ROAD TO PERDITION

US, 2002, 132 minutes, Colour.
Tom Hanks, Paul Newman, Jude Law, Stanley Tucci, Jennifer Jason Leigh, Tyler Hoechlin, Daniel Craig, Ciaran Hinds, Dylan Baker.
Directed by Sam Mendes.

The Catholic Church receives some attention in Road to Perdition. In the widely-shown trailer for the film, Paul Newman is seen receiving Communion. He is also seen as ordering the deaths of business rivals. He is part of the Irish Mafia in Chicago in the early 1930s who were closely associated with Al Capone and his rackets.

Road to Perdition obviously denotes Hell, although it is also the name of the town to which Tom Hanks, playing a hit man on the run, is trying to reach for safety for him and his son. In fact, the film can be seen more as a study of the relationships between fathers and sons than a simple gangster movie. The plot is framed by Hanks' son telling the audience that some considered his father evil, others as a good man. He leaves it for us to judge, saying simply that he was his father.

The Irish families in the US were very clannish and their lives centred on the church. Road to Perdition shows us that, while the individual criminals were often personally devout despite their crimes, they also had an air of public respectability and presented themselves as pillars of the church. In this film, it is shown in a long wake for a murdered accountant.

However, Evening Standard reviewer, Alexander Walker, took director Sam Mendes to task at his press conference during the recent Venice Film Festival. Basing his comments on the 'graphic novel' (an illustrated comic-like book) which he had read, Mr Walker said that the film did not do justice to the role of the Catholic Church in the novel.

He pointed out that in the novel whenever the Tom Hanks character killed someone, he went to confession. There were no confession sequences in the film. The other important point from the novel is that the boy commenting on his father is finally seen to be a priest who declares that he never touched a gun again after the death of his father. In the film there is no explicit religious reference. He is a farmer.

Sam Mendes' reply was that he filmed a confession sequence but that including it in the film made it too heavy a dramatic way of including the church. He said that film audiences rather than readers would have found the boy becoming a priest too much. The communion sequence carried the impact of the church in these people's lives.

Road to Perdition was on the short list for the SIGNIS Jury in Venice, the Jury of the World Catholic Association for Communication. It just missed out on winning a commendation. The jury, which included the Director of Film Classifications for the US Bishops Conference and the Director for the Italian Bishops conference, thought that the film had a Catholic dimension to it and that it showed the perennial themes of sin, repentance and redemption very powerfully.

1. The impact of the film, acclaim? The acting and directing credits?

2. The title, the focus on the town of Perdition, the significance of going to Hell? John Rooney's comments, Michael Sullivan's beliefs?

3. The adaptation from a graphic novel, to make a film, the secularisation of the story (elimination of the confession sequences, of young Michael having become a priest)?

4. The US in 1931, the Depression, the big cities, the homes, Chicago, the countryside, banks and farms, the roads? The blue-grey colours? The musical score? The religious hymns?

5. The framework of the story: young Michael and his comment on his father as being considered bad as well as being good? His finally becoming a farmer? His comment, non-judgmental, that he was his father?

6. The portrait of the Sullivan family, at home, a devoted mother, knowing and loving her children, Michael and his distance? His care for Peter, reserve with Michael (and later explaining that he thought he was like himself)? The hold of John Rooney over the family? Taking in Michael, treating him like a son? The breakfast sequence, going to school? The boys, their study, their talk between themselves, wondering what their father's work really was? The mystery?

7. Their going to the wake, the range of people there, the Irish Catholics, the mix of people, especially the criminals and gangsters? John and the dice, playing with the children, Michael going downstairs to get John's coat, encountering Connor and his making him leave? The father forbidding them to have the dice? The murdered brother's speech, feeling, the beginning of condemnation of Rooney, Michael and the others urging him off? The setting up of relationships and tensions? John's orders for the treatment of the brother after his speech?

8. Michael not going to the concert, Michael Junior hiding in the car, looking under the floor, Connor and Michael, the confrontation with the brother, his explanations of the money situation, Connor suddenly shooting him? Michael seeing everything? Michael Sullivan realising the danger, the phone calls at home, his wife and son being killed, Michael Junior surviving?

9. Michael Sullivan and his going to collect the debt, the note, noticing the gun, the guard wanting bodyguard work with the Rooneys? The sudden shooting, reading the note from Connor to kill him? His going to visit John Rooney, John's warning? The decision to go on the road with Michael, not attending the funeral, the phone call (and its being tapped by the assassin)? Going to Chicago, the meeting with Frank Nitti, Nitti's refusal to support him, the explanations, John and Connor in the next room?

10. The contract for the killer, Nitti and his organising it, the killer and his taking the photos of the dead, his gallery? Intercepting the phone call? Following Michael? Meeting him at the diner, the meal and the discussion? Michael's shrewdness and his shooting the tyres? The firing of the gun? The pursuit? Finding him after the bank robberies, when he went to see the accountant, the killer seeing him, Michael Junior tooting the horn, the documents coming out of the machine, Michael Sullivan's shrewdness, wounding the killer? The finale and going to the holiday house, the killer there ready, the confrontation with Michael, shooting him, Michael Junior coming with the gun, unable to shoot the killer, his father doing it for him?

11. The father teaching the son to drive, the comic touches, the collage of the bank robberies, hitting Al Capone and Nitti? The bank managers and the hidden money?

12. Their having to go to the farm, the old couple welcoming them, Michael Junior feeling at home, Michael Sullivan and the wound from the killer, the recovery?

13. The role of the accountant, the scenes of the meeting of the heads of the Irish Mafia, the decision makers, John Rooney presiding, the accusations against Connor? The accountant and the documents, Michael Sullivan wanting them, going to his apartment, confronting him? The killer shooting him?

