THE DESCENDANTS

US, 2011, 115 minutes, Colour.
George Clooney, Shailene Woodley, Amara Miller, Nick Krause, Patricia Hastie, Beau Bridges, Michael Ontkean, Matthew Lillard, Judy Greer.
Directed by Alexander Payne.

Subject of a lot of hype and promotion, The Descendants turned out to be much better than anticipated. Director, Alexander Payne, has made only a few films but they have a strong humanity (About Schmidt) and sometimes quite a sardonic tone (Election, Sideways). The Descendants is strong on humanity.

In fact, there is quite a lot of depth to the characters and to the situations (ordinary enough in the lives of many people).

The film has been adapted from a Hawaiian novel by Kaui Hart Hemmings, who has a brief cameo as George Clooney’s secretary. While events like those in the film can occur anywhere, the striking, of ten beautiful, location photography of islands and sea, beaches and mountains, ensure that the audience has a Hawaiian experience. And many Polynesian songs and music in the score.

We glimpse a happy water skier in the first few moments of the film. We soon learn that she has had an accident and is in coma, lying almost lifeless in hospital. Her husband Matt (George Clooney) is in the middle of an important business venture for his extended family (there are lots of cousins in the clan). Land their family was granted in the 1860s has to be sold according to law. It is an opportunity for the family to become comfortable, even wealthy. Most are for the sale, a few not. Later in the film we see the property, pristine beach and valley acreage – seemingly destined for more hotels and yet another golf club.

That would give Matt enough to worry about, but there is a great deal more. Wrapped up in business matters and rather restrained in emotional expression, he and his wife have become distant. Then he learns from his 17 year old daughter, Alex (Shailene Woodley who brings sullenness, yet love and warmth to the role as she faces up to her mother’s plight and her father’s difficulties in handling problems, especially looking after her ten year old sister) that all has not been well.

Matt is quite a strong character but realises he has been cold as a husband and very much ignorant as to how to bring up his daughters. His father-in-law (Robert Forster) who has idealised his daughter is no help at all – and his wife is suffering from dementia.

As Matt investigates what has happened to his marriage and has to decide what steps to take, as well as how to inform the relatives and his daughters that the life support system has to be turned off, he takes his daughters to Kaui. He finds ways to try to resolve the problem which means a difficult meeting with an estate agent (Matthew Lillard) and his wife (Judy Greer). Along for the trip and moral support (which is gauche and offensive at first) is Alex’s friend, Sid. Annoying at first, we learn more about him and change our minds somewhat. A reminder that we need to listen to people and their stories first before rushing to judgment.

The resolutions of the two crises, the life support system and the deal about the land, are both satisfyingly presented, full of different kinds of emotion, but judicious in the presentation of feelings and sentiment. Matt’s final farewell to his wife is a moving and tender reminder that love should be unconditional and forgiving.

We get to know the King family very well. They are dysfunctional and, if tragedy had not intervened, the dysfunction might have greatly increased. However, with all their uncertainties and faults, they grow in awareness of themselves and loving relationships. The dynamic of the film is a blend of love, honesty, anger, forgiveness – and hope.

1. The acclaim and awards? A piece of Americana? Universal issues?

2. The Hawaiian perspective, the islands, the sea, the local ancestors, the American ancestors? The generations, land and wealth, heritage? Into the 21st century?

3. The locations, the city of Honolulu, Diamond Head and the landmarks, the other islands, the water and beaches, the property? Hospitals, offices? Realism? The musical score – and the Hawaiian tones?

4. The title and focus, the generations, the past, heritage, the present and future?

5. Matt King and the voice-over, his explanation about himself, that Hawaii was not Paradise, that ordinary lives were lived there, dysfunctional families? Universal problems and coping with them?

6. Elizabeth King and the prologue, her exhilaration with the water skiing? The transition to her being in coma after the accident? The atmosphere of the hospital? The visitors, grief? Matt, his vigils? Scottie? Elizabeth’s friends? The doctors and the tests, the coma, the prospects, the issue of life support and decisions to be made? Matt’s responsibility? His daughters, accepting their mother’s accident, that life support should be withdrawn? Scottie not knowing? Matt and his assembling the relatives and friends, telling them the truth? Julie and her visit, her talk with Elizabeth, anger and forgiveness? Matt and the final talking to Elizabeth, love and forgiveness?

7. Matt, his life, property ownership, saving his money, practising law? A Hawaiian, his ancestors – and his explanation of his ancestry to his daughters, the photos of the ancestors, the local princess, the property, the history in the 19th century? Land? His handling the legal aspects of the sale of the land, requirements by Hawaiian law? The prospective deals, contracts? The money as helping the cousins? The time limit? Discussions, the cousins, the assembly and the party, the pressures? The individual cousins? The view of the property, showing it to his daughters? Brian Speer and his work connection? The possible profit? Matt’s anger, the meeting, the various cousins and Matt’s decision not to sign the contract? The prospect of the years to think through the issue? Julie and her agreement about the stance taken? The 21st century land issues and environment?

