GRAND CANYON

US, 1991, 134 minutes, Colour.
Kevin Kline, Steve Martin, Danny Glover, Mary Mc Donnell, Mary Louise Parker, Alfre Woodard, Jeremy Sisto.
Directed by Lawrence Kasdan.

Grand Canyon was nominated for an Oscar for best original screenplay, 1991. It was written by writer-director Laurence Kasdan with his wife, Meg. Kasdan had written screenplays for The Return of the Jedi, The Empire Strikes Back and Raiders of the Lost Ark as well as more serious dramatic comedies like Continental Divide. His own films as director included Body Heat and Silverado as well as The Big Chill, The Accidental Tourist which resemble Grand Canyon.

The film is an ensemble piece, a group of people in middle age and in mid-life crisis in suburban America. The paranoia about violence and the world going to ruin is evident in the film, the violence of Los Angeles, the black ghetto and racism, criminal violence, violent movies - and even earthquakes.

The Grand Canyon is a symbol of hopes, of seeing human beings in perspective. The Kevin Kline character talks about Grand Canyon as forming over millions of years - making an individual life seem so insignificant. Needless to say, the climax of the film is a group of the central characters going to contemplate the Grand Canyon.

The acting is excellent with Kevin Kline and Mary McDonnell? as a middle-aged couple with a teenage son (Jeremy Sisto). (Kevin Kline had worked for Kasdan in The Big Chill, Silverado and I Love You to Death). Steve Martin has a very effective cameo as a director of ultra- violent films (allegedly based on Hollywood producer Joel Silver, whose credits include the Die Hard and Lethal Weapon movies). Danny Glover is very good as Simon, a tow truck driver who rescues the stranded Kline one night and becomes friends with him. Also in the ensemble are Mary Louise Parker as Dee, a secretarial assistant infatuated by Kline, and her friend Jane (Alfre Woodard).

The film is long, relies a great deal on the substance of its dialogue as well as its visuals. It is a film of middle-class America - but with interesting human themes, of both black and white, for wide audiences.

1. Impact of the film? Human and humane? Comedy-drama? A piece of Americana of the early '90s? Suburban and affluent America? Impoverished America? Universal appeal? Screenplay's Oscar nomination?

2. The worlds of Los Angeles, the suburbs, downtown, homes, the sinister Los Angeles? The real and the artificial? Rich and poor? Black and white, ghettos? Hollywood? The Grand Canyon as a symbol and climax to the film? Musical score?

3. The title, the canyons of contemporary American cities? The Grand Canyon as a symbol of beauty, creation, formation over millions of years? Human beings minute in comparison? The visit to the Grand Canyon as climax to the film?

4. The visuals and the verbal communication of the film? Character interactions, relationships: family, marriage, affairs, friendship? The relationships between men and women? Men's friendships? Women's friendships?

5. Mid-life, experience, the pressure of the world, growing confusion and paranoia? Crises, values? The passing of traditions? Age, change and coping?

6. The intercutting of the various characters and events, people's lives being linked? Their effect on one another?

7. The opening with basketball, American style? Simon and his skill at basketball? Mack and Davis and their watching the match, the kids watching it on television, both black and white? Claire at home, the game, yet doing her calendar? An ordinary night - leading to the short cut, Mack lost, the car failing, the blacks attacking him, the phone calls, lack of co-operation? Simon coming, confronting the black youths, helping Mack? Help, communication? Their sitting in the gutter and talking about life - and the significance of the Grand Canyon?

8. Mack and his life, his work in immigration, husband, father? The brief affair with Dee and its effect on her, his wanting to forget it? His relationship with Claire, age, their son? Life at home and its detail? Their separate lives? His deceiving her? Mack being disturbed, discussions with Davis? Meeting Dee and Jane, his uncertainties, the cafe? His taking his son for driving lessons - the humour and his own nervousness? His moralising on the lessons? The friendship with Simon, going back to seek him out, taking him to breakfast? His story about being saved by the woman and his not having thanked her properly? His wanting to thank - and make that part of the flow of life? Claire, life at home, jogging? Seeing the poor men in the cardboard shelters? The discovery of the baby (with the Moses and Exodus overtones)? Her day with the baby, tenderness, looking after it? Feeding it? The phone calls with Mack, discussing - the bedroom discussions and his not believing it? Their trying to communicate? The decision to adopt the baby, processes and documentation? The reasons for Claire wanting to have a child?

9. The dream sequences - fantasy, spectacle, danger, the truth for the dreamer? Mack, relationships, the affair, the tenuous nature of his hold on life? Claire, her sense of loss, the departing train? (Claire hearing the voice of the vagrant saying to take the baby?)