14. The sequence in the church, John Rooney going to communion, Michael appearing behind him and wanting to talk? His showing the documentation to John, John Rooney admitting that he knew that Connor was stealing all the time? The scenes between Connor and John, his father's severity with him, yet his love, his inability to control him?

15. The changes in the situation, especially with Frank Nitti, supporting Michael, Connor's death?

16. The rain, the men coming out of the bar, John Rooney, Michael Sullivan and his shooting, shooting the others, coming up behind Rooney, John saying that he was glad that Michael was killing him? His previous comments about their life, their work, going to Hell?

17. Connor and his pressuring Nitti, his presumption, his death?

18. The possibilities for peace, father and son and the bonds growing between them, mutual trust? The experience for Michael and discovering is father's work, seeing the killing, having to cope with his family's death, his strength of mind, the driving? Going to the holiday home, the dog, the sea? The irony of the killer being there, his having the gun, unable to shoot it? His father saving his life?

19. The ending, Michael and his thinking back over the three months? His never touching a gun again? Back at the farm?

20. The conscience of the film, moral stances, American history and its heritage?

THE LIGHTHORSEMEN

Australia, 1987, 131 minutes, Colour.
Tony Bonner, Peter Phelps, Shane Briant, Ralph Cotterill, Bill Kerr, Anthony Andrews, Serge Lazareff, Gary Sweet, Jon Blake, Tim Mc Kenzie, John Walton, Sigrid Thornton, Gerard Kennedy, Steve Bastoni.
Directed by Simon Wincer.

The 1980s in the Australian industry began with Gallipoli. It brought to mind the memories of World War One and the heroism even in defeat. In the later 1980s came The Lighthorsemen, the recreation of the charge, the last cavalry charge, in Beersheba in 1917. This film had been the subject of Charles Chauvel’s film in the early 1940s, Forty Thousand Horsemen, with Chips Rafferty.

This film was written by Ian Jones, a writer with a historical interest. It was directed by Simon Wincer who had shown his skill in filming horses in Phar Lap. He also won Emmys for his miniseries from Larry Mc Murtrie’s Lonesome Doves. He was to return to horse racing themes in The Cup in 2011.

The film was made in country Victoria and South Australia standing in for Palestine and Turkey (as it had in Gallipoli). The film draws on many of the Australian character actors working in the 1970s and 1980s, young ones like Peter Phelps, older actors like Bill Kerr. Some romance is brought into the film, during the hospital sequences by the sea, with Sigrid Thornton as a nurse (and the final information saying that these two characters married and lived in Australia for decades after the war).

The film was photographed by Dean Semmler, veteran photographer who was to win an Oscar two years later for his work on Dances With Wolves.

The film was not as immediately successful on first release as hoped – but it still stands as a rousing action adventure while being historical and recreating the famous charge and capturing its spirit.

There was a very sad postscript to The Lighthorsemen. Actor Jon Blake, who played Scotty very sympathetically, was injured in a car accident on the last day of filming in 1986. He was left with permanent brain damage. He did not die until May 2011, aged fifty-two.

1. The background of World War One, the war in Europe compared with the war in Asia, the Middle East? The alliance of the Turks and the Germans? The history of Gallipoli? The occupation of Palestine, the charge on Beersheba?

2. Australian awareness of this episode in military history? The recreation? Capturing the spirit of the times and the heritage?

3. The presentation of modes of warfare, the traditions from the 18th and 19th centuries, the role of the infantry, artillery, cavalry, infantry riding and descending from the horses, defence in the trenches? From a 21st century perspective on 20th century changes in warfare?

4. Country Victoria, the mountains and paddocks, the water? The contrast with Palestine, the desert, the mountains, Beersheba? Filming in South Australia?

5. The colour photography, action sequences, the focus on the horses, the galloping of the horses and the charge, the fight, the editing and pace? The musical score?

6. The title, the focus on the men? The focus on the horses?

7. The opening, the close-ups of the horses, at the water, the men for the roundup, the chase, corralling, in the train, going to war, the slogan about the horses doing their duty? Dave, the spirit of the war, the requirements explained to him? The skills in riding the horses? The horses in Palestine, the riders, their skills, the charge on Gaza? The charge on Beersheba, the thirsty horses, galloping, some of them killed? The film’s tribute to the horses?

8. The situation in Palestine, 1917? The Germans and control, their arrogance, colonial attitudes towards the Turks, not understanding the terrain, demanding orders? The comparison with the British, the officers, their decisions, their not understanding some of the situations, the critique by the Australians? The Turks looked down on, the Australians looked down on by the British? The hold on Gaza, the attacks on Gaza and the failures? The decision to take Beersheba? The importance of the wells, that they not be destroyed, the daring nature of the charge, the sunset, the strategies and tactics?

9. The importance of the British officer, going with Tas, seemingly effete and studying the birds, the sandwich, his bags – the blood on the bag, the letters, the Turks finding them, the Turkish commander not believing them, arguing against them, the German officer and his determination that they were correct?

10. The initial attack on Gaza, the infantry and dismounting from the horses, the failure to take the town?

11. The small group of Aussie riders, a microcosm of the troops? Tas, cynical, a good mate, very hard on Dave, humiliating him, admiring his success with the horse? Frank, genial, wounded in the scouting episode, going to hospital, the letter, his dying and the effect of this news on the men? Chiller, a good support, his being wounded and Dave’s falling on him to save him? Scotty, the Irish background, genial and sensible, the human face of the soldiers? Dave, his joining the group, his undergoing a kind of initiation to prove himself? His working with the medics? His being injured, going to the hospital, the encounter with Anne, walking along the beach, their friendship? Her searching for him at the end – and finding that he would live?

