SWIMSUIT

US, 1989, 94 minutes, Colour.
William Katt, Catherine Oxenberg, Nia Peeples, Cyd Charisse
Directed by Chris Thomson.

Swimsuit is a Dream Factory telemovie about the Dream Factory itself, focusing on a search for models, their training, the filming of a commercial and their ultimate contracts, the film has the style of a television commercial. It is the popular American dream and fantasy for the widest possible audience.

William Katt appears as an advertising agent and director who selects the models, works them hard and films a commercial. Cyd Charisse appears in some sequences as the designer of the swimsuits being modelled. The models are led by Catherine Oxenburg. There is the usual group, though the film tends to focus on three of the six models and their romantic and career ups and downs. It is the expected type of material - tantalisingly done. with the beautiful people as well as moralisingly done with the outcome.

1. Popular Sunday Night at the Movies entertainment? Human drama? Values issues?

2. The title of the film and the beautiful people? Age, physical beauty and attractiveness? The photography emphasisitig4~this? Costumes and design? Californian and Los Angeles locations, beaches, the Queen Mary? Hawaiian
locations? Editing and pace for the photographing of the models?

3. The credibility of the plot and the characters? Californian situations? Motivation?

4. Brian and his work, his relationship with Mrs Allison? Her design, running the film, decisions about contracts? The character of Mrs. Allison? Brian doing her work, with Willard? The seeking out of the models on location? His impersonal attitude? Exasperations? Timing, exercising, filming, wanting to fire, the soft touch? His concern about Maria and getting her the part?

5. The models themselves and their backgrounds, their hopes, work, mistakes? The two men: the reader who played tennis, gay, helping the Hungarian girl with her designs, getting the contract? The other beefcake model, his lack of conversation, surfing? beefcake?

6. The girls: the Hungarian girl, her accent, her ambitions, not getting the job but going back to Hungary to become-a swimsuit designer and capitalist? Maria and her reluctance, actress, in training, always late, her skills, her acting sequence, getting the job but able to go to the film? Jade and her name, spoilt brat, her Porsche and its repossession, her extravagance, casual relationships, missing out on obligations, her companionship with Rosie, helping her, the attraction towards Willard, throwing herself at him, his
rejection of her, learning her lesson, admitting that she was fat, the pressure of her mother and the family break-up, her change of heart when not getting the job, relationship with Willard? ~And getting the job?


7. Rosie and her work in the diner, inept, hoping for a modelling job, leaving her mother? Chris and his friendship and training her, his jealousy and disappointment? His hopes for the props shop? With Jade, going to the nightclub, the encounter with Hart, his lavishing gifts on her, educating
her, books to read, telling her what to do and wear? The engagement? Her being infatuated, in love, the hopes? Glamour and style? Inept at her jobs, training, rehearsing? Her decision to stand on her own feet? Her doing the water-skiing, success? Her friendship with Chris and giving him the cheque?

8. The picture of success, the Hollywood dream, the glamorous world of modelling, hard work? Characters, motivations?

THE SWIMMING POOL

France, 1969, 120 minutes, Colour.
Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin.
Directed by Jacques Deray.

The Swimming Pool is a romantic thriller by Jacques Deray (the Borsalino films). It has a strong cast led by Alain Delon and Romy Schneider with Maurice Ronet and Jane Birkin in one of her earliest roles.

The film is set at a villa in the south of France during the summer, Delon and Schneider are lovers, Ronet visits with his teenage daughter. Reminders of past relationships arise, present tensions. There is Jealousy and envy and ultimately, violence. The film ends with an offbeat moral judgment.

The film is strongly atmospheric, has attractive settings - but takes its time in setting the atmosphere and in drawing the characters.

1. Interesting French thriller? Portrait of characters? Emotional tensions? Thriller? Police investigation?

2. Colour photography, the villa in the south of France? The focus on the villa, the focus on the swimming pool? Musical score?

3. The title and the focus? For the relationship between Jean-Paul? and Marianne? For Harry's death?

4. Jean-Paul? and Marianne, their relationship, the summer in the south of France, the languid scenes at the pool, their sexual relationship, love for each other? Life and leisure? The arrival of Harry? Jean-Paul's suspicions? Marianne and her detachment? The surprise of the daughter? The effect of the arrival on the couple? The relationship and ignoring Harry, puzzle about Penelope? Emilie and her serving?

5. The character of Jean-Paul?, Alain Delon's charm, background, friendship with Harry? Tension, the jealousy of Marianne and leaving her free? With Penelope, going to the beach? The jealousy of Harry, waiting up for him, the confrontation at the swimming pool, Harry's telling the truth, his trying to hit him, Jean-Paul? drowning him? Arranging the clothes? The police investigation? Ultimately telling the truth to Marianne, Penelope not believing him, Marianne shielding him? Their remaining in the villa? The protection of Marianne? For how long?

6. Marianne and her strength of character, love for Jean-Paul?, the relationship with Harry, allowing him to come, her belief in freedom? Relationship with Jean-Paul?, sensuality and sexuality? Practical, going to town? The shock of the death, the funeral, the police investigation, suspicions of Jean-Paul?, confronting him, deciding to cover up for him, seeing Penelope off? Staying with Jean-Paul?

7. Harry and his personality, reputation, his daughter, intruding on the holiday, creating tensions, socialising, bringing back the people for the party, going out with Marianne, telling the truth to Jean-Paul?, his drunkenness and cramp, his death?

8. Penelope, not knowing her father, awkwardness, at the villa, growing friendships, relationship with her father, the result of his death?

9. The maid, her serving, an outsider?

10. The police, their investigations, the suspicions, the inspector telling the scenario to Marianne? His keeping the options open?