10. Simon, a good citizen, a good man? The divorce, his devotion to his deaf daughter, communicating by computer? Looking after his sister, his concern about Otis, the little girl? His visits, the meals? Their poverty? Otis and his rebellion, going out? The meeting with Mack, rescuing him, reflecting with him? The violent shoot-up of his sister's house? The visit by Mack, having breakfast, the possibility for his sister to move, his hesitation, arranging it? The move and the effect on them all? His sister at work? The park and its peace, Otis and his beginning to fear, the friendship of the Hispanic youths? The police and their suspicions, harsh treatment and his reaction? His having to face realities - that life need not be as violent and grim as he thought?

11. Roberto, his baseball name? At home, television, study, his advice for his mother? The summer camp, working with the young kids, the girlfriend, the letters, the parents waiting for the children to come back, the Thanksgiving plans? The challenge to his mother? His fear that they were going to separate? His response to the news about the baby? The driving lesson and his ability to handle the situation, mistakes, his father's reactions?

12. Davis and his friendship with Mack, sport? His limousine, his young girlfriend - and her wanting to get married? His violent movies, the editing sequence and his argument about integrity and art? His philosophy of moviemaking? The attack, his being knifed, bleeding, going to hospital? The effect of the attack, his limp, his change of heart, his vision? Claire's visit and his whole change in values? Leaving hospital, the money for the nurse, talking with Mack - and his reverting to his old self? The visit to the studio? Back to normal?

13. Dee, her age, her life, the short affair with Mack, her infatuation with him? Discussions with Jane? The decision to leave? Her appearances in Mack's dreams? Her tension, her driving, the attack on the car, being rescued by the policeman - and the possibility of a new life? Her new job and the glowing reference by Mack?

14. Jane, her friendship with Dee, listening, advice? Meeting Mack, being fixed up for the date with Simon? Nervousness, nice, enjoying the date? The effect on each of them?

15. Simon, his nervousness, meeting Jane, in love? Communicating with his daughter - and introducing her to Jane?

16. Claire and Mack, the discussions about the baby, about their love for each other, of bringing up Roberto? A reconciliation?

17. Simon and Mack, talk about friendship, the basketball-playing and the bet? The healing power of friendship?
18. The visit to the Grand Canyon, their contemplation - humans in nature, in the world? Violence and paranoia? Friendship and harmony?

THE BACHELOR FATHER

US, 1931, 90 minutes, Black & white.
Marion Davies, Ralph Forbes, C. Aubrey Smith, Ray Milland, Guinn Williams, Doris Lloyd, Halliwell Hobbes.
Directed by Robert Z. Leonard.

The Bachelor Father is a story of an elderly man, a roué in his past, who had several illegitimate children, abandoned their mothers and the children and in old age is persuaded to try to gather the children together. It is interesting to note the moral perspectives of the pre-Code film-making, the old man and nobody thinking to make criticism of his behaviour. (Although, in 2008, Mamma Mia had the plot of a woman who had three possible fathers for her daughter.)

The film is a star vehicle for character actor C. Aubrey Smith, a strong presence in many films, representing the archetypal Englishman. It is also a star vehicle for Marion Davies who had appeared in many silent films and several comedies in the late 20s into the 1930s (while she is more famous as being the mistress of William Randolph Hearst, and being a character in Orson Welles’ Citizen Kane – and Kirsten Dunst appeared as the actual Marion Davies in Peter Bogdanovich’s The Cat’s Meow).

The film also stars Ralph Forbes, an English actor in many Hollywood films as well as giving an early role to Ray Milland. Halliwell Hobbes appears as a butler – one of the many very British characters he portrayed over several decades.

The film relies on the rapport between C. Aubrey Smith and Marion Davies – with a plot twist towards the end which puts the whole happy direction of the film in danger. However, happy ending.

1. An interesting film of 1931? The situation? The pre-Code film stories and plots, moral stances? Especially the older man, his discarding his mistresses, his ignoring his children?

2. MGM production, the English setting, the mansion? The flight sequences at the end? The musical score?

3. The focus on Sir Basil, his age, crustiness, his gout? His doctor and the advice? Mrs Webb and her wanting his money and her continual presence? The household? John Ashley as his friend, managing the estate? The story of Sir Basil, the ledger and the payments to the women, to the children? His reminiscences?

4. John going to America, finding Tony, the discussions with the lady who brought her up? Richard and his friendship? As a pilot? The elements that were to be important by the end of the film?

5. The assembly of the children, Maria, the Italian background, opera? Geoffrey, his looking after his mother? The arrival, the friendliness, the noise and youth – and greeting the wrong person as their father? Tony thinking Sir Basil was selling fish? Sorting things out?

6. Sir Basil, his initial upset with the children, his getting to like them? Especially Tony? Tony and her friendship with John? Tony as the life of the party, unconventional? The month to test out arrangements?