12. Chauvel, the Australian officers, their discussions, the tactic in taking Beersheba? The charge, the time limitations? The decision to go, the objections from other officers? Watching, getting the big picture, the achievement – seeing the flag rise in Beersheba?

13. The leader of the cavalry, his exercise of leadership, with the men, his advisers? The flag raised in Beersheba? The comment on the dead – few in number, but not so lucky because they had died?

14. The range of Australian soldiers represented, ordinary fighters, officers, advisers, medics? The estimation of them by the Turks?

15. Reichert, his arrival in Palestine, with the German commander, a yes-man following orders? With the Turkish commander in Beersheba, his discounting any charge? Following orders? The Turkish retreat? His blowing up the wells? Getting the man to repair the fuse? Scotty confronting him, stopping him – and the water flowing freely for the horses?

16. The charge itself, its power, the cameras tracking the horses? The Turks, the guns, the trenches, their being overwhelmed, taking the guns away, Scotty and the overturning of the cannon? The fight, hand-to-hand, the raising of the flag?

17. The information given about the subsequent careers of the central characters? Parliament, happy ending, raising sheep?

18. The film as an Australian achievement about an Australian achievement, keeping the memory and the spirit alive?

PARANORMAL ACTIVITY 3

US, 2011, 84 minutes, Colour.
Lauren Bittner, Chris Smith, Chloe Csengery, Jessica Brown, Katie Featherston, Hallie Foote, Dustin Ingram, Johanna Braddy, Brian Boland.
Directed by Henry Joost and Ariel Schulman.

The previous Paranormal Activity movies have been strong box-office successes. So has this third episode.

The present reviewer was not taken (or taken in) by the first two films. While they were emulating The Blair Witch Project and the many other films that purport to be records of actual happenings (and the Paranormal Activity films even have the time code on the screen to prove what they are showing), they seemed too contrived, even taking their time to build up an atmosphere as if it were real. It would seem that you would have to be easily scared to be upset by the poltergeist kind of happenings that they were showing.

By the time of number 3, you would have to be easily and quickly unsettled rather than easily scared to be affected or frightened. There is a continuity with the other films (apart from a lot of resemblances with camera set ups in bedrooms and bumps and noises in the night) because Kate, from the other films, is reminiscing and showing footage of episodes from twenty years earlier and what happened to her and to her sister. A mysterious presence in the house has an effect on Kate’s younger sister. No wonder Kate has led a life of paranormal activity.

This episode was directed by the makers of the pseudo-documentary Catfish and they have obviously enjoyed themselves (except when they make their characters swear a lot).

Probably a bit better than the second film because of the ghostly presence and the story of the girls, but the whole series seems rather underwhelming.

1. The continuation of the series? The popularity of the initial film? Its sequel? The openness to a further film? Box office success? Audiences interested in the paranormal?

2. The film’s use of the formula – the situation, the poltergeist activity, the sinister presence in the house, setting up the camera, the surveillance, the timekeeping, the editing – and the effect on everyone involved? Paranormal and deadly?

3. The California setting, 2005, the house, finding the videotapes? The return to 1988, the different rooms? Dennis and Julie, the young children, the house, the cupboards, the activities in the room?

4. Audience belief in this kind of poltergeist activity? The spirits, the evil presence, ghosts? The effect on the children? The telekinetic aspects of personality? Differences, even in sisters?

5. Katie and Kristi, their looking at the videotapes? The film showing these tapes? Their being joined with the tapes from 1988?

6. Dennis and Julie, the video photographer, the children? Lois and her disapproval of the situation? The setting for poltergeists?

7. Kristi, psychic child, her imaginary friend, Toby? The noises in the night, the earthquake? Dennis, his associate with editing? Setting up the cameras? Photographing the activity? Photographing Kristi, her having talks with the imaginary friend?

8. Lisa, the babysitter, Randy and his work with Dennis, the experiences in the house, the frights?

9. Katie, sceptical about what was happening, her interactions with Kristi, thinking that Toby was real? Evil? Toby assaulting Katie?

10. The cupboard, its being locked, the sinister presence? The atmosphere of ghosts – and white sheets?

11. Lois, the introduction of the theme of the coven, long-running, raising demons? Dennis, alone in the house, his panic, finding the coven, Julie’s death? Lois and her control over Toby, injuring Dennis?

12. Fiction presented as fact – and audiences liking this kind of alleged realism?

ANOTHER EARTH

US, 2011, 90 minutes, Colour.
Brit Marling, William Mapother, Richard Berendzen, Kumar Pallana.
Directed by Mike Cahill.

Astronomists discover another planet which begins to loom large in the sky. They call it Earth 2.

A teenage girl is fascinated by the planet, gazing at it, wondering – until she recklessly crashes into a parked car, killing a child, the pregnant mother and putting the father into a coma.

The main action of the film takes place after she is released from prison. She is still fascinated by Earth 2 and writes a short essay for a competition for a place on a shuttle to visit the new planet. She also has a sense of shame and guilt and applies for a job cleaning a school. News that the father has come out of coma leads her to visit him, offering to do the cleaning for him.

This is a small film with a small budget. However, it works well as a character study of the girl (Brit Marling who also collaborated on the screenplay), her relationship with the man (William Mapother) and her not revealing the truth to him. This is a tension in the background, and sometimes foreground, through most of the film. The resolution of the problem is somewhat unexpected but works within the themes being explored: grief, anger, shame, love, self-sacrifice.

There is also an enigmatic final scene which leaves the audience with some thinking and puzzling to do. The girl has said that when the planet was first observed with its resemblance to earth, synchronicity was shattered. Is Earth 2 a parallel world to Earth? That is one of the final questions – and if so, do we have doubles, and is there a parallel and better life there? No answers, just a suggestion.