8. Matt and his family, his business absences, distance from Elizabeth, his inability to be touched, his seeming lack of feeling? Tension? Elizabeth raising the children? Her clashes with Alex? Scottie and her place in the home? Alex, brash, going to the institution, her problems, drugs, her friends, her father catching her at the visit? Arguments, resentment? Her return, the response to her mother’s illness?

9. Alex telling Matt about her mother, seeing the man, the shock and its effect? Matt and his reaction, disbelief, the news permeating his behaviour? Going to check the house, finding the address, seeing Brian’s picture on the billboard? The phone call and the impersonation about a buyer? The message?

10. Alex and Sid? Sid’s presence, his age, size, laconic? His insensitivity at the visit to Elizabeth’s parents, her mother and dementia? Elizabeth’s father and his anger, punching Sid? Sid ever-present, supportive of Alex? Irritating Matt? Gradually talking more and more, helping in tracking down Brian Speer? His family background, intelligent, sharing with Matt – and audience sympathy for him by the end?

11. The visit to the grandparents, the father idolising his daughter, not believing anything ill of her, his anger about the accident, wanting blame? His wife and her dementia? Sid laughing? The father not approving Matt? Going to the hospital, the visit?

12. Going to the island, meeting the relatives, talking, tracking down Brian? The information about the deals and his connection? Matt on the beach, seeing Brian jogging, checking the house, the strategy with Alex, the visit, Julie and the kids – and Matt’s encounter with her on the beach and talking with her? The tension, asking Brian for a tour of the house, confronting him, Brian admitting the truth, the effect on Matt? The intimate questions asked? Questions about true love or not? Brian calling the relationship an affair?

13. The effect, Brian and his being a coward, trying to preserve his marriage, Julie’s visit to Matt, her explanation of sensing something wrong, wanting to talk to Elizabeth – on behalf of Brian as well as express her anger and forgiveness?

14. The turning off of the support system, the doctor explaining the issue to Scottie?

15. The meeting, the issue of the contract, the pressure from the cousins, Matt’s decision, their having to accept it? The action for the next couple of years?

16. The portrait of the two girls, the attention to detail, the ordinariness, the ten-year-old and her behaviour, food, play, interactions with people? The age difference between herself and Alex? Alex and the transformation, taking more responsibility, self-esteem, exorcising the clashes with her mother? Relating to her father?

17. Love, infidelity and its causes, forgiveness, unconditional love, death and grief? The range of issues of the film, real – and considered at depth?

TYRANNOSAUR

UK, 2011, 92 minutes, Colour
Peter Mullen, Olivia Colman, Eddie Marsan.
Directed by Paddy Considine.

Written and directed by actor Paddy Considine, this is a most impressive piece of film-making. However, it is tough watching. It is a portrait of two damaged people, depicted with emotional and psychological intensity.

Peter Mullan is a fine serious actor (My Name is Joe, Neds). Here, as Joseph, a lonely widower in Leeds, he is the embodiment of rage, taking it out on his dog, on young Pakistanis, on friends. Many a time in the film, Paddy Considine simply focuses the camera on him as he sits, not speaking, yet communicating volumes. But, he is capable of some tender moments and apologies. He is concerned for the little boy across the street who plays by himself while his mother and her boyfriend ignore him. He goes to the bedside of his dying friend. Yet, the rage can surface. He can feel himself provoked and lashes out physically and verbally with a vicious and cutting tongue.

After being bashed at home by the Pakistani youths, he takes refuge in an op shop, hiding behind a rack of clothes. The volunteer on duty is Hannah who is only momentarily taken aback but talks to Joseph and prays for him. Hannah seems a cheery soul but she too becomes a target for Joseph’s vitriol against God and against her and what he sees as her social status. Hannah is played most movingly by Olivia Coleman (Carol Thatcher in The Iron Lady) who creates a complex and memorable character, a woman battered by her husband and by life.

Eddie Marsan plays Hannah’s erratic husband, charming on the outside, cruel, jealous and vindictive on the inside.

As the film progresses, we learn more about each of the characters, that there is far more to them than the immediate, desperate impression. There is always an appeal for compassion for Hannah – but a surprise (but, perhaps, not unsurprising) turn of events in her life. Joseph, despite the recurring rage, has many redeeming features below the surface.

If you would like to see a finely written and performed but challenging picture of human nature, not without some hope, then Tyrannosaur can be recommended. (Perhaps the title with its mix of tyrant and dinosaur is a bit too clever, especially as introduced in the film in connection with Joseph’s late wife.)

1. The title, its meaning, its tone?

2. The work of Paddy Considine as writer and director? Insight and empathy? Observation of social problems?

3. The Leeds setting, Yorkshire, ordinary, the dingy and dismal atmosphere, suburban, the streets and houses, pubs and shops? Audiences identifying with the locations? Characters? The musical score?

4. The strength of the performances? The awards?

5. Portraits of human nature, grief and anger, rage? Physical and verbal attacks? Victims? Cheery surfaces and hiding grief? Sexist abuse? Clashes between husbands and wives? Presentation of human nature with edge?