11. Life in the south of France, leisure, summer, luxury, parties? Relationships? Violence?

LORD OF THE RINGS: THE RETURN OF THE KING

New Zealand, 2003, 201 minutes, Colour
Elijah Wood, Ian Mc Kellen, Vigo Mortensen, Sean Astin, Andy Serkis, Bernard Hill, Miranda Otto, Liv Tyler, Cate Blanchett, Hugo Weaving, Billy Boyd, Dominic Monahan, Orlando Bloom, Karl Urban, David Wenham, Sean Bean, Ian Holm, John Rhys Davies, John Noble, Martin Csokas.
Directed by Peter Jackson.

Whatever one's views on the trilogy, it must be said at the outset that Peter Jackson's achievement in bringing Tolkein's epic to the screen is unique, an extraordinary part of cinema history. Not only did he adapt and co-write the novel, he produced, directed and co-ordinated spectacular special effects. And he did it all in New Zealand.

The faith that the producers had in him that they allowed him to make all three films at once has been justified. The success of the first two films also provided financial leeway for him to fine tune and re-shoot so that the third episode would be just as he wanted. He was able to work with a large cast of international actors to create Tolkein's characters acceptable to the vast readership of the novels. In keeping to the threefold structure of Tolkein's work and incorporating most of the key elements, he has satisfied most of the purists, encouraged a new and young readership to open the trilogy and made fantasy more than respectable.

The first two films were honoured with technical Oscars. While the films were nominated for Best Film awards, they did not win. Whether the trilogy wins awards or not, the complete work deserves honours.

The Return of the King is filmed with light, even brightness, compared with The Two Towers. It still has its dark side as Frodo and Sam are led and misled by Golum in Mordor. In fact, the episode with Frodo and the spider in the cave as frightening as an arachnophobic monster film. The battles, too, are impressive, not only the flying creatures taking up soldiers in their mouths and tossing them around, but the mammoths and their relentlessly heavy tread as they advance (the sound engineering making them truly alarming).

With three basic plot stories intercutting, The Return of the King is easier to get hold of: Frodo completing his mission, Gandalf urging Rohan to war, Aragorn and the king riding to do battle with Sauron's troops. Another advantage of this film is that all of the characters have the opportunity to have a specific dramatic sequence that stamps their presence in the film and in the minds and feelings of the audience. It is interesting that the film opens with Gollum in his human form (Andy Serkis) dramatising his evil choices and his transformation into the split personality villain. The character who comes into his own in this film is Sam, played with solid loyalty and friendship by Sean Astin.

Tolkein coined the work 'eucatastrophe'. It means a disaster which is played out in all its tragic aspects but which leads to a good outcome. It is the equivalent of the 'happy fault' of Adam that led to the incarnation, of the passion and death of Jesus that led to resurrection. The battle between good and evil on the large scale in the trilogy, the struggle in Gollum which fails, the struggle in Frodo which succeeds are part of this experience of eucatastrophe. After the battles and the restoration of the king, as in Shakespeare's plays, there is the return of social order. Frodo goes on to another land, a hero. But Sam and the Hobbits stay in the shire where all is well.

1. The impact of this third film? The continuity with the other films? The end of the quest? The restoration of peace?

2. The Oscars and the achievement? The photography, the music, the computer graphic effects? The imagination of the Middle Earth, the kingdoms, the warriors, the fights? Action sequences? The musical score?

3. The completion of the trilogy, the gathering together of all the strands? The intricacy of the plot? The development of the characters? The nature of the visuals? The themes, the struggle between good and evil, the destruction of the ring, the personal temptations for power? Good overcoming evil?

4. The history of the rings, Sauron, Suriman? The various kingdoms? The mission for Frodo and Sam? The temptations from Gollum?

5. The characters of Frodo and Sam, at this stage of their travels, the dangers, the mountains, the spider and Frodo being in the web? The hallucinations, the dark side of Frodo – even the temptation to keep the ring, the caves, the cliffs, the atmosphere of Mordor? Rugged? The ring and the tests? Sam, his friendship and loyalty? Its being tested? His being hurt? Saving Frodo and freeing him, the fight with his tormentors? The final trip, Frodo thinking the ring was lost, Sam restoring it? Going to the cliff, to the fire, the temptation, Frodo and his putting the ring on his finger, losing his finger? The struggle with Gollum? His falling over the cliff, trying to climb back, Sam reassuring him, taking his hand, their fleeing to safety?

6. Gollum, the opening of the film with his history, the ring, killing his friend, the transformation into Gollum? His accompanying the Hobbits? The visuals of Gollum, the performance capture, his voice? His plotting? Sly? Leading the two into dangers? The clash with Sam? His motivations for power, his coming to the cliff at the end, taking back the ring, falling into the fire?

7. The portrait of the kingdoms, the alliances? Suriman and his almost conquering them all? The role of Theoden and his kingdom in this part of the trilogy? His niece and her becoming a warrior? His support of Aragorn? The presence of Gandalf and his advice? The contrast with Denethor, his grief at his son’s death, his despising of his surviving son? His interaction with the Hobbits? His building up the fire, the determination to burn his son? Pippin and his rescue? Denethor and his regrets, throwing himself on the fire? His being consumed?

8. The role of Gandalf, his appearance, his strong presence? His advice, his support of Aragorn? His support of the Hobbits? Having trust in Frodo to complete his mission? His discussions with Pippin – and reassuring him about life after the battles? His participation in the battles, the restoration, his being on the flying creature and rescuing Frodo and Sam? His crowning Aragorn? The resolution and restoration? The finale and his leaving Elrond, Galadrial and Eomer? Their taking Frodo with them?

9. Galadrial, her reappearance, her assurance – and her appearance at the end, announcing the New Age? The parallels with visualising her as angelic, as like the Virgin Mary?

10. Aywon and her role, as a daughter, love, her marriage, travelling – and being reunited with Aragorn?

11. The Hobbits, Pippin and Merry, their place, the tests, their failing to be warriors, yet determined to fight? Merry and his almost being killed, rescued by Pippin? Pippin and his heroics, especially with Denethor? With Gandalf?

12. The Orks, the villains? The introduction of the army of ghosts, Aragorn and his pledge to them? The visualising of the battles – the extensive battle sequences? The grandeur, the majesty, the masses of warriors?

