PROJECT X

US, 2012, 88 minutes, Colour.
Thomas Mann, Oliver Cooper,
Directed by Nima Nourizadeh.

Depressing viewing.

Other words that come to mind are: irresponsible, stupid, would-be lascivious (and sometimes succeeding), too frequent four-letter inanities…

For those who have not walked out, there is some interest towards the end, though it is also far-fetched, when a drug-fuelled dealer (whose garden gnome (full of ecstasy tablets) has been stolen by the teenagers who were organizing a party for a 17th birthday when the parents were away) arrives with a flame-thrower and destroys homes in a Pasadena street with SWAT, police and media all covering the mayhem.

However, any good will towards the film and its pseudo-documentary style in covering the party is lost when some slight apologies are mouthed but the film glorifies the mischief-makers as great guys, especially amongst their school friends – and the father even pleased that his previously-considered loser son had this in him. Final captions are cynical – this kind of film having no sense of irony.

And a thought. These are the future adults of America who will be part of occupying and peace-keeping forces. Many from other cultures must be scratching their heads in puzzlement as they watch this kind of thing.

THE ARTIST

France, 2011, 100 minutes, Black and white.
Jean Dujardin, Berenice Bejo, John Goodman, James Cromwell, Penelope Ann Miller, Missi Pyle, Beth Grant, Ed Lauter, Joel Murray, Malcolm Mc Dowell.
Directed by Michel Hazanavicius.

The surprise winner of the 2011 Oscar for Best Film as well as for Best Director, Score and the Best Actor, Jean Dujardin. And winner of a host of other awards around the world.

The appeal? A film in black and white? Silent for words (except at the end) but not for sounds? A nostalgic memoir of the years in Hollywood for the transition from silent films to sound? A genial, if sometime despairing hero, a charming and bright leading lady? Success and failure? All of the above – and many more.

Actually, the basic plot is not original. It is a variation on A Star is Born, where the actor’s career diminishes while his younger partner’s career takes off and flourishes.

There is a great deal of enjoyment in the opening far-fetched 20s adventure on screen in one of those old picture palaces. Then the applause and the ego of the actor at the expense of the actress and the despair of the director. And all done, silently, in that theatrical miming style of performance.

Jean Dujardin shines on the screen, even when he is being egotistical, when he is desperately filming another old-fashioned silent adventure, when he is caught up with the ingénue, Peppy Miller, and arguing with his wife, his director, even his loyal chauffeur. But, he is always genial with Uggie, the dog, who is also a scene stealer.

Berenice Bejo (who is the director’s wife) shines on screen in every appearance, in her chance photo for Variety and her audition, her films (in the Clara Bow vein of the times), her singing and dancing. She also shines in her devotion to George Valentin and her care for him in his despair.

So, arresting characters, a chance to look back at Hollywood of old and Hollywood in transition, the age-old stories of flops and successes – and, with zest at the end, of new beginnings.
1. The Oscar? Acclaim, awards? Ingenuity, cinema history, performance?

2. The putting on a show background? The 42nd Street type of film? The basic story – a reworking of A Star is Born?

3. The technical aspects of the film and their being enjoyable in the 21st century? The black and white photography and its style? The use of the silent film style, especially for comedy, melodrama, expressionism, the musical?

4. Silent movies, but the musical score and the moods? The sounds during the dream? The use of Pennies from Heaven? The final sound – and the artist’s final words?

5. The impact of silent films, the importance of stories, fantasy and imagination? The films of Georges Valentin? The performance and communication of character and themes without words? The captions? The danger of mugging? The change in acting styles with sound?

6. The change to sound, the 1920s? Audiences and their wanting to hear the performance, the actors and speaking techniques, for microphones and fluid sound – the mobility of the microphones on sets?

7. The opening film, the audience enjoying it, the style, the orchestra, the adventure style – exaggerated? The well-dressed audience and the crowds and their response? George and his deciding to make Tears of Love? The emotions, the audience, Peppy and her watching?

8. Careers and change, the silent stars and their collapse, the ridicule of their acting styles, of their voices? Audiences wanting the new and the young?

9. Peppy Miller, her verve, comedy, the light touch? Her scenes? The audiences laughing? The posters and their emphasis on her? Her chance encounter with George, the photo, the papers, her going to the auditions and succeeding?

10. George as a character, a blend of Douglas Fairbanks and Maurice Chevalier? The films and his action and derring-do? His assistant, the other members of the film-making team? The opening, his listening to the audience, the applause, coming out on stage, upstaging the actress and her anger? John Goodman as the director, trying to cope – and his performance, silent film style?

11. George at home, his relationship with Doris, tense? The theatres? Peppy, the wallet, the photo, the kiss, on the cover of Variety, George’s reaction, his becoming worse at home, Doris and her unhappiness, her leaving? His reaction to her departure?