6. Peter Mullen as Joseph, the initial drinking, bashing the dog, burying the dog? His later comments about taking it out on the dog? The sequences where he just simply sat and the audience watched him? What was going on in his mind? The boy in the street, friendship, the chats with Joseph? The mother, her boyfriend and his dog? The friend at the pub, his racist comments against the Pakistanis? The Pakistanis, Joseph telling them to be quiet, their playing pool, hitting them, his regrets? His apologies? Moments of calm? The youths bashing him outside his home? His going to Hannah’s shop, hiding behind the rack of clothes? Her talking to him, praying for him, his comments on God, God not being told that he was not God anymore? The harsh judgments? His continued returns to the shop? Going out drinking with Hannah? Taking her to his friend’s house and her praying for him? His return, the abusive language, comment about her way of life, hurting her? his friend’s death? The attitude of his daughter? Audience estimation of Joseph?

7. Olivia Colman’s portrait of Hannah? Seeing her in the shop, the initial impression, a volunteer in the op shop, her reaction to Joseph coming in and hiding, talking to him, praying? The other visits? Going out and drinking with him? His abusing her for her life and style? Her being hurt, shutting him out? Her own faith being tested by her experiences?

8. Jim, his appearances, in the photo at home, Hannah on the couch, his coming in late, urinating on her? the morning, his demand for sex, his crass speech? Talking with her, coming into the shop, seeing Joseph, suspicions and hearing that she was out drinking? His being thought of well by others? The visit, his jealousy, his bashing Hannah? Hannah out drinking, in the street, her memories of her husband’s brutality? His coming to pick her up? Taking her home, the violence and ugliness of the rape?

9. Hannah, going to Joseph, helping with a suit for the funeral, going to the funeral? Going to his home, his letting her stay, saying she must go, the flowers, the meal? Joseph taking the key, going to her flat, seeing Jimmy dead? His return, reaction, his judgmental attitude towards Hannah?

10. The passing of the year, the voice-over and his writing the letter to Hannah, saying that enough was enough and that he had changed? The suit, going to the prison, getting through security, visiting Hannah? The audience shocked that Hannah had killed her husband? Her experience in jail, her appearance?

11. The future, audience response to these two characters – repellent in some ways, sympathetic in many ways? Possibilities of redemption?

THE RESIDENT

US, 2011, 91 minutes, Colour
Hilary Swank, Jeffrey Dean Morgan, Lee Pace, Christopher Lee, Aunjanue Ellis.
Directed by Antti Jokinen.

The Resident is something of a short story, a focus on a doctor who is looking for a new apartment after a break-up with her boyfriend. The film shows some detail of her work at a hospital and her friends there. However, much of the film takes place in the apartment that she rents as well as the rooms behind the walls.

Hilary Swank, who served as a producer on the film, is competent as always as the doctor. She is self-confident but vulnerable, is attracted by the landlord who is fixing up the building. She is also intrigued by a suspicious neighbour, played by Christopher Lee with an American accent. Her ex-boyfriend also appears. He is played by Lee Pace.

The landlord seems very charming and the doctor is attracted to him. However, we realise that he has become obsessive, feels that contact with her former boyfriend is a betrayal and therefore she is due to be punished. The last part of the film is the very physical and psychological struggle between the two.

The film is conventional in its presentation of its characters as well as of the situations – and audiences know where it will lead. However, the director uses an interesting device of rewinding the film and showing a different interpretation of the landlord being surprised when the doctor comes to ask to see the apartment. We see that he had been attracted by her and set it up in the first place when he had taken Christopher Lee to hospital after he had a stroke.

The film was directed by Finnish director Antti Jokinen who had filmed in Finland but moved to make films in the United States.

1. A psychological melodrama? Familiar material? How well executed?

2. The Brooklyn settings, the bridge and the credits, the Brooklyn Bridge itself? The hospital? The parks for jogging? The art exhibitions? The apartment block, the apartment itself, being renovated, the mysterious spaces behind the walls? Atmospheric? The musical score?

3. The focus on Juliette, seeing her jogging, going to the hospital, her competence in the surgery? Her friendship with Sydney? Her looking for apartments and failing? Her going to the apartment block, encountering Max, his charm, showing her, accepting her credentials? Her being introduced to Auguste? The suspicions? Auguste’s gift of the bottle of wine?

4. Juliette, her new life, happy in her home, able to sleep? The encounter with her ex-boyfriend? At the art exhibition, Max walking her home, her reading the signals, the kiss, his return? The growing friendship, the walks, the meals?

5. Jack, the past relationship, his return to Juliette’s life, the encounter, Max’s reaction?

6. The setting up of the video camera? Juliette discovering it? Max’s behaviour, the death of Jack? His assault on her while asleep?

7. His approach, her wariness? His obsession breaking out, the blend of niceness and brutality? The long sequences of the fights and struggles, the geography of the apartment, the spaces behind the apartment? Juliette getting the stun machine? Attacking Max?

