THE ORATOR (O LE TULAFALE)

New Zealand/Samoa, 2011, 100 minutes, Colour.
Fa’afiaula Sanote, Tausili Pushparaj.
Directed by Tusi Tamasese.

Not often do we see a film made in Samoa – since this is the first feature film from Samoa.

We slow down to Pacific time to become involved with a story of struggles in village life. Beautifully photographed, we see the natural beauty of the Samoan islands and country side. We also experience the traditions, benign and harsh, the hierarchical structures of authority, and the ordinary lives of people in the villages.

The orator of the title is Saili, a dwarf. He has inherited land from his parents but it is being encroached on by villagers who feel free to plant their own tara and harvest their crops. What will he do about it? He approaches a chief to make his case, since he has not been given his chief’s title, but he is rather timid in the circumstances. Saili also has a job as a night watchman at a local store but falls foul of the young men and one of the police. What complicates matters is that he has taken in a woman long since, a woman who had been exiled from her village with her daughter, and has given her love, shelter and care. When she dies, her relatives want to take over, so the orator has to take a stand for what he believes in.

The funeral sequence brings matters to a head, accusations and reconciliation, the importance of food and gifts for the authorities to be esteemed and to do their duties.

This is not high drama, well not for the audience as it is for the main characters. We have the leisurely pace to observe, to sympathise and to learn more about a Pacific culture that we do not always know much about.

1. The first Samoan feature film? A film of the Pacific? The story, the style of storytelling?

2. Audience knowledge of life in the Pacific? Interest? The sense of place, the islands of Samoa? The lifestyle and customs? The people?

3. The beauty of the photography, the mountains, the villages, the homes, the assemblies?

4. The sense of place for the credibility of the story and the characters? The musical score?

5. The introduction to Saili, at the grave of his parents, hearing the voices, the people working the land, the crop of yams, clearing the crops?

6. Saili as a dwarf, people’s reaction to him, the outside? As a character, his parents, their grave? Taking his wife in, her daughter? His visits to the chief? Himself being a chieftain but not moving towards acceptance of this? His hopes? Present with the chief, his confiding in him? The chief admiring his character?

7. At home, with his wife, her illness, the daughter, his being a night guard at the store, wanting his land? His relating to people?

8. His wife in exile, her illness, seventeen years exiled from the family, with Saili, with her daughter? Weaving the mats? Urging Saili on? Saili washing her, her fading and dying?

9. The football, the practice, the coach, the attack on Saili?

10. Saili, his defying the group, his security work?

11. His wife’s death, taking the body, the ceremony, the chief, the people with their gifts for the chief, the religious ritual, the material overtones? The other chiefs coming, the insults? Saili in the grave? His trying to save the land, his almost drowning, the rescue?

12. The girl, the pressure, the family, the bus trip, their arrival, the stake, his speech, the gifts and the gift of the mat?

13. Returning in the bus, his achievement?

14. The daughter, relationships, the family? The visit of the representative of the family, the demands, bringing the exiled woman back, the reconciliation? The ceremonies?

15. Saili and the chief, his speech as an orator, his status, returning home, the baby?

16. A portrait of a particular people, insight into their traditions? Universal themes and human nature?

NEW YEAR’S EVE

US, 2011, 118 minutes, Colour.
Michelle Pfeiffer, Zac Efron, Robert De Niro, Halle Berry, Cary Elwes, Alyssa Milano, Common, Jessica Biel, Seth Meyers, Sarah Paulson, Til Schweiger, Carla Gugino, Katherine Heigl, Jon Bon Jovi, Sofia Vergara, Russell Peters, Ashton Kutcher, Lea Michele, James Belushi, Lillian Lifflander, Sarah Jessica Parker, Abigail Breslin, Jake T. Austin, Josh Duhamel, Larry Miller, Jack Mc Gee, Yeardley Smith, Penny Marshall, Ryan Seacrest, Cherry Jones, Hilary Swank, Chris ‘Ludacris’ Bridges, Hector Elizondo, John Lithgow, Matthew Broderick, Michael Bloomberg.
Directed by Garry Marshall.

From the director and the writer (Katherine Fugate) of Valentine’s Day, that star-filled sweet concoction of multi-stories centred on that romantic day. So, why not New Year’s Eve in New York City and Times Square?