12. Peppy and her being allowed into the studio, the Variety cover, the kiss, her identity, meeting Malcolm Mc Dowell as the old hand and discussion with him? The audition, her dance, her being hired? The casting director and his fascination? Dancing during the meal at the restaurant? George’s responding to Peppy, the attraction, affection?

13. The office meeting, the nature of the talkies, the director moving to talkies? George, his decision, going back, making Tears of Love, the scenes of film-making and the silent style? The release date discussion? Peppy, her debut, her success? The crash of the market? The few people for George’s film, Peppy and her friend, weeping? The contrast with the queues for her film?

14. George and his collapse, Doris’s departure, alone, trying to pawn his things, his gestures? Having to let everything go, the auction? The buying of all his items? The years passing, wandering, his friendship with his dog, Uggy? Uggy and his role in the films, on stage after the initial success, at home? His seeing Peppy and laughing? At home, watching his own films? Burning them? Uggy going to the police? George hospitalised? Peppy visiting him, taking him home?

15. George, the discovery of all his goods, that Peppy had bought everything at the auction? The issue of his career, his urging the director to allow him to act? Upset, going home, getting the gun, Uggy and his intervention?

16. Peppy, the driving, the crash, stopping, the reconciliation?

17. Clifton, the drive, Clifton and his fidelity, as chauffeur, as friend, the harshness of George firing him? Clifton and his signing the autographs for George’s photos? Willing to work without a salary? Going to Peppy, supporting her?

18. The happy ending, going to the studio, Peppy and George dancing together, the delight? The tribute to the musicals of those times?

JOHN CARTER

US, 2012, 132 minutes, Colour.
Taylor Kitsch, Lynn Collins, Samantha Morton, Willem Dafoe, Thomas Haden Church, Mark Strong, Ciaran Hinds, Dominic West, James Purefoy, Bryan Cranston, Polly Walker, Daryl Sabara.
Directed by Andrew Stanton.

Andrew Stanton won Oscars for his animation classics, Finding Nemo and Wall-E. He won’t be up for many awards for John Carter.

The film has good intentions and an even bigger budget and is in 3D. However, while one would like it to be better, it is rather cumbersome in its storytelling. A pity, because many audiences will enjoy it, but could have enjoyed it more.

It is very much in the Star Wars tradition with its alien planet, its strange special effects characters and creatures, an action hero, and a lively princess, plenty of flying machines and battles.

The film is based on Edgar Rice Burroughs’ story, A Princess on Mars, one of many stories he wrote (while not writing his Tarzan stories) about imaginary life on Mars. It opens in the Star Wars’ vein with futuristic-looking cities, space ship style planes for wars between rival cities, and the introduction of a power-hungry ruler (Dominic West) and the Therms, the elusive rulers of the universe, malicious beings who control power, set up rulers and then watch how populations clash and destroy themselves and their planets. Mark Strong (who seems to be in every other film) is the dignified but deadly chief Therm.

Then we are in New York City, 1881, rainy and dingy, while John Carter eludes a pursuer. Soon we are at his country estate with his nephew, Edgar Rice Burroughs, discovering his uncle is dead and reading a manuscript he bequeathed him. This manuscript sends Edgar and us back to 1868 and the American west where former confederate cavalryman, John Carter, is not popular with northerners as he searches for gold. Escaping from Apaches, he finds a cave, a dying man and a medallion by which, when a formula is spoken, he is whisked to Mars.

The adventures on Mars involve his discovery by a community of creatures, The Tharks, his meeting the princess and helping her escape to home where she is to be married off to the power hungry ruler to save her city. Before she can be saved, John Carter has to endure a fight with giant white apes in the arena, defeat the usurping leader and rouse the Tharks to rescue the princess and her city.

So, plenty of adventure, plenty of effects and stunts, a solid British supporting cast, including Ciaran Hinds and James Purefoy and Willem Dafoe, Thomas Haden Church and Samantha Morton voicing the Thark characters. Taylor Kitsch, looking a bit Heath Ledgerish (though not moving towards Oscar nominations) is the American hero who comes in and, with some help, still shows how American heroes can come in and save the day, even on Mars.
1. A space extravaganza? Imagination, fantasy, adventure?

2. The production: the US in the 19th century, New York City, Arizona? Mars? The images of the planet? The futuristic cities? Action: air battles, John Carter’s ability to leap, the city, the gladiator combat, the finale? The CGI and the creatures?

3. The 3D and its effect? The musical score and atmosphere?

4. The writings of Edgar Rice Burroughs, his Tarzan stories, Martian stories, his imagination? His becoming a character in the film?

5. The blend of Mars and futuristic battles with the 19th century American West and New York?

6. The introduction to Mars: the look of the cities, Sab Than and the warrior, his contact with the Therms, with Matai Shang? The Threefold Rulers and their appearance? Their control, transferring of power – and the artificial arm for Sab Than?