8. Max’s death, her survival?

9. A character study, a film about menace? A film about a mentally disturbed person? The consequences? More of a short story than a full feature film?

TOO LATE TO SAY GOODBYE

Canada, 2009, 95 minutes, Colour.
Rob Lowe, Lauren Holly, Art Hindle, Rosemary Dunsmore.
Directed by Norma Bailey.

Too Late to Say Goodbye is a Canadian telemovie of 2009. It is based on a true story. The film is reminiscent of Who is Clark Rockefeller, a similar story of a charming man who has a past and repeats his pattern of behaviour, leading to an abuse of women – and his imprisonment.

The film begins with what looks like a suicide, Stefanie von Pfetten as a wife and mother, in distress. Her family is concerned, principally her sister Heather, played by Lauren Holly, as well as her parents, Art Hindle and Rosemary Dunsmore. Eventually her husband arrives on the scene. He is played by Rob Lowe – charming but ultimately vindictive. Michelle Hurd is strong as the detective in charge of the investigation.

The film has many flashbacks the investigation continues, into the happy marriage, the birth of the children, Jennifer Corbin and her beginning to be alienated from her husband, his setting up his dental practice and his dependence on his assistant. She also begins a communication on the internet, with a man named Chris – who turns out to be a woman named Marion who wants her to leave her husband.

The husband puts on a good face, seemingly innocent – until a previous case of a woman killing herself in similar circumstances emerges from the husband’s student days. Flashbacks to these episodes also.

Ultimately, the husband is unmasked – to the shock of the family and to his brother who looked after him. It has different effects on his two boys, one hostile, the younger dependent on him.

The film indicates at the end that the culprit is serving two life sentences.

1. The film based on a true story? The final information about Bart Corbin and his sentence?

2. A film designed for television, easy watching? Serious portrait of a dysfunctional family and marriage? Murder mystery? The combination?

3. The Atlanta, Georgia settings? The fashionable homes? The dental surgery? Police precincts? Authentic atmosphere? Musical score?

4. The opening, Jenn Corbin and her anguish, the tracking shots, the shooting, her death? The blood, the child’s shoe in the blood?

5. Audiences assuming it was suicide? The continual probing, the gradual questions, revelations, solution?

6. Rob Lowe as Bart Corbin, the flashbacks to the happy marriage, his meeting with Jenn’s family, making a good impression? His surgery, his assistant, their hard work, time together? Jenn’s suspicions? His niceness, with his sons? His going to the scene of the crime, care for his sons? (Commentators say that this is not what happened in real life.) The questioning by Detective Roach? His willingness to take tests? His staying with his brother, his brother as an alibi? His handling of the situations, going to work, the sons going to stay with their relatives? His decision about the cremation, the reaction of the family? Gradually under suspicion? His behaviour? The revelation about his past relationship with Dolly, the flashbacks, the engagement, his falling out with her, his taking her paper, bad-mouthing her, her death? The repetition with his wife – his leaving him, their not leaving him? The gradual information about the online friendship, Chris, the revelation that it was Marion? His insinuations about this? His denials, gradually being found out, his brothers disillusioned? The family’s disgust? In jail, his discussions with Heather, the plea bargain for life sentences rather than execution? In court? The speeches against him by Heather and her father? His jail time?

7. Audiences’ suspicions of Jenn, the marriage, her love for her husband? From his point of view of the alienation, the wanting a divorce? Online, the communications with Chris? The meeting and discovering it was Marion? Marion and her pressure? The visits to the family, Bart and his outburst at the table about the online relationship? Her anguish, with her sister, saying that Bart had run over her foot? The build-up to her death? In retrospect seeing it as murder rather than suicide?

8. The young boys, in the family, the older one with his mother, the blood, wary of his father? The younger son? With his father? Playing ball and their unwillingness? Adopted by their aunt?

9. Heather, her friendship, love for her sister, support of Bart? The years passing? The death, her believing Bart yet doubting about her sister’s behaviour? Her not knowing that Chris was Marion? Her gradual suspicions of Bart, to the police, the questioning by Detective Roach? Her being urged to get information and evidence? The past story?

10. Detective Roach, good at her work, persistence, the questioning, her manner with the suspects? The press conference and Bart’s negative reaction? Her assistant and his trying to get the computer open, his work with Roach?

11. Bart’s brother, genial, helping his brother, disillusioned when finding out the truth?

12. The episode with Dolly, Bart and his charm, her response? Working together on the dentistry? Her embracing another student out of friendship, Bart’s suspicions? His vindictive reactions? Her death?

13. The confession, their deal, the court case, the speeches of grief and animosity towards Bart? His jail sentence?
 

COTTON MARY

UK, 1999, 124 minutes, Colour
Greta Scacchi, Madhur Jaffrey, James Wilby, Sakina Jaffre, Gemma Jones.
Directed by Ismael Merchant.

Cotton Mary is one of seven films directed by Ismael Merchant, best known as the producer for James Ivory’s films from the early 1960s to 2005, the year of Ismael Merchant’s death. Merchant Ivory became a byword for classical films, elegantly mounted, generally British stories but venturing into versions of Henry James as well as stories made in India in their early years.