During a swanky dinner, the chef has designed desserts in parcels parachuted towards the guests on the floor below. Some are very light. Some are heavier. The guests reach out to catch the dessert they can. Seems a useful enough image for the whole film. A lot of sweet stories that might please the sweet toothed audience, will be too much for those who can’t take sugar and will be ignored by those who don’t like desserts.

This is a film for a night out, not for a character study nor a sociological study of American habits (being in Times Square or among the alleged millions who watch it on TV) and behaviour on New Year’s Eve.

Most of the stories are short and slight, generally undemanding. But, there is a crisis for the ball that falls in Times Square to mark the New Year. Can it be fixed in time? Hector Elizondo to the rescue. There is also an old man dying of cancer. There is a Skype-like call to a soldier in Iraq. (And, in good advertising, since the action takes place on New Year’s Eve 2011 into 2012, there is a huge poster in the Square for the new Sherlock Holmes film that would be screened at that time!).

And the stars! We are surprised at a very dowdy-looking Michelle Pfeiffer who is taken around the city to fulfil her wish list by Zac Efron. Caterer Katherine Heigl has romantic problems with a pop singer who had proposed to her and then run, Jon Bon Jovi. Hilary Swank is responsible for the success of the event in Times Square (and gets to give the homily on national television about good will and generosity). Sarah Jessica Parker has to cope with her fifteen year old daughter, Abigail Breslin. Two couples want to win a money prize for the first baby born in 2012. And, it’s Robert de Niro who is dying of cancer and Halle Berry, looking plain in nurse’s uniform if that is possible, who is his nurse (but then changes into glamour, expensive, for that call to Iraq). Ashton Kutcher exercises his boyish grin with singer Lea Michele spending most of their time trapped in a stuck elevator.

There is also a nice sequence of attention misdirection as Josh Duhamel hurries to meet the woman he met last year.
That’s the menu. Emphasis on the sweets.
1. A broad romantic comedy? The many stories? Interwoven?

2. New York City, Times Square, an American celebration?

3. One day, the preparation of the celebration in Times Square, the falling of the ball, the approach to midnight, the aftermath of midnight?

4. The star cast, the range? Stars acting according to type, against type?

5. The stories, their being slight, intercut, characters and situations, the effect of New York City? Funny, sad, serious? Love stories?

6. Times Square, the crowds, the television coverage and Ryan Seacrest hosting? The music? The ball, its being lifted, its lights, its falling for the last ten seconds before midnight? Claire, her responsibility, being nervous, her staff, Brendan, friendship with Claire, his support, family, carrying her up because of her fear of heights? A sense of failure, the executive for the committee coming in his car, warning her? Calling in Kominsky, his background? His being able to fix the ball? Her going on television, her speech – a homily of goodwill for New Year’s Eve? The congratulations of Mayor Bloomberg?

7. Stan Harris, his illness, Nurse Aimee? The care in the hospital? His dying, refusing treatments? His talk, the discussions with the doctor? Watching the ball, talk about his wife, talking to Aimee as if she were his wife? His going up on the roof? Claire, her hurrying to the hospital, with her father, the reconciliation, watching the ball, his death?

8. Aimee, her work, the staff at the hospital, their interactions, care for the ill, her listening to Stan Harris, her changing clothes, her Skyping, her talking to the soldier in Iraq? Bringing in the topical issues of Iraq and Afghanistan? The effect on American soldiers away from home?

9. Ingrid, her work, looking dowdy, Paul and his deliveries, her being on edge, going in to her boss, his criticisms and taking her for granted, her decision to resign? Her wish list: going to Bali, saving a life, going to Radio City...? Her exuberance when Paul took her on these wish fulfilments? Throughout New York City? Her overhearing Paul’s comments about her? Paul, the promise of the tickets? Her going with him to the dance – and her exuberant dancing during the final credits?

10. Randy, alone in the apartment, planning to meet Paul, his antipathy towards the decorations, taking them down, going to the elevator, the encounter with Elise, the initial antagonism, her having to get to Times Square, her worry, their discussions, sharing their lives? Going to Times Square? Her supporting Jon Bon Jovi? Her singing Auld Lang Syne? Randy going out, giving her his support?