The film was released at the same time as Lars von Trier’s Melancholia. With a planet near earth, there are quite some similarities, but quite a different perspective.

Another Earth is modestly ambitious in its themes and scope and succeeds.
1. The acclaim for the film? Small-budget? Tackling cosmic issues? Apocalyptic but positive? Alter-egos and alter-Earth?

2. The production values, the small cast, the locations, the special effects for a alternate Earth? The musical score?

3. The presupposition about a new planet, being a mirror planet? Earth Two? The visuals for it being in the sky, continually present? The response of the scientists, Dr Berendzen and his remarks? The exploration of the planet? The preparations for the trip? Science development? Space development?

4. The focus on Rhoda, young, interested in astronomy, the party, driving home, the discovery of the planet, listening to the radio, distracted? The crash? Her being injured but not dying? John and his family, the wife’s death?

5. The scene in the car, John and his wife, the son, their discussions – and the suddenness of the accident?

6. Rhoda, leaving jail, going home to her parents? Their concern for her? Her settling in? The effect of what she had done, of the jail time?

7. Her going to get a job, discussions about employment? Going to the school, becoming a cleaner? The details of scenes of her cleaning? The effect? The other members of the staff? Paulida and listening, advice?

8. Her decision to go to John’s house, her knowledge of him, research about him, his coming out of coma, his musical background?

9. Visiting him, his manner, alone? Her offering to clean the house, the test? In the house, looking around, trying to understand John? His inviting her back?

10. Her travelling to his house, the regular cleaning, getting to know him better, sharing with him, drink? His getting to understand her? Her ambitions, the talk about the planet? The sexual encounter? The effect on John, on Rhoda? The audience wondering all the time when she would tell him the truth? The potential for hurt for him?

11. Her writing the essay, the competition? Sending it in? Her explanation to John? The letter, her brother and the parents, her being chosen? The contact made? The TV news?

12. John and his learning the truth? The reaction, his bitterness, ousting Rhoda? Her humiliation, grief?

13. Her decision to offer the trip to John? As recompense, self-sacrifice?

14. His acceptance of the trip, his experience, his gratitude to her? Her hope that he would find his wife and son in the alternate planet?

15. The ending, Rhoda suddenly seeing her alter-ego? Leaving the situation up in the air – for the audience to ask questions about alternate worlds, other planets, identity?
 

THE LAST OF THE RYANS

Australian, 1996, 90 minutes, Colour.
Richard Roxburgh, Tony Barry, Paul Sonkilla, Zoe Bertram, Beverly Dunn, Dennis Miller, Ian Mune.
Directed by George Ogilvie.

In a year when Australian audiences have been able to see three Hollywood films on capital punishment (and themes of repentance and forgiveness), Dead Man Walking (Tim Robbins, 1995), Last Dance (Bruce Beresford, 1996), The Chamber (James Foley, 1996), the telemovie, The Last of the Ryans, has some stiff competition for audience attention.

The three movies are powerful pleas for greater understanding of the barbarity of the state killing one of its citizens, making itself the equivalent of the killer that it has found guilty. They also highlight how society needs to examine its conscience about its own structural sinfulness rather than simply blame a convicted killer, even scapegoating the killer for society's inability and/or unwillingness to deal with its problems which have shaped the consciousness and behaviour of the killer.

The Last of the Ryans tries to do this but is comparatively mild in its presentation of its issues. It raises questions about how effectively insightful drama can be if its chosen public is the average home viewer watching a free to air commercial channel with its ad interruptions at 8.30 p.m. after the day's work when the presumption is that there will be something entertaining to see. Crawfords, the Nine Network and writer Graeme Farmer (The Feds, Cluedo, Newlyweds and mini-series The Darlings of the Gods, Glass Babies) have opted for the popular series style of easy-of-access treatment and writing. The benefit is that a lot of people watch a film about Ronald Ryan and respond to its questions. The loss is that the film can be critically considered as avoiding complexities of issues and coming across as rather bland.

Director George Ogilvie has a strong reputation in theatre, film and television. He elicits credible performances from his cast and has made quite a stylish-looking telemovie (with Jaems Grant as cinematographer and Bruce Smeaton as composer). However, the characters have very limited screen time and, with the popular treatment of issues, they have to rely on broad strokes (Tony Barry as Fr John Brosnan, Paul Sonkilla as Governor Ian Grindlay, Douglas Hedge as Mr Philip Opas), on I-invite-you-to-hate-me caricature (Ian Mune as Henry Bolte) or familiar posturing (Julie Herbert and her pious, hands-joined praying, Going My Way style as Ryan's mother).

Richard Roxburgh, on the other hand, has an assured screen presence and has the opportunity to offer several facets of Ryan's character. Ryan's personal charm (a mixture of conman and lovable Ocker larrikin) has been attested to and Roxburgh certainly communicates this. But he is also presented as an ineffectual thief, an absentee husband and father and a man ready to resort to armed robbery after his escape from Pentridge. The film indicates doubts as to whether he actually killed Prison Warder George Hodson while trying to escape, even uncertainty about whether he fired a shot, or whether the warder was accidentally shot by another guard.
Ryan may have had charm but he also had more than a share of ruthlessness.

But, the central issue is whether Ryan, guilty or not but convicted of murder, should have been sentenced to death in Australia, 1967. This emerges clearly from the film. The dialogue and actions given to Ian Mune to portray Henry Bolte fulfil all the feelings of hostility Victorians might have against an overbearing and arrogant premier. He refers to Ryan as a `two bob crook' and remarks that the law is like the transport or the waterworks of the state and that he can turn them on and off as he wishes. He judges that the public are on his side about law and order (and the subsequent election seemed to vindicate his stance). He had no personal interest in Ryan, no qualms or hesitancy about the application of the death penalty.