This film is set in 1954 on the Malabar coast. Madhur Jaffre (best known for her cooking books and programs as well as acting) is a woman of mixed race, Anglo-Indian?, pining for the times of the Raj, having to accept the differences – but not fitting in well, this having effect on her emotional and mental stability. Greta Scacchi (who appeared for Merchant Ivory in Heat and Dust) is the mother of a young girl, married to a businessman (James Wilby) and pregnant. There are difficulties with the pregnancy, especially in producing milk for the child. Mary works at the hospital, takes possession of the child, finds someone that she can lavish her attentions on, takes the child to her wheelchair-bound sister for milk. The mother and the father don’t know what is going on.

Mary is invited to join the household, becomes jealous of the servant who has spent his life in the house, engineers his dismissal by Iago-like insinuations. She, however, becomes more erratic, wanting to become more English, relating that her father was an English military man. Ultimately, there is a confrontation, especially after the mother is informed by her daughter of some of the things that have been going on. In the meantime, her husband is often absent, taking Mary’s niece with him and beginning an affair with her. In the background are three very British and very snobbish ladies.

The film recreates the atmosphere as well as capturing the beauty of this part of India. By setting the film half a century earlier, six years after independence, the film is able to show what happened in India during the 20th century as well as reflect on it.

1. An Anglo-Indian? story? The situation pre-partition and independence? In the immediate aftermath? A 20th century film looking at India in the 20th century, the perspective of post-independence?

2. The Merchant Ivory tradition filming in India, Indian stories, the cast?

3. The title, the focus on Mary, her nickname, its significance?

4. The family, Lily, Teresa, her relationship with John? Life in the house? Pampered? Her background as growing up in India, becoming an adult in India? Abraham as the lifelong servant? Lifestyle and wealth? Her pregnancy, its effect on her, psychologically? The hospital, the difficult birth? The response of the staff? Mary, her concern and her care, encouraging Lily? The birth, the child, Lily having no milk, the dependence on Mary, her absent husband? His arrival and concern? The distance between the two?

5. Mary and her age, her experience, her life story, Anglo-Indian?, her relying on the background of her father? In Malabar? Her culture, manners, treatment of the staff, interactions with the doctor, taking the child, reassuring Lily? Beginning to possess the child, the child giving meaning to her life, her purpose in feeding it? Lily’s response, taking Mary home? Mary willingly going?

6. Lily at home, her social life, the English women and their visits, discussions, the discussions about Mary? Her reaction? Mary’s asserting herself? Later and having her hair done, taking Lily’s dress? Insulting the women?

7. John, his life as a businessman, the distance between himself and his wife, his love for his daughter? His response to the baby, the doctors, his demands, concern? His meeting Rosie, taking her away as his assistant? The travel, the affair? A callow man? Finally exposed?

8. Mary and her own family, her sister and her being wheelchair-bound? Supplying the milk? The extended family, their concern, discussions with Mary, interest in her life at the house? Mary and her discussions with Rosie, Rosie at the hospital, asserting? Urging Rosie to better things? Mary beginning to flaunt herself in front of the family? The visit for the preparation of Lily, – her not coming, the reactions, the judgments made?

9. Abraham, his work in the house, life service, the house as his home? Mary and her jealousy, the accusations, criticising him for being dirty, the health scares about the baby, criticising him being alone with Teresa? The insinuations, the plausibility? Her forcing Lily to let Abraham go? His character, a good man, in the kitchen, serving his being hurt, leaving? Lily’s later regrets?

10. Mary and her mental state, in the house, showing off, the new man, his inefficiencies, the poor work, in the garden, not knowing the flowers, food, being drunk, careless? Lily’s puzzle?

11. The family, her disowning them? Yet having to go back to them? Rosie and her spurning Mary? Mary’s rebukes about her life? Lily and the decision to leave India?

12. Lily and her daughter, Teresa telling her the truth about Mary, the insinuations about John? Her going back to England?

13. The picture of a colonial period, the alleged post-colonialism? Stories of possibilities for India? The changes in the aftermath of independence?

A SHOT AT GLORY

UK, 2000, 114 minutes, Colour
Robert Duvall, Ally Mc Coist, Bryan Cox, Michael Keaton, Cole Hauser, Morag Hood, Kirsty Mitchell.
Directed by Michael Corrente.

A Shot at Glory is a film about Scottish football. The film, therefore, has a limited audience. However, there have been a number of films with soccer as the subject: The One and Only Jimmy Grimble, Purely Belter (both of these focusing on children and their love for soccer), Escape to Victory (which even included Pele as one of the cast, a prisoner-of-war story with Sylvester Stallone and Michael Caine and playing soccer) as well a the portrait of Leeds United, The Damned United with Michael Sheen. The difficulty is the limitation of the code and its not being popular in the United States (witness, by contrast, the number of films about gridiron and American football). Other films about football include The Club, about Australian Rules, and Warming Up, about rugby union, Australian Rules, Last Winter and Invictus..