13. Legolas, his heroics, with the Elephet? His presence at the end? Gimley, his size, his remarks, love of danger, his decision to support Aragorn as they went to distract the Eye of Sauron and give Frodo an opportunity to complete his mission? His vigour in the battles?

14. The fire and the Eye of Sauron? The distraction by the armies? The battles? The Orks – the army of ghosts and their conquering, Aragorn pledging his word and their disappearing? The eye being destroyed, the collapse of the tower, the lava flow? The ring in the lava and its disappearance? The armies of Sauron collapsing when the tower collapsed?

15. The scene of the coronation, the courtiers, Aragorn and his humility, his meeting Aywon and his love for her? Peace? Eowin, her becoming a warrior, her confrontation with the monstrous soldier, his declaration that no man could kill him – and her revelation of who she was?

16. The four Hobbits and their being acclaimed by Aragorn and the kingdom? People bowing down, the applause?

17. Frodo and his being in the sickbed, everybody coming to greet him, the reconciliation with Sam?

18. The return to the shire, the time passing, Frodo and his comments – and his later writing the account of the adventures? People welcoming them back? Sam, his marrying, having a family? Bilbo and his reappearance, old, wishing that he had a chance once more to have the ring? His going away with Gandalf and the others? The farewell with Merry, Pippin and Sam to Frodo?

19. The simple ending, Sam and his wife and children going home, closing the door? The adventure and the achievement over?

20. Peter Jackson and his writers in adapting Tolkein? The technical background to the making of the film? The special effects? A visual version of Tolkein?

BRAN NUE DAY

Australia, 2009, 88 minutes, Colour
Rocky Mc Kenzie, Jessica Mauboy, Ernie Dingo, Missie Higgins, Geoffrey Rush, Deborah Mailman, Tom Budge, Magda Szubanski, Ningali Lawford, Dan Sultan.
Directed by Rachel Perkins.

Not a movie for a sobersides view of 1960s aboriginal history – it is better to check in one's serious race concerns at the door. Or, to take the concerns in but be prepared for a sunnily cheerful treatment, the kind that happens only in a musical, because this is what Bran Nue Dae is, a light look at life in Broome, in a school in Perth and on the road from Perth to Broome, with song and dance.

It is also a very broad comedy with some eccentric performances.

Bran Nue Dae began life in the 1990s as a theatrical performances, written by Jimmy Chi. The stage version was filmed and seen on screens and on television at the time. Now it has the cinema treatment, directed by Rachel Perkins (Radiance and the series, The First Australians).

It's a boy meets girl story. Boy goes to boarding school (his mother wanting him to be a priest, with a deeper reason that is revealed at the end) but owns up to a misdemeanour that he was not responsible for. Boy wants to go home and encounters a lovable rogue vagrant, some parody whites, a vampish Kimberly woman and sundry other adventures before getting home and finding true love and some surprising home truths.

When one remembers (if one was around at the time) aboriginal-white relationships in those days, just after the referendum for aboriginal rights to vote, it was not all sweetness and light. Actually, the screenplay does include a lot of the down side of prejudice, drink and hardships but they are incorporated into a treatment that is cheerful and forgiving and culminates in a rollicking song, sung by all, asking what could be better than being an aborigine.

However, there are some powerfully sombre moments in a dream sequence, Willie encountering phantoms and imagining himself strung up and hanging.

There are original songs as well as some borrowed ones (like Stand By Your Man). There are some dance routines, even a high school musical moment with a song and dance in the school chapel. Jessica Mauboy as Rose is able to belt out the songs with exuberant confidence and is a promising screen presence while Rocky Mc Kenzie is sometimes shy and reticent as the hero, Willie, a genial lad for whom priesthood is not a realistic goal.

But the star of the show is Ernie Dingo as Uncle Tadpole a well rounded performance of comedy, song and dance and an embodiment of many of the serious issues of the day.

What to say about Geoffrey Rush as Fr Benedictus, the German priest who runs the school, pursues Willie up the Western Australian coast and who gets some unexpected comeuppance in Broome? The thing to say is that he is sometimes over the top, way over, a Captain Barbarossa in clerical soutane, with a 'vot is wrong vis you' accent. Magda Szubanski, as the gun-toting Roadside Betty is over the top as well but that is what Magda Szubanski does so well and what we expect from her. Singer Missy Pilgrim is OK as a would-be hippy but xx is way under the top as Slippery, a German tourist.

At a time when Samson & Delilah has made a strong impact on Australian audiences and around the world with awards, showing a much more serious side to life in the centre of Australia, Bran Nue Dae takes an opposite and optimistic view, that, despite the past and some of its disastrous consequences, we can enjoy a send-up of some of the bad old days, whites can take a parody of themselves and, why not, a bran nue dae.

1. An Aboriginal musical? Its appeal, the light tough, spoof? Underlying serious themes?

2. A product of the Broome community in the 1990s, their experience, memories? The authors, the play, the music, the songs? Theatrical performance? Australian tour? Building up the characters, the songs?

3. The Aborigines in features films by 2010, the history of Aboriginal presence, the exploring of Aboriginal themes? The Aboriginal dream of simplicity, the life on the coast, fishing? The experience of oppression, racism, the police? The hope for autonomy? From a 21st century viewpoint?

4. The 1960s, 1969, after the referendum? Life in Broome, the families, the religious attitudes, the church and the revivalist ceremonies, the pubs and drinking, the songs, the men away in the cities?

5. The setting for each of the songs, the title song and its exuberance, finale? I Want to be an Aborigine? At school? The final dinner? The songs sung by Lester, by Rose, by the band? The choreography and singing and dancing? The extra songs: Rose and Stand By Your Man, the Rolf Harris song to the two Boomers? The Aboriginal footballers in paint and dancing to Zorba the Greek? The serious of the prison song? Real and unreal? Audiences suspending disbelief?