7. The contrast with New York, 1881, the dingy rainy day, the streets, John Carter and his being followed, his eluding his pursuer with the kiss in the shop entry, his home the news of his death, Edgar Rice Burroughs as his nephew, the background of Carter telling Edgar stories in the past? The lawyers and the doctors? The explanation of the tomb, able to be opened only from within? The mystery, Edgar reading the manuscript? The end, realising the letters NED were important, opening the tomb, John Carter with the gun, the Therm in disguise and Carter shooting him, his getting the medallion back, his being able to leave again for Mars?

8. The American West after the Civil War, John Carter and his loyalty to the South, Virginia, discovering the gold, the cavalry officer and the confrontation, the interrogation, John’s continued attempts to escape, the fights? His taking the officer’s horse? The confrontation with the Indians, the rescue of the cavalry leader? The cave, the gold, the signs from Mars, the medallion, the dying man, saying the words and the transferral to Mars?

9. Mars and its landscapes, the plains, the mountains, John and his ability to leap, the confrontation with the Tharks, their curiosity about his ability to leap, communicating with them? The drink, his understanding their speech? The hatching of the babies, the babies’ growth, being allotted in the community?

10. The rivalry between the two leaders of the Tharks, the good and the bad, the clashes? Sola and her role? Her being the daughter of the leader? John and his leaping out of the dungeon, the large pet and its leaping with him?

11. Helium, the kingdom, the ruler, his assistant, Princess Dejah and her science, her discovery of the ray, the demonstration, the spy foiling it? The attack of the enemy? Her father wanting her to marry Sab Than? Her fleeing the kingdom?

12. The character of the princess, a strong woman, her escape, the Tharks and their response, her connection with John Carter, their escape and going to the river, her taking him to Helium?

13. Sab Than, the villain, power? The planes, the attack, his blue arm? His consenting to the marriage – and the formalities of the marriage ceremony?

14. Matai Shang, his appearance, living forever, the control over the universe, the ray, giving the power to Sab Than? Expectations that planets and their populations would rise up, dispute, collapse? His wanting the princess killed? His capture of John Carter, the discussions about Virginia, about ruling the world, eternity, human nature? His ability with disguises, the range of disguises accompanying John Carter at the ceremony? Having the medallion?

15. Kantos Kan and his visit, telling John Carter to take him hostage, forcing him, the leap and the escape?

16. Going back to the Tharks, the good ruler overcome and imprisoned with Sola? The leader, taking John Carter and the others to the arena? The fights, the white apes? In the arena, the fights, the destruction – and John Carter winning? Beheading the bad leader? The speech rousing the Tharks to go to battle – but their being unwilling to fly? The split-second timing of their arrival to rescue himself and the princess? To stop the wedding?

17. John Carter, flying the plane, infiltrating the wedding? The wedding ceremony itself, the role of the princess, the words of consent?

18. The marriage night, Carter on the balcony, Matai Shang and his transferring John back to Earth? The bones of the dead cavalry officer? The years passing, John Carter’s room, his searching all over the world, to the Orkney Islands? His plan, getting the Therm to follow him, to shoot the Therm and get the medallion? Relying on Edgar Rice Burroughs, getting him to read the story, using his code NED to open the tomb, and his ability to fulfil his plan? Wishing Edgar well – encouraging his literary career? The return to Mars and to the princess?

19. An American story – where the American hero, almost alone, saves the people of Mars?

ONE FOR THE MONEY

US, 2012, 91 minutes, Colour.
Katherine Heigl, Jason O’ Mara, Daniel Sunjata, John Leguizamo, Sherri Shepherd, Debbie Reynolds, Debra Monk, Fisher Stevens.
Directed by Julie Anne Robinson.

Stephanie Plum is the central character in a series of popular novels by Janet Evanovich. She is sometimes slow, sometimes fast and, as in this film, brings in her man.

At the opening, Stephanie’s voiceover tells us of her failures, marriage, keeping a job… but her grandmother, a sprightly, almost-80 Debbie Reynolds still acting with the same verve and cheeky lines, gets her a job at her cousin’s bail-bond firm. Her first target is a former boyfriend of whom she has bad memories, as has he of her because she broke his leg in a car accident.

It’s a mixture of crime solving and romantic comedy, the ups and downs of both.

Katherine Heigl is a strong screen presence – and is not as persuasive as slow Stephanie as smart Stephanie – and carries the film. Jason O’ Mara is the policeman who is accused of murder and has skipped bail. Stephanie tracks him down and heads for the happy ending we are sure is going to happen.

Light lite!

1. The original novels and the popularity of the character of Stephanie Plum? Transferred to the big screen? Embodied by Katherine Heigl?