7. Maria, the offer for her to go to Florence, her departure? Geoffrey and his leaving to look after his mother? Tony and her staying?

8. Dick, his friendship with Tony, bringing the letter from his mother, the revelation of the truth and Sir Basil not being her father? Her attempt to tell him? His happiness and her not wanting to disturb it?

9. Sir Basil, the lawyer coming from America, the revelation of the truth? Mrs Webb and her presence, her sneering at Tony? Tony and her admitting that she knew the truth? Her not trying to give an explanation? Her leaving the house?

10. John, the proposal, the truth about Tony, his withdrawing?

11. Tony, going to Dick, his flight across the Atlantic, her asking to go with him, his agreement? The media, the radio? Sir Basil discovering the truth, John driving to stop her going? John hurrying to the airport, Sir Basil receiving the letter from Tony before she left? John bringing her back to the house, the happy reconciliation?

ANOTHER MAN’S POISON

UK, 1951, 90 minutes, Black & white.
Bette Davis, Gary Merrill, Emlyn Williams, Anthony Steel, Barbara Murray, Reginald Beckwith.
Directed by Irving Rapper.

If one wanted to choose a melodramatic Bette Davis vehicle, Another Man’s Poison would be high on the list.

The film was made in England, Bette Davis starring with her then husband Gary Merrill with whom she had appeared in All About Eve and Phone Call from a Stranger. English actor and playwright, Emlyn Williams, plays the inquisitive doctor from next door. (Williams wrote The Corn is Green which was a star vehicle for Bette Davis in 1945.) Anthony Steel and Barbara Murray have supporting roles with Reginald Beckwith a comic character from the village.

The setting is Yorkshire, although the film was based on a play by Leslie Sands, Deadlocked.

Bette Davis has the opportunity to chew the furniture as usual. The film is complex, she playing a writer of crime novels. As the action emerges, it appears she has killed her husband, Gary Merrill appearing as his partner in a bank robbery, passing himself off as her husband, despite the curiosity of the local doctor. Anthony Steel plays a young man who is infatuated with Bette Davis. Barbara Murray is his fiancée.

The screenplay has quite a number of twists – the final twist being very strong, with Bette Davis a victim of her own machinations – and a close-up of her laughing, even as she dies. Certainly a melodramatic Bette Davis (reminding audiences particularly of Susan Sarandon, her facial expressions and her eyes).

The film was directed by Irving Rapper who directed Bette Davis in Now Voyager, The Corn is Green, Deception.

1. Audience enjoying a high melodrama? Performance, situations, interactions? Heightened?

2. The English setting, an English production? Yorkshire, the house, the village, the lake, the moors and the cliffs? Atmosphere? The atmospheric score?

3. The title and its irony, Janet murdering her husband, murdering George? Her own death?

4. The introduction to Janet, walking the countryside, the phone call to Larry, her demands? Her encounter with the doctor? His giving her a lift? In the house, discovering George? The confrontation, her demanding him to leave? His hold over her? The arrival of Larry and Chris? His impersonation of her husband?

5. The character of Janet, a successful writer, living as a recluse? The failure of her marriage? Her husband’s absence? The irony of the photo on top of the cupboard? Her hold over Larry, possessiveness, defiance of Chris? Chris as her diligent secretary? The revelation that she had killed her husband? The importance of getting rid of the body, George helping her? The cat-and-mouse awareness of each other? The various forms of blackmail? Her having to pretend that George was her husband, to the doctor, to Larry, to Chris?

6. George, his arrival, his background, explanation of himself? His working with Janet’s husband? The robbery, the shooting of the policeman? The escape? His coming to find the husband? The gun, the fingerprints? The newspaper reports, the photo and the doctor’s questions? George being on edge, his drinking, terseness? The irritation of the frequent visits to the doctor, borrowing the dictionary? His anger towards Larry? Abruptness towards Chris? Towards the housekeeper?

7. The doctor, his place in the village, the vet? His helping with Fury? The medication? His wanting it back? His suspicions? Borrowing the dictionary? His frequent visits, accosting George about the photo in the paper? His tending Fury, Fury’s death? The revelation that he had met the husband, that he knew the truth all the time? His continued probing? His car, Janet urging George to take the car even though she knew the brakes and the steering had failed? His vindication?

8. Larry, his infatuation with Janet? His engagement to Chris? The phone call, his hesitations, his going riding with Janet, the dalliance? Yet his love for Chris? The antagonism towards George? The advice? Chris leaving, his going after her? His listening to Janet’s outburst after Fury’s death?

9. Janet, talking with Fury, riding Fury, the portrait? Her love of the horse, her dismay at the death? Its affecting her judgment?

10. The newspaperman, his visit, the request for George to make a speech? In the village, the newspapers?

11. Chris, her quiet work, the behaviour of George? Her confrontation with Janet, the ring, Janet’s callous remarks to her, her leaving?