This is the story of Kilnochy club, under pressure to win the Cup, under pressure from the American owner, especially considering transferring from the oval in the town of Kilnochy.

The film offers a tour de force for Robert Duvall, Scots accent and all, as the local manager of the Kilnochy club. He gives it his usual zest, preoccupied with the club, training the men, remembering the opportunities that he did not have, alienated from his daughter when she broke an engagement and married the star footballer. The star footballer has been in London, is recalled to give the club the chance for winning. Michael Keaton has a small role as the American owner of the club. Cole Hauser is an American who plays in the team, especially in the position of goalie, which is crucial to the culmination of the film. Bryan Cox is the coach of the Scottish Rangers.

The film gives some background about Scotland and its obsession with soccer, the football league, the fans, the games.

There are some comic touches, but the film is very earnest about football, about winning, as well as having the human drama of the coach, his devoted wife, alienated daughter, clashes with his son-in-law.

1. An interesting film about football? The popularity of soccer around the world? Limited audience?

2. The Scottish settings, the town of Kilnochy, Glasgow? Homes, training grounds? The oval? The dressing rooms? The sense of realism? The musical score – and bagpipers and Scottish melodies?

3. The title, the attempts at success, for winning, the glory of the Cup? The irony of the ending? The next year and ambitions?

4. The picture of football in Scotland, the competitions, the information about Celtic and Rangers, the backgrounds, the religious differences? The rivalries?

5. Gordon Mc Leod, his years as a footballer, as the manager of the team? His working the men in the team? The grounds, the exercises, in the dressing room, the pep talks? His own attitude, his disappointments? His rivalry with the coach of Rangers? Seeing him on the TV, ignoring him? The fact of his son-in-law coming back into the team, the alienation because of the marriage, his being away, his skills, yet Gordon suspicious of him? The matches, the training, his success? The matches and going up the ladder? The build-up to the confrontation with Rangers? The seeming reconciliation between Jackie and Gordon? Gordon ordering him to stay in his room – the woman coming, resisting? His wife coming, going out, the Rangers mocking him, throwing the bottle, the fight, in jail? His being let out? Gordon keeping him off the field? Finally letting him on?

6. Gordon and his home life, the devotion of Irene, their easiness together? Yet her offering criticisms, especially about their daughter? His praise of her at the testimonial dinner? Always at the matches?

7. His alienation from his daughter, her marrying Jackie, the child? His refusal to speak to her? The testimonial night and his ignoring her? Her confronting him at the end, explaining what had happened the night before? His relenting about Jackie going on? The reconciliation at the end? A hard man?

8. Peter Cameron, ownership of the team, the American influence? Wanting to move grounds? The discussions with Gordon, setting the conditions? The testimonial night and the speech, staying in the grounds in the team had success? The end, his comments, the loyalty of the teams and the fans? Staying at the grounds?

9. The young American, his being in the team? Training, his awkwardness on going on? The ideas that Gordon had given him? The penalties, the kick-offs, his failures and success?

10. The players, their working together, loyalty to Gordon? In the dressing room? The jokes with the tea lady in the shower? The spirit of the team? Their playing their best? Defeated?

11. Bryan Cox as the Rangers manager? On television? The rivalry? His watching the match? The penalties? His getting the Cup? Gordon and the comments? Winning by a penalty was not a victory?

12. Sports films and the presentation of underdogs, working together? The issue of championships? Morale? The picture of defeat – not easy winnings? Always hope for the future?

MERCY

US, 2009, 87 minutes, Colour
Scott Caan, Wendy Glenn, John Boyd, James Caan, Troy Garrity, Kelly Lynch, Balthasar Getty.
Directed by Scott Caan.

Mercy is a short film written by Scott Caan who plays the central role. He portrays a successful novelist who lives in his mind and in his reputation rather than in deep-felt experiences. At a book launch for his third book, he approaches a young woman who resists him – and finds later that she has written a very negative review of his book. When he confronts her, he begins to open up and they form a friendship which has the possibilities for a lasting relationship. When she has to go back home, he pines away, realising that he loves her. When they encounter each other once again, he takes her to see his father – who is played by Scott Caan’s real-life father, James Caan, in an interesting performance. Meanwhile the novelist relies on his friends, one of whom is in perpetual crisis about relationships.

The film is one which is strong in dialogue, the conversations between the author and the girl, the callow conversations with flirtatious people at parties, the anguish as well as the support of friends.

The film is brief, mingles different times so that one has to be attentive to realise at what stage of the author’s development the film is at. (?? **at .. and at?) Scott Caan gives a heartfelt performance, performing the character that he has written.

1. The impact of the film? Human relationships? Self-esteem? Growth and development? The nature of love?

2. The American settings, apartments, offices, the streets? The beach? The sense of realism?

3. Realism and surrealism – the time-shifts, the intermingling of times? The revelation of the character as he lives and remembers?

4. The film written by Scott Caan? His performing the central role? Convincing? His background, the memories of his mother, the memories of his father – and the visit to his father, comfortable, talking, his father’s reactions? Criticisms? His taking his girlfriend to see his father? Their rapport? His father at the book launches?