6. Willie’s story, his age, devout, his love for Rose, his going to the pictures, the rain, seeing himself on the screen going to school? At the pub? His mother, her religiosity, wanting him to be a priest? At the Aboriginal school, welcomed back by Father Benedictus, being a prefect? The kids and the raiding of the fridge, the chocolates? Father Benedictus going to punish the young boy, Willie confessing? His challenging Father Benedictus? (And the context for the song?) His running away, in the city, under the bridge, encountering Tadpole and his friends? The decision to go to Broome? Tadpole spending his money on drink? The fake accident? Slippery and his girlfriend, their Aboriginal consciousness, travelling, their fear of the Aborigines? Stopping on the way, Roadhouse Betty and her food, the sexy challenge, discovering the sausages, getting the gun? Benedictus and his journey, his travelling the road? Willie trying to avoid him? Meeting the footballers, going to the pub, meeting Roxanne, the drinking, her coming on to him? Their being arrested by the police, going into cell? The importance of his dream, the prison cell, the ancestors, his being raised up – strung up? Talking to Tadpole? His return, encountering Lester, the fight, declaring his love for Rosie? The religious revival? The confessions, Willie and his mother, discovering that Tadpole was his father? The range of coincidences? All at the table celebrating?

7. Willie’s mother, her life, her husband and his leaving, her relationship with Father Benedictus, her son and his going to Germany, his coming back? Her becoming religious?

8. Ernie Dingo as Tadpole, the background of his marriage, being away from Broome for so long, in the city, homeless, drinking? Encountering Willie, talking, the fake accident, spending Willie’s money, the drive, talking the Slippery and Annie? The reactions to Aboriginal issues, politically correct comments? Buying the Rolf Harris tape, singing along? The encounter with Roadside Betty and the stealing of the food? The van breaking down, getting the snake, killing it, using the skin for the connection? In the cell, the song? Arriving in Broome, supporting Willie, reunited with his wife? The discovery that Willie was his son?

9. Father Benedictus, Geoffrey Rush’s performance, the caricature aspects? The soutane, at Clontarff and the Aboriginal school? Strict, discipline, welcoming Willie back, making him a prefect, wandering in his pyjamas and seeing the kids eating the chocolates and drinking the Coca-Cola? The chapel sequences, the other clerics behind him? Threatening the little boy, Willie’s confession, his reaction? The song and dance? Willie leaving, his decision to go, get the information under the bridge? The encounter with Betty, the breakdown, the difficulties along the road? Arrival, the confrontation, the truth? Reunited with his son? His sitting at the head of the table, the final song and dance routines?

10. The church, the background of German missionaries, the comparison with revivalist religion? The strictness at the school? Celibacy issues?

11. Rose, the town, her singing, with Willie, at the pictures, the rain? Attracted to Lester, his giving her an opportunity? Her coldness on Willie’s return? Reuniting with him?

12. Lester, his singing, the touch of vanity in the mirror, fighting Willie? The meeting with Roxanne and her coming on to him?

13. Roadside Betty, the broad comedy, her participation in the finale song?

14. Roxanne, her background, the sexy attitude, with Willie, in the town, singing and dancing at the pub?

15. The importance of music in the town, Aboriginal music, country and western style music?

16. The serious themes, relationships, family? Aboriginal drinking? The picture of the police, the arrest, putting the men in the cells? Racism?

17. The traditional life, fishing, being at home, the sea? The issue of the ancestors and their protection?

18. The film as a contribution to Aboriginal life and culture? An Aboriginal production? For the cinemas? The effect on non-Aboriginal Australian audiences? How well would the film travel world-wide?

BRAN NUE DAY

Australia, 2009, 88 minutes, Colour
Rocky Mc Kenzie, Jessica Mauboy, Ernie Dingo, Missie Higgins, Geoffrey Rush, Deborah Mailman, Tom Budge, Magda Szubanski, Ningali Lawford, Dan Sultan.
Directed by Rachel Perkins.

Not a movie for a sobersides view of 1960s aboriginal history – it is better to check in one's serious race concerns at the door. Or, to take the concerns in but be prepared for a sunnily cheerful treatment, the kind that happens only in a musical, because this is what Bran Nue Dae is, a light look at life in Broome, in a school in Perth and on the road from Perth to Broome, with song and dance.

It is also a very broad comedy with some eccentric performances.

Bran Nue Dae began life in the 1990s as a theatrical performances, written by Jimmy Chi. The stage version was filmed and seen on screens and on television at the time. Now it has the cinema treatment, directed by Rachel Perkins (Radiance and the series, The First Australians).

It's a boy meets girl story. Boy goes to boarding school (his mother wanting him to be a priest, with a deeper reason that is revealed at the end) but owns up to a misdemeanour that he was not responsible for. Boy wants to go home and encounters a lovable rogue vagrant, some parody whites, a vampish Kimberly woman and sundry other adventures before getting home and finding true love and some surprising home truths.

When one remembers (if one was around at the time) aboriginal-white relationships in those days, just after the referendum for aboriginal rights to vote, it was not all sweetness and light. Actually, the screenplay does include a lot of the down side of prejudice, drink and hardships but they are incorporated into a treatment that is cheerful and forgiving and culminates in a rollicking song, sung by all, asking what could be better than being an aborigine.

However, there are some powerfully sombre moments in a dream sequence, Willie encountering phantoms and imagining himself strung up and hanging.

There are original songs as well as some borrowed ones (like Stand By Your Man). There are some dance routines, even a high school musical moment with a song and dance in the school chapel. Jessica Mauboy as Rose is able to belt out the songs with exuberant confidence and is a promising screen presence while Rocky Mc Kenzie is sometimes shy and reticent as the hero, Willie, a genial lad for whom priesthood is not a realistic goal.

But the star of the show is Ernie Dingo as Uncle Tadpole a well rounded performance of comedy, song and dance and an embodiment of many of the serious issues of the day.