11. Sam, at the wedding, the car, the breakdown, the encounter with Harley, unable to fix the car, the pastor and his bus, taking his family to New York City, Sam getting a lift? The discussions, the pastor’s father, daughter? Worldly wisdom, Christian wisdom? His going to the party, his mother and her status in the company, his speech, about his father, using the words that the family told him on the bus? The women? His appointment after midnight? Talking with his mother, the girls, running to the clock, the irony of his running towards Claire, but their going in opposite directions, going to the restaurant, the fact that it was closed down? Kim finally turning up, their talking together – a future?

12. Kim, her work at the theatre, her clashes with Hailey, permissions, the boys going to Times Square, Kim taking her daughter home? Hailey and her going out by herself? Her mother pursuing her? The other mother who was stalking the group? Hailey seeing her friend kiss the girl? The explanation? Paul as Hailey’s uncle, giving advice to Kim, telling her where Hailey was, the search, the crowds, her giving the okay to Hailey, hurrying to the rendezvous at the restaurant?

13. Laura and her catering, the friendship with Jensen, the revelation that they had been engaged, that he had walked out, her slapping him? The back-story of their relationship? The argument? Ava, flaunting her sexuality, working with the catering, the other helpers? The dinner itself, the praise for Laura’s catering? Jensen singing? The irony that Jensen had recommended her for the job? His going to Times Square, Claire getting him to sing, getting him to get over his concerns? His return? Laura eating the chocolates – his calling off the tour, the reconciliation?

14. Kominsky, his having got the sack, coming to fix the ball, the work, Claire and her hopes, the mayor and his praise? The ball falling at midnight – and Stan and Claire watching it?

15. A pleasant story of the joys of New Year’s Eve, hopes, expectations, love?

SHAME

UK, 2011, 101 minutes, Colour.
Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie, Lucy Walters.
Directed by Steve Mc Queen.

Over the years there have been some outstanding films that are psychosexual case studies. Obviously, not everyone will want to see or be exposed to such cases which can be very disturbing, not only because of the behaviour, but because they remind us that these are not merely stories but there are actual people dealing or not dealing with these obsessions, compulsions and addictions. When these films are made with serious intentions, they offer insight through storytelling and character depiction and exploration. This has been the case with such films of the past as Last Tango in Paris (now considered something of a classic) or, in more recent times, Sleeping Beauty.

The addiction in Shame is sexual addiction, sexual promiscuity and self-gratification. There are some explicit moments in Shame which ensure that the audience knows what the addiction is and how it affects the central character.

While this is a British production with British director and main actors, it is set in New York City – does this mean that this kind of story is more credible there? While we go into apartments, work offices, restaurants and clubs (and a brief excursion into a sleazy gay area), there is a thematic and visual motif that continues through the whole film and where we leave the protagonist. It is the New York subway, the underground symbolising a sub-conscious as well as conscious journey, where a passenger can get out for a momentary encounter (as he does here) or can stay on the train until he is prepared to arrive at a destination and come up into the light. The final locale of the film is the subway and the question whether the journey is never going to end, will end temporarily, or can truly end.

Michael Fassbender has emerged as a strong star as well as character actor in recent years (from Inglourious Bastards to X -Men First Class to Rochester in Jane Eyre and Carl Jung in A Dangerous Method). Here, he gives a performance, no holds barred, enabling the audience to see, understand and partly sympathise with the addict. Carey Mulligan (An Education, Never Let Me Go, The Great Gatsby) also has a self-revealing role as Fassbender’s depressive and self-destructive sister.

The screenplay (by director Steve Mc Queen who made the impressive Hunger, with Fassbender as Bobby Sands on hunger strike and Abi Morgan who wrote The Iron Lady) highlights the ordinary life of a mid-30s executive, especially at work, but also his private life, his use of women, his dependence on on-line pornography.

While the title does make some judgment on the protagonist’s behaviour, audiences may well be divided on whether he is redeemable or not, whether the film gives indications as to what his future will be. When he takes a fellow worker to dinner and she is able to get him to open up more personally than he is used to – revealing that his longest relationship had been four months – and his encounter with her leads to an impotence episode, he is not the same man we saw as the film opens. He also has to deal with his intrusive sister and, to his shock, a suicide attempt. Can he continue to be the same, self-absorbed man?

Shame is certainly a psychosexual case study, but it invites its audience to observe as well as to speculate on experiences which are destructive and experiences which could be therapeutic. The protagonist could go into the void and stay there – or are his experiences cries for help out of the depths?