Complications about the law concerning murder and its connection with escape from gaol are alluded to as well as appeals to the Privy Court. Changes of heart by some of the jurors are reported, declaring that they might have found differently had they known the death penalty would be invoked.

But there were class issues in the background of the Ryan case. He has married Dorothy George (Zoe Bertram) who came from a wealthy family who looked down on Ryan. This is easier to communicate in a telemovie than legal issues and so Beverley Dunn as Dorothy's mother treats Ryan with disdain while Dennis Miller as Dorothy's father seems to like him. But Dorothy divorces Ryan while he is in Pentridge and re-marries.

One of the best known features of the Ryan case is his prison conversion experience. This is presented quite sketchily, a fade out just as Ryan is about to make his confession. Had the writer found a dramatic way for Ryan to confess so that the audience heard the confession, the religious dimension of the telemovie would have been enhanced. (This was one of the great strengths of Dead Man Walking, Last Dance and The Chamber.) So we have to rely on Ryan devoutly receiving communion and his weeping and sighing mother knowing that her prayers were answered at last. This means that Ryan's dramatically powerful last words to Fr Brosnan, `Never forget that you were ordained for me' lack dramatic resonance.

A television comparison for The Last of the Ryans is Lewis FitzGerald's docudrama, The Last Man Hanged. This 58 minute film has the advantage of interviews with Ryan's wife and daughter, with the Pentridge governor and with Fr Brosnan himself. This makes the scene where Colin Friels, as Ryan, speaks the final words to Fr Brosnan (John Clayton) a very powerful experience.

The Last of the Ryans is not the telemovie event that it might have hoped to have been. It is a Wednesday Night at the Movies contribution to the debate about capital punishment, the role of the state, politics and law and the possibility for a `two bob crook' to find some meaning in his life and death.

ROGER DODGER

US, 2002,105 minutes, Colour.
Campbell Scott, Jesse Eisenberg, Isabella Rosselini, Jennifer Beals, Elizabeth Berkeley.
Directed by Dylan Kidd.

Roger Dodger is a modern New York story, a focus on an advertising copywriter who fancies himself as a ladies' man and who can talk his way out of any situation. He is in a relationship with Isabella Rossellini but fancies himself as being able to pick up women at any time. Into his life comes his nephew, played by Jesse Eisenberg (The Emperors' Club) who is a naïve young man but believes everything his uncle tells him, especially about sex. He takes his nephew on a tour of New York, the clubs and restaurants, talking with women, encouraging his nephew to come onto the women, especially in a sequence with Jennifer Beals and Elizabeth Berkeley. He then takes him to a party. However, the teenage nephew is wiser than his uncle, realises that his uncle lives a shallow life, is embittered, is really disdainful of women and of himself.

1. A small-budget independent film, for the American audiences, worldwide?

2. The strength of the cast, their acting skills?

3. The New York settings, the world of business, apartments, bars and clubs? The musical score and the songs?

4. A film of conversation, argument, clever and smart wit, philosophising, justification of hedonism, ethical and moral issues?

5. The title and its nickname for Roger, the focus on him, his dodgy points of view and behaviour? First impressions as he dominated the conversation in the club? His apocalyptic style, discussion of male and female relationships, the need for sperm banks, the lack of need for men in the future? The group with him and their reactions, enjoying themselves, arguing against him? His self-presumption?

6. The change, his taxi ride, going to the apartment, the sexual relation with his boss, her wanting to break the liaison, the discussions about sexuality and relationships, dependence? His presumption, her comments on his adolescent behaviour? Seeing him at work, her not inviting him to the party, urging him to deal with his problems and grow up?

7. Nick arriving in the office, his mother's messages on Roger's answering machine, Nick meditating, his idolising of his uncle, the story about the interview at Columbia (and later the truth of his running away)? The story of his parents' separation, the funeral of his grandmother, his friendship with his grandfather, going to the house for meals, sharing the interest in the Internet and web pages? His theories about meditating and stress, meals, caffeine? Asking sexual advice of his uncle?

8. Roger and his advice, his principles about women in themselves, encountering them, sexuality, his theory and tactics? Nick ingenuous and nice? The setting up of the bet?

9. The sequence in the bar, as a place, their niche, the darkness, the approaching of the women, the women and their interest, hearing of the bet, not relating to Roger, the arrival of the second woman, the explanations, the sexual language and discussion? Nick's views and Roger's reactions? His ideas, going to the toilet, being ousted from the club, going to the park, the discussion about the first sexual encounters, Nick's reaction, their going to leave, the opportunity, Roger playing the bad cop, Nick letting the women go, the characters of the women, singles bars, their own experiences, reaction to men, to Nick, liking him, affirming his values rather than the macho style?

10. Going to the party, Roger failing, his encounter with his boss, being asked to leave? Setting Nick up with Donna, but Nick knowing she was drunk and taking care of her and leaving her?

11. Nick wanting to give up, Roger's decision to take him to the club, the prostitutes and the sleazy atmosphere, the clients? Nick and his choosing the girl, idealising her, Roger paying? Roger interrupting and taking Nick away?

12. The truth about Nick, Roger getting him to phone his mother? What had Nick learnt - for the future?

13. Roger going back home, looking for work in Ohio, with the boys at the school, their acne and extreme adolescent attitudes and being unaware of them? Roger's speech about dealing with women and their listening in awe? Roger getting the girl of their dreams to come over to Nick and ask him what was his statement for her - and the film ending as he opened his mouth?

14. A film about coming of age, Nick as 16, experience in contemporary America? For Roger the coming of middle age?

15. Themes of the relationship between men and women, understanding, appreciation? Singles, marriage, affairs, liaisons? Career and power? Society and class, parties and money, the superficial life, chat and gossip? The search for meaning?