What to say about Geoffrey Rush as Fr Benedictus, the German priest who runs the school, pursues Willie up the Western Australian coast and who gets some unexpected comeuppance in Broome? The thing to say is that he is sometimes over the top, way over, a Captain Barbarossa in clerical soutane, with a 'vot is wrong vis you' accent. Magda Szubanski, as the gun-toting Roadside Betty is over the top as well but that is what Magda Szubanski does so well and what we expect from her. Singer Missy Pilgrim is OK as a would-be hippy but xx is way under the top as Slippery, a German tourist.

At a time when Samson & Delilah has made a strong impact on Australian audiences and around the world with awards, showing a much more serious side to life in the centre of Australia, Bran Nue Dae takes an opposite and optimistic view, that, despite the past and some of its disastrous consequences, we can enjoy a send-up of some of the bad old days, whites can take a parody of themselves and, why not, a bran nue dae.

1. An Aboriginal musical? Its appeal, the light tough, spoof? Underlying serious themes?

2. A product of the Broome community in the 1990s, their experience, memories? The authors, the play, the music, the songs? Theatrical performance? Australian tour? Building up the characters, the songs?

3. The Aborigines in features films by 2010, the history of Aboriginal presence, the exploring of Aboriginal themes? The Aboriginal dream of simplicity, the life on the coast, fishing? The experience of oppression, racism, the police? The hope for autonomy? From a 21st century viewpoint?

4. The 1960s, 1969, after the referendum? Life in Broome, the families, the religious attitudes, the church and the revivalist ceremonies, the pubs and drinking, the songs, the men away in the cities?

5. The setting for each of the songs, the title song and its exuberance, finale? I Want to be an Aborigine? At school? The final dinner? The songs sung by Lester, by Rose, by the band? The choreography and singing and dancing? The extra songs: Rose and Stand By Your Man, the Rolf Harris song to the two Boomers? The Aboriginal footballers in paint and dancing to Zorba the Greek? The serious of the prison song? Real and unreal? Audiences suspending disbelief?

6. Willie’s story, his age, devout, his love for Rose, his going to the pictures, the rain, seeing himself on the screen going to school? At the pub? His mother, her religiosity, wanting him to be a priest? At the Aboriginal school, welcomed back by Father Benedictus, being a prefect? The kids and the raiding of the fridge, the chocolates? Father Benedictus going to punish the young boy, Willie confessing? His challenging Father Benedictus? (And the context for the song?) His running away, in the city, under the bridge, encountering Tadpole and his friends? The decision to go to Broome? Tadpole spending his money on drink? The fake accident? Slippery and his girlfriend, their Aboriginal consciousness, travelling, their fear of the Aborigines? Stopping on the way, Roadhouse Betty and her food, the sexy challenge, discovering the sausages, getting the gun? Benedictus and his journey, his travelling the road? Willie trying to avoid him? Meeting the footballers, going to the pub, meeting Roxanne, the drinking, her coming on to him? Their being arrested by the police, going into cell? The importance of his dream, the prison cell, the ancestors, his being raised up – strung up? Talking to Tadpole? His return, encountering Lester, the fight, declaring his love for Rosie? The religious revival? The confessions, Willie and his mother, discovering that Tadpole was his father? The range of coincidences? All at the table celebrating?

7. Willie’s mother, her life, her husband and his leaving, her relationship with Father Benedictus, her son and his going to Germany, his coming back? Her becoming religious?

8. Ernie Dingo as Tadpole, the background of his marriage, being away from Broome for so long, in the city, homeless, drinking? Encountering Willie, talking, the fake accident, spending Willie’s money, the drive, talking the Slippery and Annie? The reactions to Aboriginal issues, politically correct comments? Buying the Rolf Harris tape, singing along? The encounter with Roadside Betty and the stealing of the food? The van breaking down, getting the snake, killing it, using the skin for the connection? In the cell, the song? Arriving in Broome, supporting Willie, reunited with his wife? The discovery that Willie was his son?

9. Father Benedictus, Geoffrey Rush’s performance, the caricature aspects? The soutane, at Clontarff and the Aboriginal school? Strict, discipline, welcoming Willie back, making him a prefect, wandering in his pyjamas and seeing the kids eating the chocolates and drinking the Coca-Cola? The chapel sequences, the other clerics behind him? Threatening the little boy, Willie’s confession, his reaction? The song and dance? Willie leaving, his decision to go, get the information under the bridge? The encounter with Betty, the breakdown, the difficulties along the road? Arrival, the confrontation, the truth? Reunited with his son? His sitting at the head of the table, the final song and dance routines?

10. The church, the background of German missionaries, the comparison with revivalist religion? The strictness at the school? Celibacy issues?

11. Rose, the town, her singing, with Willie, at the pictures, the rain? Attracted to Lester, his giving her an opportunity? Her coldness on Willie’s return? Reuniting with him?

12. Lester, his singing, the touch of vanity in the mirror, fighting Willie? The meeting with Roxanne and her coming on to him?

13. Roadside Betty, the broad comedy, her participation in the finale song?

14. Roxanne, her background, the sexy attitude, with Willie, in the town, singing and dancing at the pub?

15. The importance of music in the town, Aboriginal music, country and western style music?

16. The serious themes, relationships, family? Aboriginal drinking? The picture of the police, the arrest, putting the men in the cells? Racism?

17. The traditional life, fishing, being at home, the sea? The issue of the ancestors and their protection?

TOO BIG TO FAIL

US, 2011, 105 minutes, Colour
William Hurt, Billy Crudup, James Woods, John Heard, Erin Dilley, Topher Grace, Cynthia Nixon, Kathy Baker, Edward Asner, Paul Giamatti, Michael O’ Keefe, Victor Slezak, Bill Pullman, Evan Handler, Tony Shaloub, Matthew Modine, Laila Robbins, Dan Hedaya.
Directed by Curtis Hanson.

The Global Financial Crisis.

