, friendly? His shine on Harry, inviting him to the gay bar, the dancing? His sincerity, coming out? Going for the drives with Harry? The discovery of the truth, his sadness, tears? Audience sympathy for him? His being the hero of the day? The Texas Ranger, holding hands?

11. The climax and the culmination of the children and the pageant, the robbery and its being thwarted, the capture of Bob?

12. The happy ending, Harry and Wayne finding their future, discovering their truer selves, less selfish, outgoing, tender? Serving their sentences - and the women waiting for them?

13. The postscript of the original gay men, the end of their holiday - and their future?

HARRY, HE'S HERE TO HELP

France, 2000, 117 minutes, Colour.
Laurent Lucas, Sergei Lopez, Mathilde Seigner, Sophie Guillemin.
Directed by Dominik Moll.

Harry, He's Here To Help is a very interesting psychological thriller. All the critics pointed to the origins of this kind of story in Hitchcock's version of Patricia Highsmith's Strangers on a Train where a seemingly genial friend wants to take on the murders of people that his alleged friend would like out of the way. Here, Harry is a rich man, travelling with a dumb young woman called Plum, who claims association with Michel from school. Whether this is true or not is hard to tell. However, he is able to quote Michel's poems, talk about incidents that happened at school. Once he ingratiates himself into the company of Michel and his wife Claire as they go on a holiday with their daughters, he tends to take over.

The film turns sinister when he actually murders the parents of Michel as well as killing his brother. Things come to a head, there is an obvious confrontation between Michel and Harry. He buries him in the garden - and, it is hoped, everything returns to normal.

While the plot may seem in some ways obvious, it is nevertheless treated with great panache. Laurent Lucas is effectively bewildered as the would-be writer who is affected by Harry's friendship and then dismayed at its consequences. Sergei Lopez is excellent as the ingratiating Harry, a mixture of charm and violent madness.

Director Dominik Moll went on to make a thriller, Who Killed Bambi, with a hospital setting and again starring Laurent Lucas.

1. The critical acclaim for the film? The harking back to Hitchcock films like Strangers on a Train, Fatal Attraction_? The absorbing of these influences into a fresh look at a bewildering friendship?

2. The title, the focus on Harry, his relationship with Michel? The irony of his help - and the gifts that he showers on Michel and the final gift of murdering all those who stand in the way of his creativity?

3. The French settings, the countryside, the service station (and the first meeting with the filming with the mirrors)? The countryside and the roads, night and day? Friendly and sinister? The holiday house, its being repaired, the furnishings, the pink bathroom? The supermarkets? The blend of the ordinary and the sinister? The musical score?

4. The establishing of Michel and Claire as the young married couple, the plans for the holiday? The initial drive and the ordinary tensions and happiness in a family going on holidays?

5. The service station, the irony of Michel meeting Harry, Harry and his ebullient friendship, the fact that they were at school together? His harking back to memories which Michel does not quite share? The focus on Michel's writing, his poem which Harry knows off by heart and recites? The science fiction story of the monkeys?

6. Harry, his screen presence, friendship, charm? His travelling with Plum? Plum and her age, youth, sexiness? The relationship with Harry? Their insisting that the children drive with them back to the holiday house?

7. The house, its appointments, the renovations, the tools? The scenes of Michel and his work in the house?

8. Harry and Plum staying the night, the meals? Claire and her friendliness but wariness? Harry and the children? The shopping, the car breaking down, Harry and the lift - and buying the jeep? Claire's dismay and her reaction to Michel? Harry and his insisting that it be just a gift?

9. Michel's parents, the memories of the home, their coming to visit, meeting Harry? Harry and Plum moving out to a hotel? Harry and his attitudes towards the parents? The phone call, their driving, his pushing them off the road, their deaths? The effect on Michel, grief and disbelief?

10. Michel's brother Eric turning up, a vagrant, mocking Michel's poems? Visit to the house, his grief? Incurring Harry's wrath, especially about the poems? His hiding the body in the boot of the car - and the irony of people going to the boot and his trying to stop them seeing the corpse?