1. The title, expectations, the judgment? The meaning at the end, Brandon’s decisions for his future? His understanding of his behaviour, his character and his past?

2. A British production, set in New York, a New York story? Themes more American than British?

3. The New York world, the audience immersed in it? Brandon’s world? His apartment and the various rooms, his affluence? His office at work? Restaurants, clubs? The sleazy streets of New York?

4. The theme of the subway, the underground, the underground of Brandon’s life and psyche, the journey, what destination? Choices? His sitting, observing, reflecting, the focus on the girls, the attempts at pickup, losing the girls? The final journey? Leaving or staying? His future?

5. Brandon as a character, the introduction to him, the sexual behaviour, the train, the pickups, sexual addiction, masturbation, naked in his apartment, the mirror, his image? His ignoring his sister’s phone calls? His back-story, growing up in Ireland, migration to New Jersey, his relationship with his sister, his sister invading his apartment, his refusing to let her come, the bonds of the past, breaking of the bonds, his allowing her to stay, her room, coming into his bedroom, his harsh treatment of her?

6. Brandon at work, Dave as his boss? The other members of the staff, their relationship to him, his looking at them, the women? Marianne?

7. David meeting Sissie? Going to the bar, her singing New York, New York, the plaintive style? Sissie and her desperation? The relationship with David? Her catching Brandon and his sexual behaviour? Her dependence on him, David and his being married and Brandon’s judgment on her? The phone calls, her being ousted? Her suicide attempt and its graphic presentation? Brandon visiting her in hospital?

8. Brandon and the office, going for a meal with Marianne, the discussions at the meal, the waiter continually coming back, his longest relationship being four months, opening up to Marianne? Going to the subway, not following her? His picking her up in the office, the taxi, the apartment, his impotence and the shock, her leaving, the effect on him? Her kindness? Her character, her background, divorce?

9. David and his behaviour, at the office, his wedding, his Skyping with his children, going out, the relationship with Sissie? Double standards?

10. Brandon and his being bashed, sitting in the subway, the flashbacks, his wandering the streets of New York, following the man on the street, the sordid club, homosexual behaviour, his own experience, getting out, his being bashed?

11. His life, self-gratification, his using women? The effect? The challenge for a man in his mid-30s to discover real feelings, the issues of commitment, his taking stock? The shock of the impotence? Of the revelations to Marianne and the personal talk? Of Sissie’s attempted suicide? The influence for his future?

12. A psychosexual drama? The director and his background in art and photography? The music, Bach, orchestral, the piano background’s being unobtrusive, New York, New York? The cumulative effect of this background on the portrait of a thirtysomething man at the beginning of the 21st century?

SOAPDISH

US, 1991, 97 minutes, Colour.
Sally Field, Kevin Kline, Robert Downey Jr, Cathy Moriarty, Elizabeth Shue, Whoopi Goldberg, Teri Hatcher, Garry Marshall, Kathy Najimy.
Directed by Michael Hoffman.

Soapdish is a spoof of television and soap operas. It shows us a soap opera in action – but is more interested in the soap opera antics of the performers when they are not on screen. They are parodied in their vanity, their security in being in a soap opera that has a long run, the jealousies and rivalries, the manipulation of the producer and the director as well as the screenwriter.

Sally Field enjoys herself as Celeste, the star of a very long-running soap opera. She believes in her own publicity, is always assisted by her writer, Whoopi Goldberg, and takes refuge in going to shopping malls in New Jersey to be acclaimed by Whoopi, in order to gather a crowd around her. Kevin Kline portrays her former lover, sacked from the soap opera out of jealousy, performing in Florida in theatre restaurants with Death of a Salesman. He is invited to come back onto the soap opera, which causes a number of crises. Robert Downey Jr is the producer who is infatuated with one of the character actors, played by Cathy Moriarty, who in a twist at the end turns out to be a transsexual. In the meantime, Elizabeth Shue as Sally Field’s niece, gets a part in the soap opera, is hailed a success and begins to act like her aunt. In supporting roles are Teri Hatcher as another jealous actress, Garry Marshall as the CEO of the company, Kathy Najimy as a costumer.