2. The New Jersey settings, the suburbs, the homes, the bail bond stores? Factories, warehouses, apartments? An authentic New Jersey feel? The musical score?

3. Katherine Heigl as Stephanie Plum, tall and assured, her voice-over, her bad luck with life, marriage, jobs, money? Her wanting a new job? Going home, her demanding mother (upset at five minutes late)? Her father? Her grandmother and her chatter, open to everything, helping out Stephanie with a job?

4. Stephanie going to her cousin, the discussion about the job, the commissions? Her wanting the case of Joe Morelli? Her memories of Joe, the sexual relationship in the past, his ignoring her, the accident and her breaking his legs? His being upset? His mother’s upset? His being accused of murder, his being a policeman, in hiding? Luke, his comments on Stephanie, her hold over him? Luke’s secretary and her support of Stephanie?

5. Tracking down Joe? Her using her wits? A lot of luck? Her following the car, working out where Joe was? The confrontation? His attitude towards her, the kiss, taking the gun and escaping?

6. Stephanie and her going to Ranger, Ranger and his explanations of situations? Friendly, supportive of Stephanie?

7. Stephanie and her continued detective work, going onto the streets, meeting Lula? The discussions, the leads? Going to the diner? The connection with Ramirez? With Jimmy Alpha?

8. The collaboration with Joe, at her house? The relationship? Joe being present, protesting his innocence, turning the tables on Stephanie? The arrival of Morty Beyers? Wanting to take over the case? Getting into Stephanie’s car – and the explosion?

9. Stephanie and her being wired? The confrontation with Jimmy Alpha? Joe recording the interview? Its going to the police? Joe and his escape?

10. Stephanie, her vindication? With Luke, the cheque? Lula working with the secretary? Her prospects? Joe coming out from hiding? His being vindicated – and a happy future with Stephanie or not?

11. The light touch with this kind of investigation story? Romantic comedy?

GONE

US, 2012, 94 minutes, Colour.
Amanda Seyfried, Daniel Sunjata, Jennifer Carpenter, Sebastian Stan, Wes Bentley, Emily Wickersham, Michael Pare.
Directed by Heitor Dhalia.

Gone is an abduction story. Amanda Seyfried plays Jill, trying to recover after being abducted two years earlier and escaping from her captor. However, she lives in dread that he will try to take her again.

She is not wrong. But, he takes her sister instead and then lures Jill back to the deep hole in the forest outside Portland, Oregon, where he had imprisoned her before. Though she has been on suicide watch and having therapy, she takes control of events when she discovers her sister missing. The police dismiss her claims because of her medical and mental history.

Most of the action takes place over the one day, with Jill’s discovery and then her quite skilful detection work to track down the criminal – the police could take lessons from her! It all builds up to a climax, of course, with Jill confronting her captor.

It’s a film that would have more impact on its female audience, especially younger women who would identify with Jill, both in her suffering the abduction and in her taking control of her life and the case.
1. A satisfying abduction thriller? The audience – female and identifying with the central character?

2. Portland, the forests and the city, homes and the police precinct? The streets, factories? Stores? Authentic? The musical score?

3. Jill, her personality, her age, her life story, her parents’ death, her collapse, the abduction and the experience, the flashbacks indicating the nature of the abduction? Molly and staying with her? Her being hard, reclusive, her medical history and institutions? Medication? Her work, with her co-worker at the diner, the customers? Coping, her fears?

4. Molly, the devoted sister, her studies, the exam, the phone communications, her disappearance?

5. Jill, going home, reaction to Molly’s disappearance, searching the house for details, going to the police?

6. The officer in charge, Powers and his listening to Jill, not believing her, indicating her past history? Sharon, Hood and their work? Hood and his phone call, trying to help? Jill being suspicious and angry?

7. Jill’s detective work, showing skills, talking with the neighbour, the neighbour’s being insulted by Jill’s former silence, going to talk to the widower, his indication of the van, pursuing the van in the streets, talking with the drivers, getting the docket from the van, going to the shop, information about the customer, her hiding from the police in the toilet, the escape through the window? The member of the band, her suspicions that Molly was there, the gay partner? Her talking to the schoolgirls on the street, promising them Justin Bieber tickets, her escape from the police? Going to the hotel, the clash with the janitor, his information about the boarder, the car?

8. The contact with the killer, her driving through the night, the phone connection, in the forest, the directions for the roads, finding the hole? The interaction on the phone, in reality, her falling into the hole?

9. The flashbacks, the abduction, the tape, the bones, in the hole? Her attack on her abductor, getting out of the hole? His reappearance, taunting her? Her defeating him again? Her shooting, the petrol, burning?