11. Claire and her growing antagonism towards Harry? Sympathy towards Plum? The interactions, the conversations? The final night, Harry and his insinuation that Michel had insulted Plum, saying she had no brains? Michel and his being upset, going to Plum, explaining the situation to her? Her death, its brutality? Michel and his discovery of Harry, disposing of the body?

12. The overall impact of Harry, his friendship, memories, urging him to write? The final straw when Harry suggests that Claire and the family are holding him back? That they should be killed? Harry giving Michel the knife, Michel killing Harry instead? Spending the night burying him in the garden?

13. The effect of Harry on Michel's creativity, his poem, getting out his short story, going to the bathroom, trying to write, reading it to Claire? Did he have talent or not?

14. Psychological understanding of the relationship between Michel and Harry? The suggestions that Harry was a projection of Michel's alter-ego, the more violent and wild Michel? The catalyst for releasing creativity?

15. Harry's death and disappearance, the family together again - and their hopes for a quiet future?

THE HEART OF ME

UK, 2002, 96 minutes, Colour.
Helena Bonham- Carter, Olivia Williams, Paul Bettany, Eleanor Bron.
Directed by Thaddeus O'Sullivan.

A BBC film and a reminder of those dramas that it used to do. They were excellent in the re-creation of a period, boasted strong performances and were very civilised in their treatment of serious treatment of life issues and relationships. That is exactly what The Heart of Me is like. Some audiences profess themselves weary of this kind of restrained, even slow-moving, traditional drama. Others enjoy it because it is so well crafted and offers insight into the human condition.

The author of the original novel is Rosamond Lehman and it is suggested that it is semi-autobiographical concerning her long relationship with poet Cecil Day Lewis. It is a dramatic three-hander, a story of an intense triangle. The first part of the film is set in London in 1934, opening with the funeral of the beloved father of two very different sisters. Madeleine, played superbly by Olivia Williams, is loving but reticent, even cold. Dinah, Helena Bonham Carter doing excellently what she has done before, is a free spirit. Rickie, Madeleine's gentlemanly and devoted husband, is played by Paul Bettany.

Everything is altered when Rickie's feelings for Dinah surface and he begins an affair. This is a perennial theme of films but it is treated here with sympathy for each of the three characters while showing their unpleasant sides and how deeply they hurt each other. When the scene moves to 1946, we are aware of what has happened but are not sure whether the characters know the truth. This is revealed in flashbacks which develop well the complications in the relationships and how each character is able (or not able) to deal with the hurt and the betrayals.

The characters are so well portrayed, bringing to life the complications and emotional pain, that the film should satisfy audiences who prefer their drama low-key but intense.

1. The title, love, as applied to each of the central characters?

2. The re-creation of England in the 1930s and 1940s. London, the countryside? Society? The musical score and the contemporary songs, "The Very Thought of You," "Heart and Soul"? The use of classics? The planets?

3. The film as a three-hander, the interactions between the triangle? Others on the periphery?

4. The structure of the film: establishing the 1930s, moving to 1946, the flashbacks? The dramatic impact for understanding the development of each of the characters and their interactions?

5. The opening with the funeral, the dead father, his relationship to his two daughters, to Dinah as the popular one but her not understanding it, to Madeleine and her really being loved but not able to accept it? The dominant presence of their mother? The two girls and the different kinds of self-esteem and lack of self-esteem, their growing up together, the sibling rivalry? The reception after the funeral and the tensions?

6. The picture of Madeleine, older, loving with Ricky, her husband, yet cold? Ambitious? A socialite? Her relationship with Dinah, wanting to get her settled, choosing a fiance? A socialite, preparing for meals, entertaining? The parties? The announcement of the engagement, Dinah accepting her sister's suggestion, its being called off? Her relationship with Ricky, her love for her son Anthony? With her mother, the memories of growing up, their father? Ricky and her love for him, being at home, the perfect household? Her care for Dinah?