12. The build-up to the blackmail, Janet and her hold over George, George over Janet? The dead body, the poison, Janet saying he was not dead? The finale with the drive, Janet wanting George dead, his surviving the wreck? The irony of the insurers and the police, discovering the hat, the dead body? George and his drinking the poison – Janet’s victory over him? The irony of her fainting, the doctor giving her her drink – and her being poisoned?

13. The melodrama of her final laugh?

10 RILLINGTON PLACE (THE STRANGLER OF RILLINGTON PLACE)

UK, 1970, 113 minutes, Colour.
Richard Attenborough, John Hurt, Judy Geeson, Pat Heywood, Robert Hardy, Andre Morell.
Directed by Richard Fleischer.

The Strangler of Rillington Place is the more sensational export title for 10 Rillington Place, Richard Fleischer's film about Reginald John Christie. Christie attained notoriety in the 50's, especially when it emerged that Timothy Evans had been hanged wrongly for the murder of his wife and baby. Christie had killed them along with a number of other women dating back to 1944. Ludovic Kennedy wrote a book condemning Christie and vindicating Evans. The film is based on his book.

The film has a grim, thought-provoking theme. It does not explore Christie's personality very much, although, in Richard Attenborough's effective portrayal, we are shown him at home, fussy, killing, giving evidence at the trial and degenerating into a lonely old age. The film offers him little sympathy and ends with the statement that he was hanged for his crimes.

However. as with Kennedy's book, the human centre of interest is Evans and John Hurt (A Man for All Seasons, Before Winter Comes, In Search of Gregory) gives a performance that is well worth seeing. Evans, a young Welshman, is illiterate but dreams of getting better jobs, boasts about himself, loves his wife but has a flaring temper. He is an easy victim for Christie's quietly menacing persuasion. It is sad to see him hang. (But the film makes no overt statement on capital punishment.)

Richard Fleischer directed the film on the Loeb murder, Compulsion and also The Boston Strangler. He is a competent, if not outstanding director (Che, Doctor Doolittle, Tora! Tora!). The film was made at Rillington Place itself and makes one pause to reflect on the sadness of the criminally insane and the evil that is wrought by them.

1. What were your first impressions of Christie as he committed his first murder? Did this prejudice you against him from the start?

2. Did the film give you any real insight into his motivation. his sanity? Did he have any redeeming features?

3. What was the effect of the environment of the house,, darkness and garden of 10 Rillington Place on the mood of the film?

4. What kind of a man was Timothy Evans shown to be - illiterate, a dreamer, a braggard, genial but violent- tempered? How sympathetically was he presented in the film?

5. What kind of a woman was Beryl - young and inexperienced, loving, frightened of having another baby?

6. When did Christie decide to kill Beryl? Why did he persuade them both he was a qualified abortionist?

7. How did Christie make Evans the victim of circumstances? Did he do it maliciously or did it just grow?

8. Why did Evans do exactly as Christie suggested? Was he capable of doing otherwise?

9. Why did he give himself up? Why did he make such a poor showing at the trial?

10. What were your impressions when you heard Christie’s record of convictions? Did the film evoke any sympathy for him as he endured the trial, quietly spoken and unwell?

11. How did you feel for Evans in the period before his death and when he was hanged?

12. What comment did Evans' hanging make on the value of capital punishment?

13. Why did Christie kill his wife and the others?

14. Should Christie himself have been hanged or been given life imprisonment?

15. How does a film like this help in understanding the criminally insane and the workings of justice?

STRANGERS MAY KISS

US, 1931, 81 minutes, Black and white.
Norma Shearer, Robert Montgomery, Neil Hamilton, Marjorie Rambeau, Irene Rich, Hale Hamilton.
Directed by George Fitzmaurice.

Strangers May Kiss is definitely a pre-Code film. It is the kind of film that led the Hollywood industry to create the Code, controlling the presentation of morals on screen.

The film stars Norma Shearer who had appeared in such pre-Code films as A Free Soul. She won the Academy Award for that. She had a strong screen presence during the 1930s at MGM, marrying Irving Thalberg. However, sometimes she is restrained in her performances. Here she uses the expressionistic style of the silent films, exaggerated gestures and laughter rather than serious acting. The two men, Robert Montgomery as her alcoholic friend, and Neil Hamilton as her lover, are far more restrained.

The film focuses on morals and double standards. Norma Shearer’s character states she doesn’t believe in marriage. She is living with a divorced man and travels to Mexico with him. However, when he refuses to take her with him on further travels and returns to Paris to get a divorce, she goes to Europe and leads a profligate life, presented as very glamorous, international, many men, especially in Spain with bullfighters. Her friend, Robert Montgomery, is in love with her but she is not in love with him although she loves him. When she receives a message that the divorce has come through, she goes to Paris only to be rejected by her lover. He berates her quite severely for her promiscuity, she is ashamed, admits that he must love her because he is so severe on her. A year passes and the group meets by chance at a New York theatre – Norma Shearer much more subdued and partly repentant, wanting to marry, and her lover prepared to let bygones be bygones. Robert Montgomery is left with his champagne bottle.