10. Molly being free, being under the house? The police, Jill and her telling them it was all her imagination?

11. The passage to the police chief, the photos of the abduction, the map where the hole was? Jill and her success?

12. The plausibility of this kind of scenario? The repercussions on a girl abducted like Jill?

CONTRABAND

US, 2012, 109 minutes, Colour.
Mark Wahlberg, Kate Beckinsale, Ben Foster, Giovanni Ribisi, Lukas Haas, J.K. Simmons, David O’ Hara.
Directed by Baltasar Kormakur.

Gritty is one of the words that a reviewer might grope for while watching Contraband. The story is gritty. The characters are gritty – and not easy to sympathise with. Most of them have had difficult lives, and where we catch up with them life is certainly not any easier.

The setting is New Orleans, especially the waterfront (and without the tourist glamour). Much of the action is at sea. There is a visit to Panama City (which looks quite up-to-date).

Most of the characters are involved in contraband, one way or another. A young man gets himself and his friend into trouble by dropping smuggled drugs into the sea when they are pursued by the authorities. Their dealer (Giovanni Ribisi at his most repellent) not only wants compensation, he uses the incident to force the older brother of the rash young man to resume what he used to do before he married and had a family. This is not only dangerous in terms of contraband and detection, but there are, of course, shady characters, violent characters, whose actions are unpredictable except for their nastiness. Gritty.
1. An American crime story? Smuggling? Criminals? Officials?

2. A remake of an Icelandic film? The tougher tone given to an American story? Gritty?

3. The New Orleans settings, the homes, the waterfront? Ordinary and working life in New Orleans? The contrast with Panama – the waterfront, the modern city? The musical score?

4. The title, what’s smuggled, and the work of the smugglers? The world of the smugglers?

5. The world of crime, the ability to change or not, reform, people caught in this world? The connections, the dealers, the bosses, ship captains? The possibility of escape or not?

6. The moral perspective of the film, criminal types, violence? Greed? Smuggling and profit, getting away with the money at the end?

7. The situation, Andy and his friend, dumping the drugs in the sea to avoid the authorities? Tim Briggs, his personality, his hold over Andy? The demand for payback? His character and threats? His going to Kate and confronting her?

8. Chris, his past life, smuggling? His experience, relationship with his brother? His friendship with Sebastian? His wide range of friends? His change of life, married to Kate, the two boys, domestic life? His wanting to keep it? Hardship for Andy, his decision, rounding up his crew, the bonds between them? On the ship, the captain, the deals? The activity on the ship, evading detection? Panama, the counterfeit cash, his tough stance? Gonzalo and his violence? The fights?

9. The tough personalities, the team, their work on the ship, the effect?

10. Kate, tough wife, confronting Tim Briggs? The friendship with Sebastian, his turning violent on her, his burying her in the cement?

11. The captain, seemingly respectable? The ship veering to the wharf? His manner of dealing with the smugglers? Crooked? The authorities?

12. The timing, the money overboard?

13. Chris and his phone contact, trying to locate Kate, going to the building site, Sebastian and his desperation, urging the work, the cement being poured where Kate was buried?

14. Sebastian, the false friend, his deals, unscrupulous, cruel, his death? Chris and his pulling Kate to safety?

15. The recovery of the money, Danny and his friend? Their glee?

16. The ending of such a crime story – crime paying or not?

THE SORCERER AND THE WHITE SNAKE

China, 2011, 103 minutes, Colour.
Jet Li, Shengyi Huang, Raymond Lam, Charlene Choi, Zhang Wen.
Directed by Ching Siu- Tung.

Western audiences are familiar with their fairy tales, Cinderella, Sleeping Beauty and the tales from Hans Christian Andersen and the Brothers Grimm. However, they are not familiar with Oriental fairy tales with their quite different characters and symbols, different ways of narratives, different types of myths – and from the Buddhist traditions.

The Sorcerer and the White Snake provide an opportunity to begin to remedy this lack.

The first thing to say is that the film is very beautiful to look at. The magical locations have an aura about them. They are both real and stylised, drawing on ordinary Chinese life as well as on the religious overtones.

Jet Li is at the centre of the tale, a guru with an apprentice (somewhat ineffectual who is turned into a demon). Demons are the targets of the guru, to destroy them. They take human form as well as animal forms (sometimes akin to those in Disney films). His first confrontation with a demon sets the tone of the film. He sweeps the demon into a shell-like container and moves to discover more demons.

In the meantime, a nice but poor young man who wants to be a doctor goes with friends to the mountains to find herbs. He is confronted by a beautiful woman and falls off a crag into a lake where she rescues him and kisses him – and disappears. We knows, but he does not, that she is one of two sister demons, the Green Snake (who prefers making mischief but will soon be attracted by the transformed apprentice) and the White Snake. The mysterious woman is the White Snake.

She has fallen in love (and so has the young man), so she assumes human form, knocks him off his boat and rescues/kisses him again. She takes him to visit her family (the demons all pretending to be her loving family with a few slip-ups) and they are married.