The Oscar winner for Best Documentary for 2010 was Charles Ferguson’s Inside Job. It was a powerful, even frightening, look at the state of American financial dealings in the first decade of the 21st century. Full of facts and figures, it was also full of potent interviews with many of the movers and shakers from Wall St to Washington DC (though many others declined to be interviewed). It is difficult to comprehend how these men (mainly men) were able to misread the times, undervalue the advice they were given, presume on their egos to come to the closure of banking institutions in the US, and to depend on government bail-outs. (And, then, many would say, go back to their old practices and bonuses).

Another nominee for 2010 Documentary Oskar was Alex Gibney’s Client #9, the Rise and Fall of Elliot Spitzer, the story of the successful but flawed governor of New York State who went after the money rogues.

Too Big to Fail is an interesting companion piece to the documentaries. But, this time, the crises is dramatised in a feature film, based on a book by Andrew Sorkin.

Just as the documentaries were criticised for bias (mainly from critics and commentators right of centre), so the feature film, the dramatising of actual characters and events, has also been accused of being inaccurate. As could be said of Michael Moore (who made Capitalism: A Love Affair in 2009), if only half what he has in his films is true, then that is frightening enough.

This film takes Hank Paulson, Treasury Secretary, as the focus. It was he who had to handle the crisis, even more demanding as it seemed to be hurtling out of control. Paulson had been CEO of Lehmann Brothers before being nominated by President Bush to the Treasury post (and had made considerable profit from his sale of assets). His handling of the situation and the dramatis personae demanded concentration, skills, using his knowledge of the main players – not without mistakes, including underestimating the British response to merger deals and credit regulation, or even some of the government statutory requirements for bankruptcy as in the case of Lehmann’s. This is one of William Hurt’s best performances.

The film opens dramatically with James Woods as the head of Lehmann’s, arrogant and impatient, failing to estimate properly the nature of the crisis, calling his advisers, trying to do a deal with Koreans which he sabotages with American ill-mannered brusqueness. We get the picture at once. Later, we will see the CEOs of the other major American banks trying to save their companies and themselves, reluctant to make decisions for the good of the country.

We also see the Democrat and Republican Congress stand-offs with the legislation for the government bail-out.

Most of the other characters are Paulson’s advisers as well as Paul Giamatti as Chair of the Reserve Bank and Billy Crudup as Timothy Geitner, President of the New York Fed. Edward Asner has some moments as billionaire, Warren Buffet.

The film moves at a great pace, dramatising the desperation of those trying to find a solution – and finding ways to be diplomatic with banking powers that be as well as with politicians.

The film makes us realise that the capitalist system was at the brink – apocalypse in the next few days. Whether the bail-out solution (Democrats objecting) or the government takeover (Republicans crying ‘Socialism’) was the best answer at the time will be debated. The value of this feature drama, along with the documentaries, is that within a short time of the events, they can be brought to the public’s attention through film and television.
Director, Curtis Hanson, is best known for LA Confidential.

1. The documentary features of the film? The feature film – with the touch of fiction? Aimed at the wider audience? Facts and interpretation?

2. Audience awareness of 2008, the global financial crisis? The film presenting it in close-up, the banks, the CEOs, insurance companies? Characters, financiers, government, public relations? The international dimension? The United Kingdom? France?

3. The strong cast and their recreation of these characters?

4. Hank Paulsen as the focus? A hero or non-hero? His background, Lehmann Brothers, his money, seconded by President Bush for treasury secretary? His assets, selling them? His fortune? His ability to assess the situation? His contacts from the past? His sense of duty in government? The contact with Warren Buffet, the CEOs, the British financial regulators, Ben Bernanke, Timothy Geitner? The phone call to Christine Legard?

5. How well did the film communicate the crisis within two hours, the situation, complexity, urgency, the time frame, the effect on the United States, the United States government, on world finance?

6. Audience knowledge of detail, sufficient detail given in the film, information, clarity of issues, or general impressions?

7. The start of the film with Lehmann Brothers, the situation and audiences understanding it through this focus? Richard Fauld and his sense of urgency? His not being aware of the realities? His own ego? His bumptious manner? Joe Gregory and his advice? The plans for the Koreans and keeping him out, his coming in bumptiously and interrupting the meeting, bad manners? The imminent collapse of Lehmann Brothers? His board meeting and taking the vote? His having to vote for the bankruptcy himself?

8. The film providing background explanations, property boom, the belief that this would not collapse, mortgages, the double-dealings of the banks? The explanation of the buying up of debt? The effect on ordinary people – and the comment about ordinary people being to blame for the financial collapse for their presumptions and exploiting money situations?

9. Hank Paulsen in himself, his age and experience, the scenes with his wife, her listening and understanding, support? His shrewdness? Yet sometimes being slow? Not aware of details of government regulations – especially in relationship to declarations of bankruptcy? Not giving the United Kingdom regulators information in time? The sell-offs, the advice of his associates? His not being able to sleep, the pills? The meals with Ben Bernanke and the comments about the situation? With Timothy Geitner, his energy in trying to find schemes to solve the issues? The public relations issue with Michelle Davis? Explanations? Going to the government, the meeting of the Democrats, the Republicans? The potential ruin of the United States’ economy and capitalism?

10. The portrait of Ben Bernanke, calm, assessing the situation, advice to Paulsen?

11. Timothy Geitner, active, his language, communicating? Ideas? The importance of the phone, the calls? The timing?

12. Michelle Davis, the issue of PR, her understanding, the explanations to the public?

13. The arguments about Congress? The Republicans thinking that the bailout was socialism? The Democrats critical of the handouts? The issue of handouts to the banks?

14. The summoning of the bank leaders, Paulsen laying down the law – their reactions, concern about their banks, their companies, their own finances? The phone calls to Warren Buffet? His hesitation? His eventually giving money? John Mack and his being the first to vote? The contacts with Lloyd Blankfein and his heading up his company, being cooperative? John Thain and his hard line? Jamie Dimon and his presence at the meetings, assessing situations? Vikram Pandit and his advice to Paulsen? The character actors bringing these people alive – even for a brief screen time?