RIPLEY'S GAME

UK/Italy, 2002, 110 minutes, Colour.
John Malkovich, Dougray Scott, Ray Winstone, Lena Headey, Chiara Caselli.
Directed by Liliana Cavani.

If you want to see an intriguing, finely written and crafted psychological thriller, you could do no better than to try
Ripley's Game.

This is the third version of Patricia Highsmith's novel (one of six with her amoral character, Tom Ripley). Rene Clement filmed it in 1961 as Plein Soleil (aka Full Sun or Purple Noon) and by Wim Wenders in 1977 as The American Friend. Contemporary audiences who have seen Matt Damon as The Talented Mr Ripley, where the character was in his twenties, will be wondering how well these two films fit together. They do.

John Malkovich is now the middle-aged Tom Ripley and if there is anyone on screen who can suggest evil just by a glance or a raised eyebrow, it is John Malkovich. His Ripley has now settled into an amoral way of life, supremely confident in himself, in his skills and in his reading of others. He sells art forgeries while enjoying a luxurious life in a Northern Italian villa. But, into this calm come two disturbances. He overhears an insult from an English neighbour (Dougray Scott). An accomplice from his past, a boorish Londoner (Ray Winstone), appeals to him for help in eliminating Russian competition from his wheeler dealings in Berlin. Ripley ingeniously combines the two challenges and alters the life and integrity of the young Englishman. And then what happens to each of the protagonists and the Englishman's wife (Lena Heady).

The plotting of the narrative is excellent and Italian director, Liliana Cavani, shows she can still tell a cinema
story engrossingly. With fine performances, attractive locations and a continual challenge to our moral stances as we watch, sometimes with growing disbelief that people can so change, what the characters are prepared to do. This is fine adult entertainment.

1. The work of Patricia Highsmith? The character of Ripley? In her literature? In the cinema, The Talented Mr Ripley?

2. The film as a crime thriller, psychological thriller? The credibility of the character, the plot developments?

3. The Paris opening, the glimpses of Paris, the contrast with the Italian villa and the town, Berlin and Dusseldorf? The beauty of the landscapes and their contribution to the context for Ripley? Ennio Morricone's score?

4. The title and the focus on games, Ripley's whims, motives, abilities, spontaneity, adaptability, creativity? Yet destructive games?

5. Tom Ripley in middle age, the suave and complex criminal, his culture, art and taste? The art forgeries and his dealings? The relationship with Reeves and despising him? His clients, the discussion of money, the assistant touching the etchings, his killing him? Conscienceless and his elaborate explanations of his own moral and amoral stances? His being consulted by Jonathan, reading his character, setting him up, changing his mind, helping Jonathan? Buying the harpsichord for the young woman, his delight in it, her playing it? His relationship with Sarah, not expecting any thanks for helping her and giving her the money? John Malkovich's performance, his ability to communicate conscienceless characters, evil? The skill of a look, a gesture for audiences to make moral judgment?

6. The prologue, his work with Reeves, Ray Winston's criminal style, crass and ignorant, the phone deals? Ripley wanting to dissociate himself, giving him the money? Ripley and art, the forgeries, the dealer, the money, the refusal, bashing the assistant, the gun, taking all the money - with no feeling at all?

7. His life in Italy, buying the harpsichord, wanting it prepared in 13 days, greeting Jonathan in the car on the road, Ripley's home and its beauty, the best crook in the Veneto? His girlfriend, the relationship with her, playing the harpsichord with her, buying the new one? The sexual relationship, Ripley's sexual orientations? The discussion about marriage? Her knowing himself and his career? His promising to be at the concert, ordering the flowers, his finally being there, smiling, approval?

8. Going to Jonathan's party, hearing the insult about his taste, the effect on him? Reeves and his wanting help to eliminate criminals in Berlin, Ripley's suggestion of Jonathan,

9. The character of Reeves, ignorant, shrewd gangster dealer? The money from Ripley, setting up in Berlin, the Russians and the Ukrainians, his wanting to eliminate the competition, coming to see Ripley? Ripley not allowing him in? Ripley suggesting Jonathan, Reeves and the meeting with Jonathan in the restaurant, the phone calls, the increased pressure? His details for Jonathan to do the killings? The gangsters pursuing him in Berlin, shooting the man in the bedroom, Reeves fleeing to Italy, Tom continuing to refuse him contact? Thinking that he was in South America, plastic surgery - his finishing up in the trunk of the car?

10. Jonathan and Sarah, the English couple in Italy, his working as a picture framer? Their son? The birthday party, his arrogance about Tom's taste, Ripley challenging him, repeating the word 'meaning'? Jonathan's illness and terminal? The encounter with Reeves in the shop, going to the hotel, his immediate reaction and rejection? His love for Sarah, sexual failure? The pressures by Reeves about his child, the money, doubling the fee? The promise of the consultation with the doctor in Berlin? Jonathan going, the tests, no further progress? Reeves' description of the Russian, going to the zoo, the children rushing in with the teachers, the easiness of killing the Russian? Jonathan going home and hiding the money?

11. The second contact, his refusal, Reeves and the pressure, the car breaking down and the need for a new one, the clashes with Sarah and his deceiving her? His going to Germany, the garrotte, going to the toilet, the master key, finding Ripley? The three deaths and the violence and brutality of the struggles? Arriving at Dusseldorf, the police, their going home, Sarah seeing him, her anger, demands about the money?