Marjorie Rambeau appears as the owner of a shop where Norma Shearer worked and has found a happy marriage. On the other hand, her aunt and uncle have had a disappointing marriage, the uncle betraying his wife, even taking his girlfriends to the same restaurant. She kills herself.

The film was based on a novel by Ursula Parrott – and commentators note that at the end of the novel, the Norma Shearer character kills herself.

The film is interesting in the light of discussion about morals as presented in Hollywood in the late 20s and the early 1930s and the toning down of moral issues and the control of them under the auspices of the Hayes Code.

The film was directed by George Fitzmaurice, a director of many, many silent films in the second decade as well as into the 20s. He made several sound films including The Emperor’s Candlesticks but died in 1940.

1. A film of 1931? Morals on the screen? Disputes? The formation of the Hayes Code?

2. MGM production values, stars, black and white photography, locations atmosphere? Musical score?

3. The title – strangers, lovers, marriage and non-marriage, divorce, people living together, betrayal, fidelity and infidelity?

4. The focus on Lisbeth Corbin, Norma Shearer and her screen presence, acting style? Her character, not marrying, working at the shop, the expensive life, her friendship with Geneva? Her Aunt Celia, the absence of Uncle Andrew – and the restaurant sequence and discovery of his betrayal? Celia’s suicide? Her friendship with Steve, from schooldays? Her falling in love with Alan, living with him, going to Mexico with him, the enjoyment of the freedom? His not taking her to Paris, his being married? Her grief, reaction, going to Europe, her wild life, life of the party? International, the men, the collage? Spain and the bullfighter? Her being hurt by Alan? The reaction and rebound? His message to come to Paris, her leaving instantly, going to see him, his denunciation of her and her lifestyle? Her being hurt, considering that he loved her because of his attack on her? Return to the United States, at the theatre, the devotion of Steve, her not marrying him, loving him but not in love? Alan’s arrival, the breaking down of the past, happiness together?

5. Alan, his marriage, with Lisbeth, going to Mexico, carefree, the decision to travel, business, going to Paris, the divorce? His message to Lisbeth, his denunciation of her in Paris, his being hurt? The chance encounter at the theatre, the forgetting of the past?

6. Steve, friendship from schooldays, his drinking, society and wealth, his advice to Lisbeth, offering to marry her, her loving him but not being in love?

7. Celia and Andrew, the betrayal, the restaurant sequence, Alan’s intervention, her suicide? Andrew coming to Lisbeth to give her advice? Her rejection of it?

8. Geneva, in the shop, friendship, marrying, at the end?

9. The background of wealth and the high life in the 1930s? The images of wealth – the equivalent of soap opera in later decades?

TENDERNESS

US, 2009, 101 minutes, Colour.
Russell Crowe, Jon Foster, Sophie Traub, Laura Dern, Alexis Dziena.
Directed by John Polson.

Tenderness is a psychological crime drama. It focuses on a teenager, played by Jon Foster, who has killed his parents and is coming out of jail. However, a semi-retired detective, played in world-weary fashion by Russell Crowe, believes he is guilty of other murders. He has befriended the young man although is in no doubts about his guilt. On his first days of release, the young man travels and the detective shadows him.

The third central character is Lori, a fifteen-year-old who had witnessed the young man with a woman by a river, amazed at the tenderness he showed, especially in a kiss – which is featured in the opening credits. In the intervening years, she has kept a scrapbook, has been abused by her mother’s boyfriends as well as a man at the store where she works, decides to leave home, gets in the young man’s car and travels with him. He doesn’t remember her, but she keeps reminding him and the audience sees the episode in flashback, ending with a chilling scene of death which she also witnessed. However, this hasn’t stopped her infatuation with him.

At the end, the young man is entrapped because of a young woman who worked at the jail whom he may have been intending to kill. The young girl is suicidal. In the meantime, the detective returns to his wife who is paralysed in hospital. There are comments about chasing pain and fleeing from pain. There are also comments about the meaning of the title, tenderness in relationships as seen in each of the characters, but a special meaning of tenderness where it applies to the effect of the murder on the murderer, the tender affection for the victim and the feeling during the murder.

The film was directed by John Polson, actor in many Australian films including The Sum of Us with Russell Crowe, founder of Tropfest, director of Siam Sunset and of several films in the United States including Hide and Seek and Swim Fan.

The film is based on a book by a writer who specialised in books for teenagers which raised questions (and often banning in some libraries). He is best known for The Chocolate War which was filmed by Keith Gordon.