The film was directed by Michael Hoffman, who made a variety of films including A Midsummer Night’s Dream, The Emperor’s Club, Restoration, The Last Station, the story of Leo Tolstoy.

1. Soap operas, their popularity? The television style? Their content? Audiences and expectations of soap operas?

2. The film as a spoof of soap operas, the scenes from the soap opera itself, the glitz of the awards, the speeches, the mock humility? Behind the scenes, the fights, the plots, the jealousies? The business bosses and their decisions? The writers and their contriving plots, plot twists? The title?

3. The strength of the cast? Their ability with comedy, timing, satire?

4. New York City, the studios, the offices, the sets for the soap opera, the streets of New York, the New Jersey malls, Florida and the theatre restaurants?

5. The tone, the awards ceremony, Leeza Gibbons from Entertainment Tonight, the crowds, the stars on the red carpet, the faces and glamour, real stars, the interviews? Laura and her wanting to be in the crowd, to see Celeste? The table at the awards ceremony, the scenes shown, the announcement, Celeste and her winning, the speeches, the reactions?

6. Celeste, on the show for twenty years, her apartment, her partner gone, the message on the answering machine, being upset and her tantrum?

7. The introduction to Jeffrey, in Florida, his dressing room, his acting the part of a great star, Death of a Salesman, the audiences eating and not listening, his being upset? David and his visit, flattering Jeffrey, persuading him to come to New York?

8. Montana, tough, her intrigues, her plots with Ariel? Her leading David on, tantalising him, getting him to improve her roles, her being anti-Celeste?

9. Rose and her writing, her friendship with Celeste, taking a bow at the ceremony, always protecting Celeste, going to New Jersey, calling out and gathering the crowds around her, the activities behind her back, for the ousting of Celeste?

10. The boss, Edmund Edwards, the board, David and his arrival, the speeches, Rose and her being ignored, the plans, the money issues? The decisions about Celeste, his being an opportunist, the disaster of the revelations, seeing them as good publicity, watching the finale and being fascinated?

11. David, marriage, the infatuation with Montana, agreeing to her conditions, part of the plots, being interviewed by Leeza Gibbons, his being sounded out by her?

12. Laura, her interview with the agent, getting the job, being part of the soap opera scene, being a mute, the plan for her to kill Celeste, the soup kitchen, talking with Celeste, the reunion, staying with her, her ambitions, becoming new Celeste, her dating Jeffrey, infatuation with him, discussions, the kiss?

13. Celeste on set, the dresser and her tantrums about turbans, about dresses? Relying on Rose? Arguing with David, David manipulating her, her finally supporting him? Seeing Jeffrey and fainting? Together, kneeing him? The antagonism?

14. Celeste and her being upset, following Jeffrey, stranded on the drainpipe, Jeffrey taking her in, the kiss, the expose? Her behaviour on set, Leeza Gibbons watching, everything being taped?

15. Jeffrey, his reaction, Laura and her reaction, anger with Celeste?

16. Celeste, the confrontation with Edmund, the build-up to the final scene, mixing the soap opera, with improvisations, with reality?

17. The revelation about Montana – and her later playing Death of a Salesman in theatre restaurants?

18. The awards, the happy ending – the reconciliation, Jeffrey as Laura’s father, the rest of the cast and the soap opera continuing?

19. A piece of froth, an expose, not anything new, but entertaining all the same?

SUNDAY PUNCH

US, 1942, 76 minutes, Black and white.
William Lundigan, Jean Rogers, Dan Dailey, Guy Kibbee, J. Carrol Naish, Connie Gilchrist, Sam Levene, Leo Gorcey, Rags Ragland, Anthony Caruso.
Directed by David Miller.

Sunday Punch is a supporting feature from MGM, released at the beginning of America’s involvement in World War Two. It has good credentials, direction by David Miller who had just made Billy the Kid and who was to make a number of interesting films, particularly in the late 50s and early 60s including Sudden Fear, The Opposite Sex, Midnight Lace, Back Street, Lonely are the Brave and Captain Newman MD. The story is from playwright Fay Kanin, who frequently wrote with her husband Michael Kanin (who was the brother of celebrated playwright Garson Kanin who also wrote for his wife, Ruth Gordon).

The cast includes a lot of MGM regulars at this time. William Lundigan played leading hero roles, Jean Rogers this time has to be a femme fatale. Dan Dailey is a Scandinavian janitor. The rest of the cast will be familiar to audiences who watch the films of this period.