15. The solution, the money from the government, the issue of paying back, hoping the banks would lend – and their failure to lend? They were too big to fail?

16. The final information about the characters, their careers, the banks – and the confining of the money to ten banks, definitely too big to fail?

17. The enterprise in this kind of film about contemporary issues – and filmed so quickly after the events? Giving a basis for further interpretation and discussion?

SWEET REVENGE

US, 1984, 103 minutes, Colour.
Kevin Dobson, Kelly McGillis?, Alec Baldwin, Wings Hauser, Alfre Woodard, Richard Bradford, Helen Hunt.
Directed by David Greene.

Sweet Revenge lives up to its title. It focuses on an arrogant military officer played by Kevin Dobson who is responsible for the death of a young woman wanting an abortion and blames it on a promising officer who suicides. Fourteen years later his sister encounters the officer, challenges him, defies him and plans to kill him, but finally exposes him. The girl is played by Kelly McGillis?, so effective in Reuben Reuben and Witness.

The film is fairly implausible, works on the level of soap opera - which means that it communicates quite effectively on a melodramatic level. The film offers insight through emotion.

1. Interesting story? Entertainment? Melodrama? Audiences' emotional response?

2. Military life, the base? Social life? Musical score?

3. The title and the indication of theme? Anger, hurt? Arrogance? The need for justice? Revenge? The satisfaction that revenge gives?

4. The focus on Jo Cheever? An efficient officer? Debbie and her seduction? Tantalising him? His wanting to back off? His strained relationship with his wife? Deceiving her? Debbie’s abortion, death? His decision to cover up - and inviting Paul to take the blame? His not supporting him during the hearing by Debbie's father? The passing of the 14 years? Audience reaction towards him, hearing of the death of Paul? Audiences siding with Katherine against him? Life on the base, Alex admiring him? Anne and her exasperation? His making passes at Katherine? Her meeting him, the jogging? Setting him up during Alex's absence? His arriving late and so avoiding being killed? The investigation about the death? His cover-up? The challenge and Katherine's confronting him? Anne overhearing it? His being exposed and humiliated at the end? An appropriate revenge?

5. Katherine and her friendship with Debbie, knowing the truth but not understanding it? Fourteen years later and the chance encounter with Alex? Falling in love with him, an affair, marriage? Life on the base? Meeting Cheever, hostile towards him, beating him at cards? Alex's puzzle? Her not telling him the truth? Her plan for killing him? Her getting ready as if the had been attacked and had the gun? The irony of the soldier arriving, assaulting her, her killing him? The investigation? Alex's suspicions and her being hurt? Their reconciliation? The confrontation with Cheever? Anne's support? The satisfaction of the public humiliation?

6. Debbie and her father doting on her, her seducing Cheever? The dance with Paul? Concern about the abortion? Her death? Paul as the bright young man, admiring Cheever, his victim? Debbie's father finally taking revenge and humiliating Cheever when he was to be promoted?

7. Anne and her patience, her Senator father, her knowing the truth about her husband, her not having the courage to leave him or expose him, overhearing the conversation with Katherine, her participating in his humiliation?

8. Alex and his friends, the date, falling in love with-Katherine, marrying her, admiring Cheever, puzzled by Katherine's behaviour, his reaction after the death, reconciliation? His friend and his attempt to rape Katherine? His death?

9. Plausibility/implausibility of the plot? Soap opera melodrama style - contrived situations and characters for emotional response? Satisfying melodramatic entertainment?

THE SUSPECT

US, 1944,84 minutes, Black and white.
Charles Laughton, Henry Daniell, Ella Raines.
Directed by Robert Siodmak.

The Suspect is a very enjoyable character study, crime thriller and film noir. It is a star vehicle for Charles Laughton as a meek and mild man who is goaded into killing his impossible wife - it is said that the character was based on Dr Crippen.

The film re-creates the atmosphere of London, 1902, on Hollywood stages and indicates the Hollywood fascination for this Victorian setting for thrillers, for example, The Lodger, Hanover Street, The Verdict.

While the film has a short running time and is B-budget. it is directed with some style by Robert Siodmak, director of such thrillers as The Spiral Staircase and Cry of the City.

1. Entertaining crime thriller? Character study? Film noir of the '40s?

2. The re-creation of England in Hollywood? The unhappy blend of American accents and British appearances? Musical score, style?

3. Victoriana: England, the period,- yet change? Murder, violence under the respectable surface? The investigation and the detective stories popular at the time?

4. Charles Laughton as Philip Marshall: presence and style? Meek and mild at work, his affection for his son, supporting him when he left, the cantankerous wife, Merrydew and his taking pennies and Marshall befriending him and teaching him honesty? The encounter with Mary and her asking for a job? His interest in her, going out, lying to her, the collage of their outings? His falling in love? The effect on him? His wife following him? His discussion with Mary and breaking it off?. His wife's refusal of divorce, her summoning him to her room, taking his key? The Christmas nagging? The threat to expose Mary? The build-up to bid killing her, the decision? The screenplay not showing the death? The transition to the funeral, talk after the funeral? Sympathy of friends? Mrs Simmons and her giving the medicine? The irony of the inspector coming and the vivid re-enactment of the murder on the speculation of the inspector and the camera going through all the motions? His decision to defy the inspector, to marry Mary? Simmons and his wife, the clashes with Simmons? Simmons' blackmail? His poisoning him? The irony of John and the family coming home and the body behind the couch? His love for Mary, decision to go to Canada? The inspector's final confrontation on the boat? The threat to Mrs Simmons? His leaving the boat and giving himself up? A credible characterisation?

5. The sketch of the wife, her nagging, her asking to be killed? The son and his clash with his mother, his friendship with his father, marriage, the fiancee and going to Canada?

6. Mary and her enterprise, typing, asking for a job, attracted towards Philip, the outings, wanting to be honourable, at work and her telling the story, the separation? The death and the police investigation? Her marriage, the possibilities of happiness?