1. A psychological drama? Based on a Robert Cormier book?

2. New York state, Buffalo, the police, life in Buffalo, families, stores, hospitals? On the road, motels, the fun park? The river? The realism? The beauty? The contrast with drab lives? The musical score?

3. The title and tenderness in the killing, the kiss and the caress? Lori watching? Her fascination? The ending and the truth?

4. Lori and tenderness, with her mother, the lack of tenderness in her mother’s boyfriends? Eric, his relationship with his aunt, her spirituality and being tender towards him? Eric and Maria? John and his wife?

5. The three central characters, the introduction to each, the development of the characters, the stories, interconnections?

6. John, hovering in the background through the film, with his wife, her illness and paralysis, watching her in bed, the staff at the hospital, her watching the movies when she swam and was full of vitality? His visit to Eric, the gift? Eric’s release? His warnings to Eric, care for him, knowing the truth about him, following him, wanting to prevent any more killings? The diner, the cat-and-mouse pursuit, the car and missing Eric, in the countryside, the fun fair, the beach, the confrontation and arrest, Maria and the entrapment? His doing his duty, saving a life, pain and the chasing and fleeing of pain?

7. Lori, in the shop, the man in the shop and his ogling her? At home, her mother, the chat, agreeing that her mother could have the boyfriend move in? The boyfriend and his character, his attitude towards them, the background of abuse from boyfriends? The effect of Eric, the opening credits, her witnessing the kiss, his tenderness with the girl at the river? The revelation of the scene, that she had watched it all, drawing the kisses, actually realising that it was a murder and Eric floating the body down the river? Her hiding in the car, running away from home, her being with Eric, the motel, the intimacy, her coming across him and his sexual behaviour? The confusion? At the diner, out in the countryside, her asking him about the girl, probing, the effect on Eric, her remembering the truth? At the fun fair, Eric going to meet Maria, on the roller coaster and her screams? His arrest, her depression, her death?

8. Eric, in himself, his age, the introduction and the tenderness of the kiss, the river? His being released, his friend in the jail, his attraction towards Maria? Being pleasant? Going to his aunt’s house, comfortable with her, grace at meals? The detective and his warnings, the gift? His going out, driving, planning to see Maria, discovering Lori in the car, getting a fright, the travel, his seeming to fight his impulses? The memories of his parents, the death of his mother, his father? The aunt and her explanation about the drugs and his not being in his right mind? The detective finally revealing that his parents knew the truth about his killings and his murdering them? Lori and her responses, his sexual behaviour and being caught? The truth? At the fun fair, Maria, whether he intended to kill her or not, his being arrested? Taken away? The final encounter with John?

9. The portrait of the aunt, her looking after Eric? Her interview with John? Her story of the parents, the visualising of the parents, their concern about their son, keeping him tranquillised? The reasons for his murderous behaviour? Psychopath or not?

10. Lori’s mother, her confiding in her daughter, her boyfriends? The character of the boyfriend?

11. The police, John’s role, semi-retired, their working with him, the arrest?

ALPHA AND OMEGA

US, 2010, 88 minutes, Colour.
Voices of: Justin Long, Hayden Panettiere, Dennis Hopper, Danny Glover, Larry Miller, Christina Ricci.
Directed by Anthony Bell and Ben Gluck.

Alpha and Omega is an animation film for smaller children, which did not get wide theatrical release.

One of the explanations of this may be that it is a film about wolves, not the most endearing characters for an animation film let alone for younger children. While they are presented in a genial kind of way, they are still wolves and, at one stage, they track caribou in order to find food. (And the caribou later mock the unsuccessful wolves and then at the end of the film cause a stampede to run and attack the wolves.)

The film shows the young wolves at play, the hierarchy between the alphas, the high-class wolves who are taught to hunt, in contrast with the omega wolves who are the ordinary ones.

One might say there is a touch of the Romeo and Juliet with the romance between an alpha wolf and the rather genial omega wolf. At one stage, they are taken by a van to another part of the forest where they are meant to start repopulation of wolves. Most of the film is their journey back, a range of adventures, some humorous, many slapstick, an encounter with two chattering birds who play golf and who seem to recur unexpectedly at different times during the journey, humans who take the wolves in their van. Meanwhile, at home, there is a clash between two families of wolves, led by Dennis Hopper and Danny Glover. One is in possession of the area, the other searching for food. There is a famine, and instead of reuniting the two groups of wolves, there are fights.

Ultimately, the two wolves come home, but there are plans for the alpha wolf to marry another alpha – however, despite the dominance of the mother and her bossing everyone around, there is a happy ending.

This may be an entertainment for undiscriminating children – with the proviso that the wolf theme does not lend itself immediately to recommendation for young children.