7. The contrast with Dinah, her bohemian appearance, style, wandering away from home, relationships? The impact of her absence and her return for the funeral? Her father's love for her, her mother's disdain of her way of life? Madeleine, the funeral, her deciding to stay? The engagement, her accepting the fiance? The meal and the tensions? Her walk in the rain, Ricky seeing her, going to her room? The possibility of the affair? Her welcoming Ricky again, the actual affair? His setting up the apartment, Dinah and her sharing it with Bridie? The background of art? Her becoming pregnant, going off to the seaside, the child being stillborn? The effect on her, Ricky and his being late for the birth? Bridie and her jealousies? The breaking of the affair?

8. Ricky as a character: solid but weak, passionate, devoted to Madeleine but her coldness repelling him? His love for his son? His being attracted to Dinah, watching her, going to her room, the warnings, the affair and its effect? Her pregnancy, his sending her to the seaside, the car and his being absent from the birth?

9. Madeleine and the brittleness of her life, success? Ricky and his poor health? The doctor and trying to get Ricky well again? The shock of Bridie's letter? Confronting Ricky, his leaving, setting up house with Dinah?

10. Dinah and Ricky, his illness, the girl's mother and the hospitalisation, with Madeleine and telling Ricky that Dinah has gone to Europe? The truth, Ricky's return to Madeleine?

11. Ricky and his return, the assault on Madeleine, the conception of Clarissa? His continuing to work, his illness, going to order the bracelet, Blake and the quotation, with Dinah? His wandering the streets, the blitz and his death? The receipt in his pocket?

12. The re-creation of the war, the blitz on London? Anthony and his relationship to his parents, enlisting, his death? The post-war period and Madeleine becoming older, dowdy? Dinah's visit, the two sisters talking, recollecting the past, their own experiences (and Madeleine's new relationship)? The issue of the receipt, Madeleine giving it to Dinah?

13. The importance of their mother on the edge of things, her presence, physical and psychological presence, domination? Bridie, her friendship with Dinah, her love for her, her feeling rejected, her sending the letter?

14. The overall impact of this kind of romantic re-creation of a period? Popular romance - with more depth?

HOLLYWOOD HOMICIDE

US, 2003, 116 minutes, Colour.
Harrison Ford, Josh Hartnett, Lena Olin, Bruce Greenwood, Isaiah Washington, Lolita Davidovich, Keith David, Lou Diamond Phillips, Dwight Yoakam, Martin Landau, Eric Idle, Robert Wagner.
Directed by Ron Shelton.

Solid ingredients but something of a souffle rather than a substantial police-buddy movie. Part of the intention is to make the film light, offer comic strands throughout the detective investigation of the murder of a group of rappers in a Hollywood club. And then there is a long chase sequence: cars, trains, bicycle, foot... but, by this time, it looks more like an exercise in stunt film-making than a drama where you want to know more about the characters.

Former detective Robert Souza vouches that all the details of LAPD personnel have genuine bases. He has co-written the screenplay with director, Ron Shelton, who is more at home with sports films like Bull Durham or The Tin Cup. Prior to making Hollywood Homicide, he made the excellent expose of corruption in the LAPD, Dark Blue.

Harrison Ford plays the older detective who follows traditional methods but has to make ends meet by taking on some real estate brokering between cases (and, here, even in the life and death chase, during cases). His partner is Josh Hartnett who is a poor shot, takes New Age trends very seriously, is a Yoga instructor on the side but thinks he would really like to be an actor. There are some effective scenes between the two scattered throughout the film. The case itself concerns the music industry in California (with memories of the murder of Tupac Shakur). A star supporting cast has Bruce Greenwood as an Internal Affairs investigator, Lena Olin as a late night radio psychic, Lolita Davidovich as an LA madam, Martin Landau as a has-been producer who wants to sell his house, Isaiah Washington as the ruthless music entrepreneur, Dwight Yoakam as a corrupt ex-cop with glimpses of Eric Idle, Lou Diamond Philips, Gladys Knight and Robert Wagner.

It's a pity that it does not come together. What we have is serious issues, frothy treatment which makes it all more frivolous than seems intended.

1. The overall impact of the film? The serious side? The LAPD, murder in the music industry, violence in the city clubs? Police detective work? The combination with the comic elements of the odd couple buddy cops, their extracurricular activities, their sparring with one another? How well did the film combine both?