At this stage we might think the fairy tale is over and they live happily ever after. Not in this world.

When a plague breaks out, the young man puts his ingenuity into finding a remedy. His loving wife breathes her energy into his medicines and people are healed. No happy ending here either.

The guru arrives and confronts the White Snake, aiming to destroy her. When she disappears, the young man travels to find a tree that will give a potion to reclaim her. Unfortunately, he lets loose more demons (vixens in human and vulpine form) – and the ending is far more complicated than we had hoped for.

A pleasing, magical and beautiful Chinese fairy tale.
1. Chinese legends? The imagination? The art? The Buddhist traditions? Humans and demons, magic and powers, conflict, demon hunting and capturing?

2. The visualising of the legends, the lavish presentation, the pretty sequences and landscapes, the overall beauty? The mountains, the village, the monastery, the pagoda, the river? The festival, the house, the rock and the sea and the waves? The musical score?

3. The special effects, the creatures, appearances, transformations, confrontations and battles? The acrobatics and their flair?

4. Ah Fahai, Jet Li, his age and appearance, the confrontation of the demon, the initial capture in the shell? Neng Ren as his assistant, apprentice and learning, his skills and failures?

5. The sister snakes, life for centuries, their transformation into human form, causing mischief, the green snake frightening Xu Xian? His falling? The white snake diving into the water, kissing and saving him?

6. Xu Xian and his herbs, wanting to be a doctor, his friends, the expedition on the cliffs, the flowers and herbs, his fall, his being kissed back into life? People not believing him? His boat on the river, his memories of the creature and the kiss? On the pier, its collapse, the white snake appearing again, pushing him into the water, kissing him again? Love, the proposal, the demons all pretending to be his parents and family – the comedy? The animals and their being able to speak – with the cute touches? Comedy, the marriage, happiness? The white snake losing her energy, the arrival of the plague, her breathing into the medicine, giving her energy again, the people being healed?

7. Neng Ren and his pursuing the bats, his being bitten, the chase, his failure, being transformed into a demon, Ah Fahai’s reaction, the green snake and her devotion to him? Their travelling together?

8. Ah Fahai, his confronting the white snake, explaining the situation, fighting with her, her skills and her use of her tail, Ah Fahai and his spells? His warning to her, becoming weaker, pleading for Xu Xian, the sea, Xu Xian being covered? Ah Fahai allowing the white snake to meet Xu Xian again? Xu Xian not knowing her? The kiss?

9. The adventure of Xu Xian stealing the root, the advice, his being on fire, getting the shoot, giving it to the white snake, releasing the demons?

10. The demons in female form, transforming into foxes, the monks and their pursuit, Ah Fahai and the confrontation, destroying them?

11. The scenes of monastic life, the monks and their role, contemplation?

12. The sacrifice of the white snake? Xu Xian and his future? Ah Fahai and his continuing to be leader?

13. A film visualised with lavish imagination?

DISHONORED LADY

US, 1947, 84 minutes, Black and white.
Hedy Lamarr, Dennis O’ Keefe, John Loder, William Lundigan, Morris Carnovsky, Natalie Schafer, Paul Cavanagh, Douglas Dumbrille, Margaret Hamilton.
Directed by Robert Stevenson.

Dishonored Lady is a star vehicle for Hedy Lamarr, reputed to be one of the most beautiful actresses in Hollywood. This film certainly justifies this claim. Her leading man is Dennis O’ Keefe, an earnest doctor who had military service. The villain, suave and handsome, is William Lundigan. There is a strong supporting cast of character actors including John Loder as a wealthy man who manipulates Hedy Lamarr, Morris Carnovsky as the sympathetic psychiatrist. Douglas Dumbrille, often a villain (and the foil of the Marx Bros in several films), this time is the district attorney. Margaret Hamilton, the Wicked Witch of the West, plays the role of the landlady.

The film is set in the fashion world and its glamour and wealth. However, Hedy Lamarr’s character is something of a nymphomaniac and needs psychiatric help – and she tries to overcome her life and make something of it. A crisis comes when she is falsely accused of murder.

The film is highly melodramatic – and, one hopes, implausible. However, this is the kind of melodrama that was very popular at the time and still has quite a fascination.

Robert Stevenson directed English films in the 1930s including Tudor Rose and King Solomon’s Mines. He moved to Hollywood in the 40s and directed Jane Eyre. After much television work in the 1950s, he went on to direct almost twenty films for Walt Disney – and he was the only director to have an Oscar nomination for direction for a Disney film, Mary Poppins.

1. A 1947 melodrama? Romance? The interest in psychiatry? The interest in courtroom scenes? The combination of realism, glamour?

2. The black and white photography, the New York worlds, the magazine, clubs and restaurants? The contrast with scientific investigation, ordinary apartments? The film relying on Hedy Lamarr and her beauty?