TEN EMPTY

Australia, 2008, 96 minutes, Colour.
Daniel Frederiksen, Lucy Bell, Geoff Morrell, Jack Thompson, Brendan Cowell, Tom Budge.
Directed by Anthony Hayes.

Ten Empty is a short suburban film, focusing on a dysfunctional family in Adelaide.

Daniel Frederiksen plays a successful man who comes home to visit his father who has married his late wife's sister and their baby is due to be baptised. Also at home is his younger brother who is in depression after the death of their mother.

The film was made on location in Adelaide, utilising the streets, church and clubs in the area. This gives it an authentic feel. The film was directed by actor Anthony Hayes (AFI awards for Look Both Ways, Suburban Mayhem and many other nominations). It was co-written by actor-writer Brendan Cowell who appears in this film as a friend of the central character.

Geoff Morrell is strong as the father, an alcoholic, prone to tantrums as well as enthusiastic highs. Lucy Bell plays his wife. Tom Budge portrays the depressed brother. There is a cameo from Jack Thompson as the man who works behind the bar at the club.

The film has some domestic sequences, clashes at home, the ordinariness of the baptism ceremony and the picnic afterwards, some more intense scenes in the house.

While there are many depressing moments in the film, the film ends with some glimpses of hope and the possibility of some rebuilding.

1. An Australian drama, ordinary suburban life, the family?

2. The Adelaide settings, streets, homes, the church, hospital? Musical score?

3. The focus on Elliot, his being away for two years, the flight and the return, Diane collecting him at the airport, the new baby? His reaction? Meeting his father, the tension between the two? Brett and his hiding himself in his room? The mental breakdown? The dysfunctional family? Talk, the drinking, at the bar, the father and his behaviour, Diane waiting outside with the baby?

4. The baptism sequence, the church, the congregation, the priest and his attitude? The ceremony? Brett and his father’s criticism, his blow-up and knocking the table over, outside? Diane wanting to go home, the party and the people?

5. Elliot, his going home with Bernadette? The sexual encounter, his abrupt leaving – and phoning to send her some big and bright flowers?

6. The family visit to the grave, Ross and his grief at his wife’s death, Diane and her prayer, Brett and Elliot being present?

7. Ross, his character, his past, his drinking, the past with Diane while his wife was upstairs sick with mental troubles? Elliot confronting him?

8. Elliot and his decision to leave, the taxi, Diane asking him to spend ten more minutes, his going to Brett’s room, sitting with him, trying to rouse him? The decision to stay?

9. Brett, his mental condition, his mother, the dress, the suicide attempts, the car, rescued by Elliot, taken to hospital?

10. The hospital sequences, Elliot carrying his brother into the hospital, taking his father in to wait, Diane and the baby coming, the underplayed scene where Elliot explained to his father that Brett had been saved?

11. The focus on the friends, Shane and his work at the club, at the baptism? Bobby Thompson and his story, friendship?

12. The focus on Elliot, his saving his brother, staying with the family, some possibility of hope and rebuilding?

CLEANER

US, 2007, 88 minutes, Colour.
Samuel L. Jackson, Ed Harris, Eva Mendes, Luis Guzman, Keke Palmer, Jose Pablo Cantillo, Robert Forster.
Directed by Renny Harlin.

Cleaner is a thriller with a mystery, focusing on a former policeman who had difficulties in the force, especially after his wife died and his seeming collaboration in the killing of her murderer in prison. He also took money from the corrupt head of the police. However, he has set up his own cleaning company, going into crime scenes and restoring order. At the opening of the film, Samuel L. Jackson makes a speech about his work and some gruesome scenes are visualised. It is the kind of work that audiences don't think of, focusing on the crime scene but forgetting the necessary clean-up.

When he is asked to do a job that seems to be covered up, he becomes involved in an investigation, the background of police corruption – although there is a twist in the screenplay and the police corruption is partly a red herring as to what really happened.

Samuel L. Jackson is effective in the central role, a tormented man. Ed Harris plays his long-time partner and friend. Eva Mendes brings some glamour to her role as the wife of the murder victim. Luis Guzman is the investigating policeman – and the screenplay directs audiences to think of him as part of the cover-up, but it is being misled. Keke Palmer (Akeelah in Akeelah and the Bee) is very good as Jackson’s daughter. Robert Forster has a cameo role as a director at the morgue.

The direction is by Finnish director Renny Harlin who made a number of action films in the United States including Die Hard 2, Cliffhanger, The Long Kiss Goodnight, Exorcist: The Beginning.

1. An interesting thriller, with a mystery?

2. The variation on police corruption themes, the twists and the audience being misled for their attention as to what had gone on?