5. Johnny and his friends, Eric and his desperation, the best friend and his support? Their talking together? Discussing relationships? Sexual encounters? The support at book launches? These characters, as they develop through the film, their own relationships?

6. Mercy, Johnny writing the novel, the typewriter, the headings, the aftermath? As a person, resisting Johnny, the negative review, his challenging her, their discussions? Their understanding each other? Her realising he was immature? The relationship, its development? Her going back home? The reunion, the visit to Johnny’s father? Her asthma? Her helping to build him up? The seeming happy future? Her going into the elevator, stuck, her asthma, her death? Johnny not knowing - thinking that she had disappeared? The effect on him?

7. The meal, the setup, the widow, their talking, Johnny and his anger in discovering she was a widow, hitting his best friend? The later meeting with her, the apology? Whether she would take the place of Mercy?

8. A film for thirtysomethings? Reflecting contemporary experience? Men, their self-image, their achievements, their lack of emotional development? The challenge of love, transforming?

9. The irony of the name – Mercy as the girl and mercy as a theme for symbolising relationships and developments?

WRESTLING ERNEST HEMINGWAY

US, 1993, 123 minutes, Colour
Robert Duvall, Richard Harris, Shirley Mac Laine, Sandra Bullock, Piper Laurie, Michol Mercurio.
Directed by Randa Haynes.

Wrestling Ernest Hemingway is a very engaging film about older people. Robert Duvall excels as a Latin American barber, a fussy single man who is disguised for viewers with a pair of thick black-rimmed glasses. In contrast is Richard Harris, weatherbeaten but lean, formerly a captain of a ship who lives in retirement. His landlady is played in a more supporting role by Shirley Mac Laine. The film is also an early vehicle for Sandra Bullock, just as she was emerging to become a major star. She gives a typically sympathetic performance as a waitress in a diner. Piper Laurie has a good role as an elderly lady who goes regularly to the cinema, and is continually bothered by Richard Harris.

The story is quite simple, the two different men have a chance encounter in a park, are wary of each other, become friends, quarrel often enough, are reconciled in the end as one of them dies. Part of their day is to go to the diner and get a sandwich, bad for Duvall’s health, served by Sandra Bullock in her section of the diner.

The film is strong on dialogue, lots of discussions between the central characters, highlighting the themes of age, loneliness, love, isolation. The film is basically one of friendships.

The film was directed by Randa Haynes, director of the sensitive telemovie Something About Amelia as well as such feature films as Children of a Lesser God and The Doctor.

1. The film as comic, serious? Sympathetic? Insight into characters? Friendship, age?

2. The title, Frank and his memories, the story of wrestling Ernest Hemingway, the spirit of Hemingway and his macho warrior style? The world of old movies screening at the local theatre? Part of the atmosphere?

3. Florida in the 1990s, retired people, the town, the sea, the parks, streets, restaurants, apartment blocks, homes? A sense of realism? The summer heat?

4. The introduction to Frank, the heat, his doing the exercises, naked, his age, grizzled? His past in the sea, his relationships with women, his wives? The end of his life? Retired? The clashes with Helen, about the heat, the airconditioning, his clothes?

5. The contrast with Walter, watching him in the distant window and his practising his dancing, Hispanic, his accent, age, living alone, his work as a barber? Prim in his manner, the regularity of the bacon sandwich, considerations of his health? His friendship with Elaine? His routine, going to the park, doing his puzzles?

6. Helen in the apartments, her living alone, the background of her marriage and divorce? The clashes with Frank? The airconditioning, his making demands at her door, the arguments? Fixing the airconditioning? Her mellowing? His approach to her, her resistance? His visits to her apartment, talking, drinking, the loneliness, the sexual encounter and the comfort, his death? The funeral arrangements with Walter?

7. Walter in the park, Frank and his Hemingway book - after spending the time in the bookshop and the airconditioning and being ousted by the manager? Talking with Walter, interrupting him, an intrusion, the effect on Walter, eyeing the sandwich? Frank with the little children and their mother, teaching them to dance? The two going to the diner, Elaine and her side, Bernice and her side? Walter wanting to sit in Elaine’s side, not wanting to be rude? Frank and his bravado, Walter reprimanding him for his language? Elaine nice to each of them? Their growing friendship, sharing discussions, the prospect of the dance, Frank and his job at the cinema, the bike ride to the fireworks, their clashes, Frank mocking Walter’s dancing, Frank giving him the bike to say goodbye to Elaine, the bad gift, his taking another gift? The fight, the reconciliation? Walter going to the apartment, finding Frank dead? Walter and his going to the dance, dancing with the ladies, an achievement and happiness? And his experience of friendship?

8. Frank and his getting a haircut, the shave from Walter? The suit, going to the theatre, losing his job? His harassing of Georgia?

9. Georgia, the retired lady, loving to go to the movies, her special seat, her reaction to Frank’s attentions, telling him to go away, finally resisting him?