3. Madeleine, Hedy Lamarr, her glamour and beauty, with the car, the police intervention, her seeming to attempt suicide, the doctor living nearby, his offer of help?

4. Madeleine’s life, her skills at the magazine, the attentions of Jack Garet, unwelcome? Courtland and his influence? Gossip? Her firing her secretary, her whims? Her being caught up in relationships with men?

5. Going to the psychiatrist, the sessions, the psychiatrist’s character, his care, listening to Madeleine, stern with her, his hopes?

6. Her leaving the magazine, the apartment, Mrs Geiger and her attentions as landlady? The encounter with David, the mouse? Their talking, her artwork, the sketches, his invitation to her to sketch his scientific research? Her skills at this? Working in the lab? His doctorate and thesis? Presentation of the thesis, the favourable comments on the illustrations, his achievement?

7. Madeleine falling in love with David, a man from a different world, their being together, her caution? The discussions with the psychiatrist? David’s proposal, her wariness? David and his war experience? A decent man?

8. Ethel, wanting Madeleine’s help, inviting her to the restaurant, Courtland and his being present? Garet and his information to Courtland? Madeleine and her drinking, Courtland and the attraction, the car, the visit to his house?

9. Garet, stealing, Courtland knowing this, Garet coming to the room after Madeleine left, murdering Courtland? The headlines, the circumstantial evidence against Madeleine?

10. David and his shock? Madeleine and her arrest? In court, the evidence against her, not offering any defence?

11. David, his declaration of love, her changing her mind, the defence?

12. David determined to solve the case, going to the apartment, the issue of the safe, encountering Garet, their fight?

13. The hidden safe, the money? Resolving the problem and the mystery?

14. Madeleine, going to the airport, with the doctor? David coming after her – and the Hollywood happy ending?

FRAMED

US, 1947, 84 minutes, Black and white.
Glenn Ford, Janis Carter, Barry Sullivan, Edgar Buchanan, Karen Morley.
Directed by Richard Wallace.

Framed is a brief film noir, the focus on a good man who is down on his luck and is led astray by a femme fatale. Janis Carter is the woman in question, working in a club but secretly involved in a plan to get a quarter of a million dollars from the bank, in collaboration with the manager, played by Barry Sullivan. Included in the cast are Karen Morley as Sullivan’s long-suffering wife and Edgar Buchanan as a genial miner.

The film was directed by Richard Wallace, who made a range of popular films including The Fallen Sparrow, Sinbad the Sailor, Tycoon.

1. The popularity of the film noir thriller during the mid-40s? This film as a brief example?

2. Glenn Ford, his persona on screen in the 1940s? The hero, the damaged hero, down on his luck? Using his wits? Prevailing? Finally telling the truth?

3. The black and white photography, the small town, the roads, the homes, the shops, the clubs? The background of mining? The musical score?

4. The title, Mike Lambert and his being the victim of Paula and Steve?

5. Mike Lambert driving the truck, through the night, into the town, his weariness, bumping into Jeff Cunningham’s truck? The reaction of the crowd? His arrest, going to court, unable to pay the fine, Paula paying his fine, taking him out, making him comfortable? His lack of gratitude towards her?

6. Paula, working in the club? Friendly, paying Mike’s fine? The quick revelation of her ambitions? Motivations? Her relationship with Steve Price? Her own home? Wealth? The revelation of the plan to set up Mike? Her choice of him, his resemblance to Steve?

7. The details of the plan, Steve and his arranging the money, putting it in the strongbox for Paula? Paula and the setup with Steve, taking him for a drive, the plan to push the car over a cliff, for it to burst into flame? To be Steve identified as dead? And the two of them to take the money?

8. Jeff, his being in town, the silver, taking it to the assayer? The good result? Meeting Mike? The discussions, offering him a job? The memories of the crash into the truck? Jeff being arrested for the murder? Mike and his indebtedness to Jeff? This motivating him to prove Jeff’s innocence?

9. The discussions about the loan, Jeff being refused? The phone call from Paula? Mike and his suspicions? His going out for the drive to see the mine? Steve Price changing his mind? The stop on the way back, the house, Paula’s story – and the irony of seeing her robe in the bathroom with her name? His wariness? His drinking and his disillusionment with Paula?

10. The drive, Paula and her decision, knocking out Steve? Getting Mike out of the car, the accident, the fire? The headlines in the papers?

11. Mike, drunk, not knowing what happened? Paula and her plausible explanations? Going to the bank – but ironically it being shut because of the accident? Going the next day?

12. The police, the interrogation, Mike and his explanations, going to visit Jeff in prison? His trying to work out what happened? Following Paula to the bank, her strongbox, the money, his confronting her? The police and her arrest, her plea?