While it is a boxing film, it is also about the group of men who live in an apartment block, presided over by Connie Gilchrist. Women are forbidden. However, she lets her niece, played by Jean Rogers, stay and this has an effect on the men. William Lundigan falls in love with her, Dan Dailey decides he needs to become a boxer and win to win her over. In the meantime, she has some less than respectable connections and exploits them only to find that she has to face herself.

Popular ingredients for this kind of drama, melodrama of the period.

1. The title? Meals on Sundays? The boxing element?

2. An MGM support film? Black and white photography, New York setting, the apartment house, the rooms and corridors? Meals? The boxing training, the ring? The nightclubs? The cross-section of New York? Musical score?

3. The focus on the apartment, the men who boarded there, Ken and his college studies, wanting to make money and make a name for himself, falling in love with Judy? The contrast with Ole, his work, attraction to Judy, his asking Pops about being a boxer, his strong hand, his training, his wins? The other men with their comic touches, Biff, Killer, Baby?

4. Roscoe as the trainer, the hard work, forbidding the young men to mix with women? His shock at Judy’s presence? His working with Pops? Pops, getting old, his decision to promote Ole? Success?

5. Matt Bassler, his connections, boxing, clubs and dances? His taking on Judy?

6. The build-up to the rivalry between Ken and Ole? Their friendship? The inevitability of the fight? Judy and her double-dealings? The bout, Ken as the gentleman, Ole as the winner?

7. Popular comic, serious and melodramatic action for the period?

FIGHTING FEAR

Australia, 2011, 85 minutes, Colour.
Joel Edgerton, Mark Mathews, Richie ‘Vas’ Vaculik, Kelly Slater.
Directed by Macario De Souza.

Fighting Fear is a documentary about surfing and sports, narrated by Joel Edgerton (who made the film Warrior about multi-martial arts at this time).

The subject of the film is Mark Mathews, a champion surfer, and his friend Richie ‘Vas’ Vaculik, also a surfer but anxious to make his name in multi-martial arts. Both of them achieve their ambitions.

They had appeared in Bra Boys (Bra short for Maroubra). It was a story of the surfers – with their touch of rebellion at Maroubra Beach. This time the film focuses very much on their friendship, showing home movies of their past, recreating scenes of their childhood, one sticking up for the other. As they grow up, they share their love for the surf as well as all sports. While Mark Mathews carved out a career in surfing, with some injuries which seemed to hinder the possibilities of comeback, he nevertheless did and became a champion. There are testimonies from many other surfers who admire Mathews, including the champion, Kelly Slater. In the meantime, Vas has a job in carpet-laying, faces a jail term, has a girlfriend with whom there are various ups and downs.

Despite all the difficulties and the limitations of their backgrounds, both make good.

The film shows the details of Maroubra Beach and life at Maroubra. It also features an enormous number of waves – in spectacular close-up, in Australia, Hawaii and, especially, on the coast of Tasmania.

Macario De Souza co-wrote Bra Brothers and co-directed it. This time he has acted as director, producer, cinematographer and editor.

1. The specialist audience for this kind of film? General audience? Australians, sports lover, surf lovers, multi-martial arts? Biographies?

2. The title, the theme of fear, as illustrated and discussed?

3. The action sequences, the surf, the majesty of the waves, the dangers, the surfers’ stills, the close-ups? Locations, Australia, Hawaii, Maroubra Beach, the coast of Tasmania?

4. The multi-martial arts sequences? Bouts and skills?

5. The biography of the two men, the home movies? Boys from Maroubra, the suburbs, the visuals, the beach, swimming and surfing, age and growing up, friends, one being bullied and the other defying the bullies, their development into adults?

6. The value of the voice-over, Joel Edgerton? The range of interviews, the personalities, the honest statements about each of the characters, their strengths, limits, values?

7. Mark and his life, focused on the surf, not worried about money, the variety of tournaments, success, searching for sponsors, the difficulties, building up his career, becoming a champion, the injury, recovery, future sponsors?

8. Mark as a friend, relationships, the background of his family, travel, his not wanting to commit himself permanently?

9. Vas, the background of the surf and his success, friendship with Mark, going into competitions, the relationship with Lucy, the ups and downs, the break, her persevering, his ambitions, in the multi-martial arts, winning? Lucy and the building up of the relationship?