2. The credits sequences, the focus on the Hollywood sign, all the Hollywood signs? The creating of a Hollywood atmosphere, tawdry, glitzy? The use of Los Angeles locations? The precincts, apartments, mansions? The aerial shots? The street chases? An authentic atmosphere? The musical score, the range of songs from rap to the old classics?

3. The title, murder in Hollywood? Police investigation?

4. The opening situation: the nightclub, the proprietor and his making good, the rap singers, the shooters coming in, the people dancing, the violence, the witness and his being scared and escaping? The irony of the shooters later meeting with the ex-cop, their being shot and their bodies burnt in the exploding car? The motivation for the murder, Sartain, his background, time in prison, shooting his own group to give a warning about people wanting to break contracts? His office, wealth, smooth talking with the police? Being with the ex-cop at the murders? His being caught and pursued, the chase through Los Angeles, his going to the top of the building, the confrontation with Joe, the fight, the fall to his death? The ex-policeman and his being pursued by K.C., driving, on foot? The final confrontation, K.C. having the information that he was his murdered father's partner, his performance in begging for his life, the ex-policeman and his disdain, loss of concentration, being taken by K.C? The links with Benny Macko and his pursuit of Joe and K.C., the interrogations, going to the apartment, in the police precinct? His being arrested at the end? The link with the criminals?

5. Harrison Ford as Joe, age, world-weariness, his trying to sell the house? His being called to the club, his wanting the hamburger, his partnership with K.C. (and the scene at the rifle range and his shooting more accurately than K.C.)? Their work together, Leon and his support? His mixing his business with his detective work? Having overtime and using the time profitably? His going to seminars, his not doing a deal, the owner of the club wanting a house, his taking advantage, K.C. and the information about the producer who wanted to sell? The running gag throughout the film of each of them contacting Joe by phone, the interview in the house, the bargaining? The happy ending with him selling the house? His listening to Ruby on the radio, phoning in, the relationship with her, the police games that they played? His phone calls from Cleo, the risk on doing deals with an informant and not registering her, Macko and his pursuit after doing a deal with Cleo? Cleo and her warning Joe of what had happened? The visit to the witness and his mother, getting the information from her? His working with K.C., trying to understand him, the acting, the yoga class, his seeming know-how with the girls? His contact with the undercover policeman as a woman? The build-up to the confrontation, using Ruby's psychic energy, going to the shop, seeing the criminals, the lengthy pursuit, the fight? Going to see the play? Going on the job?

6. The contrast with K.C., his father as a policeman, Joe getting him the report and his finding out the truth? His yoga classes, the New Age interests? His wanting to be an actor? Rehearsing A Streetcar Named Desire with Joe with lack of passion? His trying to get people to come to the play? The producer? His contacts with the girls? The yoga class and their admiration for him - and his making a great deal of money? His trying to understand Joe? The contacts, the interviews, the pursuits? The final chase, his confrontation with the former policeman, his performance, begging for his life, getting the upper hand? The terrible performance in the play? His being called off-stage to go to a case?

7. Ruby, her radio program, psychic? The relationship with Joe, sexual games? Psychic, leading them to the place where the criminals turned up?

8. Cleo, the Hollywood madam, Vice closing in on her, the deals, the information, her friendship with Joe, his caution and refusing of the deal? Her warning him of Macko's pursuit of him?

9. The police precincts, the hard work, the interrogations, the crowd of criminals - and with the glimpse of Eric Idle as the celebrity pretending to be a researcher? The Internal Affairs, the female investigator and her being fascinated by K.C's yoga? Leon and his support of his men?

10. The guest spots: Eric Idle, Gladys Knight as the mother of the witness, Robert Wagner as the celebrity at Grauman's Theatre during the pursuit?

11. The stunts, special effects, the long sequence of the chase - excitement, recklessness, the characters involved, the cabbie, the people on the railway station, the mother with the two frightened young children in the vehicle? The purpose of this kind of special chase in the context of the investigation?