12. The survival of one of the henchmen, the pursuit of Reeves and the shooting, Tom knowing they would come, setting the traps in the house, testing them on the bread loaves? Jonathan coming, hiding with him? Ripley waiting, the set-up, the binoculars, seeing the men, Jonathan going outside and almost being killed? The men caught by the traps, the beating? The man in the trap giving the information, phoning and saying that they were the wrong people, his still being shot? Sarah's sudden arrival and her disgust? Jonathan going home, finding the other criminals with Sarah? Ripley and seeing the car, returning, shooting the gangsters, Jonathan saving his life by going in front of him? Sarah's shock, Ripley explaining what she should say to the police, giving her the money? His comment about no thanks?

13. The moral issues of the film, for Jonathan, saving his family, his death, his destructive choices?

14. Ripley and the ending, the completely amoral tone, enjoying the concert?

15. The story as a moral fable of evil, joy and evil, crime and destruction?

ROSA LA CHINA

Spain/Cuba, 2002, 102 minutes, Colour.
Juan Luis Galiardo, Luisa Maria Jimenez, Abel Rodriguez.
Directed by Valeria Sarmiento.

Rosa la China is set in Cuba, written by an exiled playwright and directed by Valeria Sarmiento, who was born in Chile, worked in documentaries in Europe and began making feature films in the '80s.

The film opens with a radio playing one of the soap operas so popular in Cuba from the 1930s. The setting is 1950, the nightclubs and brothels of Havana. Outside there is social unrest - but the audience sees only glimpses of this. It is more talked about than seen. What is seen is the highly melodramatic details of the life of Rosa la China, the wife of Dalzura, the owner of several of the nightclubs, in league with corrupt politicians. The film focuses on the relationship between Rosa and a young gigolo, Marcos, who has great ambitions. His sister Laura is pregnant to the main corrupt politician, the Catholic mother has recourse to going to a fortune teller to try to understand what his happening to her family.

The film is highly Hispanic in its emotions, florid colour, the melodramatic action of seduction, deception, tragedy and desperate love. While it might suit the Hispanic temperament very well, it seems overdone to a more staid culture, especially those cultures of the English-speaking world.

1. The popularity of the radio soap operas in Cuba? The man reading the soap opera to the cigarette makers in the factory? Everybody listening to the soap operas, identifying with the characters, the heightened crises?

2. The Cuban settings, Havana, the city, some of the exteriors, the film principally shot inside the rooms, homes, the nightclub? The forest and beach scenes? An atmosphere of the middle of the 20th century? The musical score, the range of songs and Rosa's songs and dances?

3. Audience response to the melodramatic situations, the heightened characters, the passionate relationships, the sexuality and nudity, the violence, the political corruption? The Catholic religious tradition, mixing with traditional superstitions? Fortune-telling? A mixture of cultures within Cuban culture? The decade of the overthrow of the old regime and the rule of Fidel Castro soon to come?

4. The title and its focus on Rosa, her passionate relationship with Marcos, his rejecting her? Her relationship with her husband? Tensions? The necklace and her ultimately stealing it? Her performances in the cabaret? With the other girls in the cabaret? Her relationships with men? Her passionate attitude towards Marcos, yet her denouncing him after the scuffle in the club? His coming out of prison and rejecting her? The beach sequence? Her decision to go away with him, taking the necklace, deceiving her husband, abusive towards him? Going to the beach, the encounter, her violent death?

5. Marcos and his age, experience, ambitions? Relationship with Rosa, sensuality, rejecting her? In the bar and trying to be a big man with the authorities, their not trusting him? At home with his mother, denunciations of his sister? The return home, his anger with sister, his mother still washing him in the bath? Emotionally immature? His being accused in the club, in prison, getting out, his anger with Rosa? Her giving him the necklace, his hiding it with the money down the well? His stabbing of the parliamentarian's son? The beach sequences and passion? The return to the beach, the anger with Rosa, his violently killing her?

6. Dalzura, his position in Havana, owning the clubs, the chief? His attitude towards those in his employ, commandeering? His love for Rosa, knowing of her infidelity towards him? Running the clubs, seeing the politicians? His being framed at the end? Going to the beach, the police and their shooting?

7. Polo and his assistance, advice to Dalzura? His getting the henchmen and torturing them? His ultimately winning out over Dalzura, driving his car, picking up Laura?

8. The parliamentarian, double standards, with Laura, her pregnancy? The party, the death of his son? The confrontation with Dalzura, engineering his death?

9. Laura, at home, feeling rejected by her mother? With the parliamentarian, excited about her pregnancy, returning home, the possibility of an abortion? The mother, her attitude towards her children? The arguments, the neighbour? Laura being called to the parliamentarian? Marcos's taunts of her? The mother, going to the fortune teller? The scenes of fortune-telling? Rosa and her also going to traditional superstitious ceremonies, her anger and outburst? The use of tarot cards?

10. Life in the clubs, the clients, the women, their dissatisfaction, the sailors, the fights and the scuffles? The police and the final shooting?

11. The background of potential revolution, strikes and student demonstrations? The postscript with Laura working in the factory, the reading of the story, Dalzura sitting in his chair and dying?

RESIDENT EVIL

UK, 2002, 101 minutes, Colour.
Mille Jovovich, Michelle Rodriguez, Eric Mabius, James Purefoy.
Directed by Paul Anderson.

Resident Evil is based on a computer game. British director Paul Anderson (Shopping, Event Horizon) already made the computer game film Mortal Kombat in 1995. It was sheer action using the characters and the problems of the computer game.

Resident Evil is much more of a horror film than the computer game, even though it keeps close to the details of the game. George A. Romero, director of The Night of the Living Dead and its subsequent films, originally signed to write the screenplay. When he withdrew, Paul Anderson came to do the screenplay as well as direct the film? It is clear, especially in the visuals of the zombies in the biotechnical laboratory, that there are influences of the Living Dead.