7. The inspector, his pursuit of Marshall, reconstruction of the killing, speculation, getting Marshall tailed, the discussions with Simmons? The end and the confrontation?

8. Simmons as alcoholic, his mistreating hie wife? Her concern for Marshall? Story of her being accused of her husband's death?

9. A well-done thriller, motivation for crime, reconstruction of crime? Conscience?

SUNDAY IN THE COUNTRY

France, 1984, 95 minutes, Colour.
Louis Ducreux, Sabine Aszema, Michel Aumont.
Directed by Bertrand Tavernier.

Sunday in the Country is a beautiful film. The plot is simply that of an old man, an artist, visited by his dull middle-class son, his wife and children on a Sunday in France early this century. His housekeeper looks after him, scolds him, prepares his meals. His vivacious daughter pays a flying visit, despite her emotional worries. They talk, laugh, quarrel, reminisce, regret. And they go home. But it is not a matter of what happens. Audiences share vividly, often exquisitely, this Sunday experience of another time, of another place - but of unchanging human nature.

The film was made by Bertrand Tavernier (Death Watch, Coup de Torchon) and looks and sounds beautiful. It has an excellent performance by Louis Ducreux as - the old man and the attractive Sabine Azema as his daughter.

1. A beautiful and elegant film? Entertainment? Insight?

2. The period of France in 1912? Before World War One, an old world atmosphere? Period decor and costumes? Sunday and the French countryside? The tranquil pace? The musical score?

3. The structure of the film: the voice-over and the commentary (appropriate or not)? The portrait of Monsieur Ladmiral and his life at home, his housekeeper, the preparations for the visit, the visit and the various encounters? The importance of the flashbacks gently inserted? The lyrical overtones of French painting with the two little girls and their moving into the film at various times?

4. The portrait of Monsieur Ladmiral: age, crankiness, the clashes with Mercedes, his being late, the walk to the station, the past and the memories of his wife? The presence of his wife in his life? His children and his attitudes towards them? Expectations of Gonzague? Concern about Irene - but not knowing the realities of her life? His attitudes towards his work? His success and lack of success? Fussy, reacting, arguing? Enjoying the outings, the children? Concerned about Irene? The family going home and his being left with his painting and memories?

5. Irene and her style, that she had left home, her setting up in business, emotional traumas, the visit, the car, her relationship to her brother? Fashion and swirl? Her love for her father? The outing in the car? The contrast with Gonzague? The phone calls? The indications of her tension - though the audience did not know the details, just the feeling? Her hurrying away?

6. Edouard and his proper name? His proper style, family, coming by train, the customs of the visit to his father, his wife and children? The bickering within the family? His narrow outlook? The clashes with his father? The expectations, his wanting to paint, his going into, business? Domination by his wife? The incidents of the day, the meals, the contrast with Irene? Leaving - to come back another Sunday?

7. Edouard's wife and her bourgeois style, her domination of him, her hurrying into church to catch parts of the Mass, her bringing up of her children, manners, snobbery?

8. Mercedes, and her devotion, her shrewdness, her helping Monsieur Ladmiral?

9. The background of art - in the visuals of the film? In the theories about painting of the time? Academic and spontaneous? Monsieur Ladmiral's painting, still-life styles?

10. A film of detail, miniature, visual beauty, emotional satisfaction?

SUNDAY DRIVE

US, 1986, 100 minutes, Colour.
Ted Wass, Carrie Fisher, Tony Randall, Audra Lindley.
Directed by Mark Cullingham.

Sunday Drive is a pleasant Disney family film. It works on the pleasant assumption of mistaken cars and variations on the mistaken identity theme. While the material is predictable, it unfolds amusingly. Ted Wass and Carrie Fisher find themselves with two young children. Tony Randall and Audra Lindley find themselves with a dog. There are all kinds of mix-ups, accidents, timetables, arrests.

Undemanding, but enjoyable.

1. Enjoyable Disney family film? Children? Adults? Mistaken cars? Mix-ups? Climaxes and happy resolutions?

2. California locations, San Francisco, Los Angeles, the West Coast?

3. The title and its irony? The enjoyable Sunday drive for the Franklins and their nephew and niece? Paul and his desperation? Franny and her needing to get to the ship?

4. The focus on Uncle Bill and Aunty Joan and the two children? Bill and his military background, precision? Joan and her expertise on writing books about children? Their handling of the children, the contrasts in discipline, the outings, the meals? The getting into the wrong car? Bill's fault? The discovery of the dog, the hold-up by the police, Bill's reaction, his being imprisoned? His making friends with the dog, formerly not liking pets? Joan's visits? The return of the patents? The resolution and Bill wanting the dog?

5. The children - their parents, Christine and her imagination, John Elliott and his wanting to eat, go to the bathroom? The Sunday drive, impact of their uncle and aunt? Waking up with Paul and Franny, the adventures together, Christine and her cassette recorder and her inventing the story? In the hotel for the night? On the road, the mix-ups? The happy resolution? Christine finally making up a story?

6. Paul and his relationship with Susan, the arrangement for the interview, his needing to get to San Francisco? Her demanding phone calls? The baby talk? The clash with Franny, picking her up on the road? Her thinking he was a kidnapper? Trying to deal with the children, the rockslide, the back roads, the hotel? His appreciating Franny? Susan and her demands? His discovering he was wanted as a kidnapper? Uncle Bill's clothes, going to the interview, making a good impression, giving up the job? Franny and the kids coming in? The police? His decision to be with Franny on the boat?

7. Franny and her car breaking down, clash with Paul, the lift, worry about the children, caring for them, telling them about Australia and her plans to go there? Needing to get to the boat? Paul turning up on the boat?

8. Minor characters: Susan and her demands, her father and the board meeting, the members of the board, the police and their harassment? The hotel manager - and the toss of the coin?

9. Audience response to the dog, Bill's response to the dog, in prison, teaching it tricks?

10. Popular ingredients for the family?