12. The overall impact of the serious side of the film, the frothy and frivolous side?

THE HOUND OF THE BASKERVILLES

US, 1939, 79 minutes, Black and white.
Richard Greene, Basil Rathbone, Wendy Barrie, Nigel Bruce, John Carradine.
Directed by Sidney Lanfield.

In 1939 20th Century- Fox made the first of its Sherlock Holmes adaptations from Conan Doyle's The Hound of the Baskervilles. He then made The Adventures of Sherlock Holmes with Rathbone and Bruce. In 1942, Universal Studios began a series of eleven films featuring Sherlock Holmes and Dr Watson, but in an updated contemporary setting.

The Hound of the Baskervilles has always had a great appeal as a novel and as the basis for a film. Peter Cushing starred in the 1959 version, Stewart Granger in a 1972 version and there was a send-up, directed by Paul Morrissey with Peter Cook and Dudley Moore as Holmes and Watson.

While the film is very much studio-bound, it recreates the atmosphere of Conan Doyle's story, especially giving Basil Rathbone a chance to impersonate Holmes and make him a screen icon. Nigel Bruce is effective as a bumbling Watson. There had already been a Sherlock Holmes in 1932 with Clive Brook. Other Sherlock Holmes include Christopher Plummer, Robert Stephens, even Roger Moore.

1. The popularity of Conan Doyle's stories? The personality of Sherlock Holmes? Dr Watson? The comparative ease with which Holmes solves cases?

2. The first of the Sherlock Holmes Hound of the Baskervilles for the screen? B-budget, 1939 studio filming? The studio interiors and exteriors? Black and white photography? The British cast in Hollywood? The musical score and atmosphere?

3. The personality of Holmes, Britain's greatest detective, chronicled by Dr Watson? Admired by everyone? Holmes and his arrogance (not so pronounced here)? His love of detection? His praise of imagination (as different from other films where he emphasises facts)? His impersonations? The qualities that would lead to a series? Dr Watson, medical, bumbling, trying his best to keep pace with Holmes? Making a fool of himself?

4. The credibility of The Hound of the Baskervilles: the opening, Sir Henry Baskerville and his heart attack and death? The convict trying to steal his watch? Dr Mortimer and his decision? The coroner's hearing and the pronunciation of death by heart attack? The legend of The Hound of the Baskervilles - and its being re-enacted on screen, 1660, Sir Hugo and his evil, the woman he abducted, his friends, out on the moors, his being destroyed by the hound? The manuscript, its being read by Dr Mortimer? Stapleton and his knowledge of it, using the legend of the hound, his ancestor's portrait, his investigations and knowing that he was the heir?

6. Sir Henry and his arrival in London, Dr Mortimer meeting him, going to see Sherlock Holmes, the discussions, the carriage and the gun attempt on Sir Henry? The interrogation of the cabbie? At the hotel, the enigma of the missing boot and its return, the other boot missing?

6. Holmes' strategies, not going down to Dartmoor, staying behind, coming quietly, the letters written by Dr Watson (copperplate and dotting all his it’s)? His message to Watson, his disguise, meeting him in the cave? Saying they would return to London, getting out of the train, the set-up for the attack on Sir Henry, his saving Sir Henry?

7. Sir Henry, a young man with a future? A legend, his fears? The meeting with Beryl, falling in love, the wedding plans?

8. The characters: Dr Mortimer and his wife, his being fussy, the attempt at a séance to communicate with the dead Baskerville? Frankland and his litigious nature? The Barrimans and their place in the household, the signals of night, the revelation that the murderer escaped on the moors was Mrs Barriman's brother? His death? Holmes giving her the news?

9. The build-up to the final dinner, Stapleton and his cover, scientific investigations? His getting the hound, unleashing him on the moor? Holmes and Watson shooting the hound? His trapping Holmes in the hole? Stapleton going and giving the poison to Sir Henry? Holmes stopping everything just in time - with Dr Watson knocked flat on the steps of the mansion?

10. The popularity of detective stories - and Sherlock Holmes as the archetypal detective? (The final line, which is surprising for 1939, when Holmes asks Dr Watson to bring the needle for his drug injection.)