The film is basically a horror film of a small group trapped in a confined place, trying to get out, gradually being killed off. Mille Jovovich is the gun-wielding heroine with amnesia. As she gradually takes leadership of the group, she begins to remember that she was to infiltrate the Umbrella Company in Raccoon City which was developing viruses and experimenting with biotechnology. James Purefoy is with her - but he emerges as the villain, trying to get a virus to sell on the black market. Eric Mabius, who seems initially suspicious, emerges as the brother of the woman infiltrating the company. Michelle Rodriguez (Girl Fight) is part of the military team.

The film builds up its tension but is very much a horror film relying on shock tactics, the gradual elimination of the members of the group as well as the rampages of the Living Dead. (An Australian film, very close in plot outline, is Esben Storm's Subterrano.)

1. The popularity of computer games like Resident Evil? The characters, the situations, the dangers, the destruction, the emergence into the light and safety?

2. The work of Paul Anderson, interest in computer games, horror in confined spaces? Futuristic films?

3. The Raccoon City settings, the Umbrella Laboratory, the trains? The technology, the horror of the virus being let loose, the water flowing on the trapped technicians? The corridors, the laboratories? The flashbacks giving some sense of realism along with the heightened horror?

4. The special effects, the queen, the holograph of the young girl representing the queen, the zombies, their pursuit, the horror destruction? The musical score?

5. The title, the film as a fable about excesses of scientific experimentation and biotechnology? The destructive aspects - with echoes of the Frankenstein story? A film of action but with moral message?

6. The situation in Raccoon City? The Umbrella technicians and their work, the virus and the hive? The spill, the computer system going down, the sprinklers and the destruction of the workers? Their coming alive again, desperate to survive, destroying the humans? The Living Dead?

7. The train, Matt and Alice, Spence? The mysterious background? The amnesia? The flashbacks to the relationship between Alice and Spence? The emergence of the truth, Alice and her work, Matt and his sister, Spence and his betrayal?

8. The team and O1 as the leader, Raine and her work, the other members of the team? Strategy and tactics? Discoveries, going into the corridors, the laser beams - and cutting the members to pieces? The emergence of the Living Dead? The pursuit? The group trapped?

9. Devising ways to come to the surface? The appearance of the young girl and her threats? The vicious dogs and the pursuit of Alice, her using the techniques, locking them out, destroying them?

10. Matt's sister and her reappearance, jogging Alice's memories? The continued escape, Raine and her being infected, the other survivors? Getting to the surface, the monster unleashed and its destruction? Spence and his selfishness, betraying the group, his being destroyed?

11. Finally getting to the train, the escape, Matt and his wounds, Alice and her being under observation in the laboratory - and her seeing Raccoon City destroyed?

12. The entertainment value of this kind of film for computer enthusiasts? In the tradition of the horror films? Of the moralising films about the excesses of science?

RED LIGHT

US, 1949, 89 minutes, Black and white.
George Raft, Virginia Mayo, Raymond Burr, Gene Lockhart, Henry Morgan, Arthur Franz, Arthur Shields, William Frawley.
Directed by Roy del Ruth.

Red Light is a brief crime thriller, echoes of the film noir. However, it goes in the direction of moral parable, a story about having faith, a story about not having vengeance - with quotations from the Bible.

George Raft is particularly stolid and immobile as the hero, a wealthy trucker, whose priest brother is killed for revenge by an unhappy worker, played with heavy menace by Raymond Burr. Virginia Mayo is not the femme fatale. Rather, she is the one who helps in the investigation. Arthur Franz is a suitably innocent and heroic war chaplain.

The musical score is Dimitri Tiomkin which draws on Schubert's Ave Maria whenever the screenplay focuses on faith. The screenplay is full of such statements as, "When you play solitaire, you can only beat yourself," and, "Liquor doesn't drown your troubles, it teaches them to swim." It ends in a very edifying way.

1. The tradition of the film noir in the '40s? Gangsters, murders, the atmospheric black and white photography, the score? The title?

2. The black and white photography, San Francisco locations, interiors, the use of light and shadow for good and evil? The musical score, religious overtones, the Ave Maria?

3. The introduction, the story about justice and vengeance, its beginning in prison? The focus on Nick and his fellow prisoner, watching the newsreel about Jess? Hatching the plot for the killing of Jess and the revenge on Johnny? The murderer and his going to the hotel room, shooting Jess? His later confrontations with Nick, his being thrown off the train, injured and returning, the final confrontation and his death?

4. Raymond Burr as Nick, the ultra screen heavy and villain? In prison, the embezzlement, his arrest, getting the gun, serving his sentence, the plan to get revenge on John? His following John around, applying for another job, overhearing the information, getting off the hook about the Bible, the confrontation on the steps with the killer, going to the roof, firing his gun, empty, his being electrocuted? The screenplay saying that God did it - and at least He was on duty?

5. John, George Raft's style, tough, his relationship with the priest, paying for the stained-glass window, proud of his brother in the seminary, giving him the Bible, welcoming him home, the plans for the church? His death, ambitions for revenge, his brutal manner? Tracking down the occupants of the hotel room, finding Carla, getting her to help? Her story about her brother? The further investigations, the interrogations, the blind man and the discovery of the Bible? His return, the confrontation with Nick, hazard and his help and his being killed? His being bent on revenge, Carla persuading him not, pleading with him that it was Jess's last wish? His not killing Nick?

6. Jess, the war hero, Carla's story and the photo, her brother? The church, respective parish work? His death, writing in the Bible, not wanting vengeance?

7. The range of minor characters in the hotels, the staff, the bookies, the Hispanic and the soldier who was blind, persuading against vengeance?

8. The religious themes, the church, the priest, the stained-glass window, Johnny praying before the statue of St Joseph, the quotes from the Bible? The priest and his talk about faith?