10. Elaine, nice, with Walter at the bus stop, the other woman intruding? Her work as a waitress? Bernice and the friendship? Frank and his behaviour, patting the waitresses? Elaine and her marriage, touched by Walter’s visit and his gift?

11. The strength of the dialogue, the delineation of the characters? The charm of the film – and older people mellowing through contact and friendship?

BASEKETBALL

US, 1998, 103 minutes, Colour
Trey Parker, Matt Stone, Dian Bachar, Yasmine Bleath, Jenny Mc Carthy, Ernest Borgnine, Robert Vaughn, Reggie Jackson, Robert Stack.
Directed by David Zucker.

BASEketball comes from the team who at this time, in the late 90s, created South Park. This film came before South Park but employs Parker, Stone and Bachar who contributed regularly to the voices over the long duration of South Park.

The film has the touch of the anarchic – not only with the two stars but also with the direction of Zucker, responsible for such comedies as Airplane, Ruthless People, Top Gun, some of the Naked Gun films as well as of the Scary Movies (he became a staunch Republican in 2004 and made the very anti-Democrat comedy An American Carol in 2007).

The film shows two young boys who love baseball. They aim to be stars when they grow up. However, they become stoners and wander around, playing computer games and exercising their skill in throwing baskets. When they are challenged by some upper-crust students, they invent baseketball, a type of basketball with hoops as well as baseball with running around a diamond. However, the main thing is to gross out the opponent as he or she tries to throw a basket. This technique is called psychout. There are various gross examples, needless to say.

While the comedy is about sport and the practical jokes of psychouts (with the assistance of Squeak Scolari, a small man played by Dian Barker), the point is made about the professional world of sport, the transferring of players, the trading of players, the big salaries. The film takes a stance against these.

A sprightly eighty-year-old Ernest Borgnine plays an entrepreneur who takes on the sport and builds it up. He has a song and dance routine, a death scene with a saveloy – and shows himself to be a good sport. Robert Vaughn is the arch-villain, with plans to control the sport. He machinates against the two – especially, when in a videoed will, Trey Parker inherits the team. Vaughn has a number of good double-take sequences as Matt Stone misunderstands conversation completely. There is also the femme fatale, Borgnine’s widow after three months of marriage, who takes a lot of Robert Vaughn’s innuendo very literally.

Parker and Stone are an agreeable couple, they have an irreverent attitude towards things American while being very American themselves.

The film has some observations on sport and the business management, has a deal to say about snobbery in American society, has something to show about the corporate villainy in management in corporations.

The team was to go on to great success with their television series of South Park, their films, Orgazmo (1997, a satire where a Mormon was persuaded to act in pornographic films – Parker himself having grown up as Mormon), South Park: Bigger, Longer and Uncut as well as Team America: World Police (2004). They plan to film their Broadway musical, The Book of Mormon, which was nominated for three Tony awards in 2011.

SATURDAY NIGHT AND SUNDAY MORNING

US, 1961, 89 minutes, Black and white.
Albert Finney, Shirley Anne Field, Rachel Roberts.
Directed by Karel Reisz.

Saturday Night and Sunday Morning, based on a novel by Alan Sillitoe, was produced during the early sixties, at the height of the 'kitchen sink’ dramas. John Osborne began the outcry against smug and mindless society and its drawing-room drama with Look Back in Anger (1956). The Establishment was the target of the continuing protest along with the growing industrialisation of our environment. Once more the intention was to show things as they are, the work, poverty, sweat and sins. Tony Richardson directed some of Osborne's work: Look Back in Anger, The Entertainer; he produced this film.

Set in a provincial industrial city, the film shows the hum-drum work-life of Arthur Seaton and the weekend getting away from it all in drinking, brawling and having an affair with another man's wife. Arthur's irresponsibility is looked at in the dreary industrial environment, two testing factors are his falling in love with a local girl and the pregnancy of his mistress.

The film is a well-acted character study of Arthur, but it is also notable for its evocation of the mood and atmosphere of an industrial city and the life and interests of its people. It serves as telling comment on contemporary Britain and the attitudes and values of its working-class.

1. How typical is Arthur Seaton of the young factory worker in the English environment?

2. Is he an exception?

3. How typical would he be of his counterpart in other countries?

4. How likeable is he?

5. Would you say that he is an 'outsider'?

6. What are his values?
- he talks about 'having a good times, everything else is propaganda'.
- he continually asserts that he'll get by. Does he like other people?

7. What are his standards? Would you say that he knows right from wrong?

8. Has he a chip on his shoulder? If you think he has, then why has he?

9. Could he be accurately described as 'despairing'? Why?

10. What hopes or attritions did he have?

11. What effect did the film have on you through its presentation of a way of life that is work all week, with weekends that mean alcohol, sex, and throwing your weight around?

12. Discuss Arthur's attitudes to Brenda's wanting an abortion and then wanting to keep the child.

13. Arthur is cheeky, spiteful, childish, says loony laws are to be broken, snarls at all those who want 'to grind you down'. How typical are his views of life and attitudes today? Of your attitudes? Of those you live or work with?