3. The Louisiana setting, the city, homes, ordinary, wealthy, the streets, the police precincts?

4. The title, the introduction to Tom Cutler, the visualising of the details of the clean-up work? His speech at the social? The reactions, handing out cards? The story of the woman coming home, finding her mother’s body, the physical details? Behind the scenes in the cleaning up of crime scenes?

5. Tom Cutler as a character, his past, police work, his wife and her death, the death of the prisoner in prison, his collaboration? His payments from the corrupt police chief? The importance of the ledger with all the information? Getting money, setting up his own company, his assistant and her tough-minded work, Miguel out of prison and his being given a job? Tom at home, with Rosie, their life, her project, her needs, the bond between the two? The tensions because of the memory of her mother? Seeing him at work, his gear, chemicals, meticulous work, his neatness? His past friendship with Eddie, his partner?

6. The case, his going to the house, the key, cleaning the blood, his return to the house, the encounter with Ann Norcut and her not knowing what had gone on? The meeting with Eddie at the bar, Eddie drinking, talking with him the next day, Vargas at the bar, Eddie’s antagonism? The information about the case, the media, the papers?

7. Ann, her character, her reaction to Tom’s visit, her work with the children, charities? The status of her husband? Tom watching her at work? The discussion in the church? At home, revealing the ledger and its detail? Her marriage, her background in the poor area, her hope for a child? The pregnancy, the death of the child? The revelation of her affair with Eddie? Going to the morgue, the meeting with the morgue attendant, identifying her husband? Her fears, Tom taking her to stay with Miguel and his family, the pleasant touch with the wife and the children? The issue of the vasectomy, the truth about what had happened?

8. Eddie, his life, the long friendship, his helping Tom, the truth, his affair, the pregnancy and the termination, his wanting Tom’s friendship and help? At the sport, with Rosie? The policeman bashing Tom? Going to the house, with Rosie, the meal, the confrontation, the police outside, the threats to Tom, Rosie shooting him?

9. The character of Vargas, at the bar, his reputation, the link with Tom, the audience being misled as to thinking he was corrupt, his investigation of the case, at the morgue, at the rendezvous with Tom, at the end?

10. Rosie, her life, her mother’s death, her needs, the project and trying to find out about her mother, her sports skills, with Eddie, the meal, her shooting Eddie to defend her father?

11. The corruption themes, the audience being misled, the blend of exposé, the more private and personal story, motivations? Truth? Police integrity?

WEEKEND IN HAVANA

US, 1941, 81 minutes, Colour.
Alice Faye, Carmen Miranda, John Payne, Cesar Romero, Cobina Wright Jr, George Barbier, Sheldon Leonard, Leonard Kinskey, Billy Gilbert.
Directed by Walter Lang.

Weekend in Havana is one of the many musical comedies made by 20th Century Fox at the beginning of the 1940s. Alice Faye appeared in quite a number of them, That Night in Rio, Hello Frisco, Hello. Carmen Miranda also appeared in quite a number, with her characteristic accent, flamboyant dresses and hats, patter singing. John Payne was one of the heroes in several of the films and Cesar Romero played a villain with charm. Many of the character actors appeared in several of the films as well.

The film was directed by Walter Lang, director of many small-budget films in the 20s and 30s, moving into 20th Century Fox musicals like this one and Moon Over Miami, Tinpan Alley and Coney Island. He began to make bigger-budget films, quite a number of musicals like Mother Wore Tights and State Fair and then moved into comedies like Sitting Pretty and Cheaper by the Dozen. During the 1950s he made even bigger-budget films including With a Song in My Heart, Call Me Madam, There’s No Business Like Show Business, The King and I and Can- Can.

The film recreates Cuba in the pre-Castro years, a haven for American tourists and gamblers. While remnants of the old city are seen, the emphasis is on the glamour, the big hotels, and nightclubs.

The plot is slight. John Payne portrays a shipping company executive who is about to marry the boss’s daughter. However, a ship goes on a reef outside Florida and he is asked to get waivers from the passengers so that the company is not liable. However, one young woman, a salesgirl in the hosiery department at Macy’s (Alice Faye) refuses to sign, offering to do so after she has had an enjoyable holiday. Payne is then required to accompany her to ensure that she has a holiday – the best room in the hotel, the sights of Cuba (at which she is bored), accompanying her to nightclubs where orchestras play and Carmen Miranda sings. However, Cesar Romero imagines that she is a rich girl (with a hint from the bellhop, Leonard Kinskey, from the hotel). He is in debt to the boss (Sheldon Leonard) and is under the thumb of Carmen Miranda.

Needless to say this leads to frothy complications, an attraction between Alice Faye and John Payne, especially after the haughty fiancée comes to Havana and tries to buy Alice Faye off. There are also complications about money, winnings at the casino, double dates...

The film is a frothy entertainment – typical of the brightly Technicolored musicals of this period, with songs from Alice Faye and Carmen Miranda.