13. Mike, independent, facing a future, working with Jeff?

14. The picture of the town, the authorities, the courts? The banks? Steve Price and his wife and her having the money? Possibilities of crime and corruption?

THE GREAT GATSBY

US, 1949, 91 minutes, Black and white.
Alan Ladd, Betty Field, Macdonald Carey, Ruth Hussey, Barry Sullivan, Howard Da Silva, Shelley Winters, Henry Hull, Ed Begley, Elisha Cook Jr.
Directed by Elliott Nugent.

The Great Gatsby is the first major film version of F. Scott Fitzgerald’s classic novel. It was made only twenty years after the events of 1928, the jazz age, the time of gangsters and bootlegging. It was also the time of self-made millionaires.

Jay Gatsby had humble beginnings (and these are visualised in the film). He was in love with Daisy but, during World War One where he fought, she married the lawyer Tom Buchanan. (They are played by Betty Field and Barry Sullivan.)

The film visualises some of the bootlegging activities of Gatsby which made him his money. However, the main focus is on his buying a mansion, wanting to be near Daisy, contriving to meet her again – with some disastrous results which lead to his death.

Alan Ladd is perfectly at home in the role of Gatsby – more credible, perhaps, than Robert Redford in the 1974 version. Betty Field is an odd choice for Daisy, a blend of the common as well as the ambitious. Macdonald Cary is a good Nick Carraway. Shelley Winters has a small role as Myrtle Wilson with Howard Da Silva as her vengeful husband. The character of Dan Cody is amplified for the film and he is played with great relish by Henry Hull.

The film captures the atmosphere of the book while still coming across as an Alan Ladd programmer film from the 1940s when he was so popular. The remake by Jack Clayton starred Robert Redford and Mia Farrow and was very much a fashion plate film of the 70s. It was made for television by Robert Markowitz in 2000 with Toby Stephens, Mira Sorvino and Paul Rudd. In 2012 Baz Luhrmann filmed it again, in 3D, with Leonardo DiCaprio?, Carey Mulligan and Tobey Maguire.

1. The classic novel? The character of Gatsby? The fulfilment of the American dream? Its basis? Its consequences?

2. The film made twenty years after the events, it first being a novel, then a play, adapted for cinema? The cinematic style of this film?

3. Black and white photography, the Long Island settings, the social milieu, wealth, the mansion? The exteriors and interiors? The parties? The contrast with the sea, the roads, the gas stations? The billboard with the eye? The musical score, I’m Always Chasing Rainbows?

4. The use of flashbacks, for moods and atmosphere? The gangster sequences, prohibition, bootlegging? The war, the soldiers and their spirit? The wharf, the boat, the South Seas? The way that these flashbacks were inserted into the narrative?

5. Nick and Jordan, going to the cemetery, remembering twenty years earlier, Nick’s perspective on Gatsby?

6. Jay Gatsby as an American icon, his image, wealth, his buying the mansion, settling in, the view? The Buchanans and his hosting the party, the mystery host, people remarking? His past and the stories? The reality of the past Jimmy Gatz, on the boat, the wharves? Captain Dan and his relationship with Ella? The philosophy of winning, work, development? Gatsby growing up on the boat, Dan’s advice, Ella and his rejection of her? Daisy, Jordan, the war? The twelve years passing, ambitions leading to crime? The effect of learning of Daisy’s marriage?

7. Gatsby and his motivation, wanting to win Daisy again, his presumptions, nervous? Getting Nick to have him invited to tea, Jordan and her role? Meeting Daisy and its effect on both of them?

8. Daisy, her past, the war years, marrying Tom? The tensions, Tom and his life, infidelities? His depending on her for cash? His going out, the affair with Myrtle, jealousy? Daisy and Jay reminiscing, the tea, love, the decision, finding the time to tell Tom or not?

9. Nick and his character, his being used, his interpretation of Jay, going to the party, meeting him, golf, the arrangements, his love for Jordan? The accident and the consequences?

10. Wilson, the garage, Myrtle and her taunting her husband, going out, the tensions? The accident? Wilson and his reaction to Myrtle’s death?

11. The group driving into town, Daisy and her decision to drive back? Myrtle, her death? Hit-run, Gatsby and his plan, the car and the dent, the discussions about what to do, issues of blame?

12. Daisy and her reliance on Gatsby? Tom’s arrival home, the discussion, her rationalising the situation? Gatsby overhearing this – and disillusioned? But his not hearing her change of heart?

13. Wilson, getting his gun, driving to the mansion, seeing the car, walking through the mansion, searching for Gatsby?

14. Daisy, her final honesty, persuading Tom to make the phone call, Gatsby deciding not to answer? His being shot?

15. The issues of responsibility in this period of American history? The American dream and its responsibilities? And the symbol of the billboard and the eyes watching? A symbolic film about the US in the 1920s?