10. The story of two 20th century young men, their life, family, break-ups, achievements, the importance of discipline, their initial rowdiness, change for the better, responsibilities and success?

11. The testimony of the American surfers, especially Kelly Slater? Australian friends?

12. Putting a human face to successful sports stories, the blend of action and the personal?

ANIMAL BEHAVIOUR

US, 1989, 85 minutes, Colour.
Karen Allen, Armand Assante, Holly Hunter, Josh Mostel, Richard Libertini, Nan Martin.
Directed by H. Anne Riley.

Animal Behaviour is a slight romantic comedy, working on the premise that monkeys and humans have a lot in common, especially language, understanding, automatic behaviour.

Armand Assante, in a change from his usual heavies, is a music professor and would-be composer transferring to a university in New Mexico. Karen Allen is a research assistant, working with a monkey and trying to train it to understand and to behave on command. Holly Hunter, early in her career, has a typical role as a New Mexico single mother.

The film shows the attraction between the two professors, their animal attraction, the propensity for the woman to be jealous, the man to misunderstand. The film has some farcical moments, especially with the monkey. However, it is a happy ending kind of romance.

1. Romantic comedies and their popularity? For men? For women?

2. A film of the 80s? A nice romantic comedy? The New Mexico university setting? The terrain of New Mexico? The music professor? The scientist? The meeting between arts and science? Animal behaviour – and animal attraction?

3. The focus on Mark, his background, coming to New Mexico, the class and the dissonance in the orchestra, Cleo and her ignorance, her chasing Mark, sidling up to him at the bar, her wanting private tuition, her major in music? His encounter with Alex, his behaviour with the monkey, reassurance? His discussions with Mel and Mel’s ambition for his art project?

4. Mark settling down, his work at the university, his tuition, wanting to compose? Coral as his neighbour, her daughter and not communicating? Alex arriving and misunderstanding the situation, acting jealously?

5. Alex, her studies, her relationship with Dr Parrish, the past, his affection for her, his demands on her in terms of budget, her work with Michael, whether he could understand or not, his behaviour, responding to words, to signs? The many sequences with the monkey? Cleo going with the monkey, her being able to communicate? Signing?

6. Alex and her concern, her jealousies of Mark, yet the attraction? Her petulance? The examination, the reaction of the panel, Michael’s behaviour? Michael with Cleo, their admiration? Dr Parrish, his arrogance, everything going wrong, mayhem in the laboratory? The members of the board, their response to Dr Parrish, to Alex, to Michael?

7. Coral, her daughter, managing, cheerful, friendly with Mark, with Alex?

8. The reconciliation, the romance, the possibility of music and science being together? A future?

CLOSED FOR WINTER

Australia, 2009, 85 minutes, Colour.
Natalie Imbruglia, Daniel Frederiksen, Deborah Kennedy, Danielle Catanzariti, Tony Martin.
Directed by James Bogle.

Closed for Winter, formerly called Elise after the central character, is set in Semaphore, Adelaide, the suburb and the beach and pier. The atmosphere of this part of Adelaide is strongly communicated.

The film focuses on a young woman whose sister disappeared twenty years earlier, without the audience knowing exactly what happened, but thinking of the possibility of running away, killing herself, being snatched by somebody...

Elise has suffered and clings to the memories of the past, her responsibility in losing her sister. Her mother, played by Deborah Kennedy, is still obsessed and searches newspapers for information, cluttering the house with the papers. At work in the theatre, Elise meets Martin, a sympathetic young man who loves her. They decide to move in together, there are various clashes because of Elise’s concern about her sister, but ultimately, Martin supports her and she is able to let go of the memories of the past.

Also influential are the man who runs the shop nearby who has stories from the past, as well as the doctor who treats Elise’s mother.

Singer Natalie Imbruglia plays Elise, rather quietly. Danielle Catanzariti (Hey Hey, It’s Esther Blueberger) is the young Frances in her life before she disappears. Daniel Frederiksen plays Martin.

The film was adapted from a novel by Georgia Blain, written and directed by James Bogle who adapted Tim Winton’s In the Winter Dark for the cinema but has worked mainly in television.

1. The title, the season, the wintry human experience.

2. South Australia, Adelaide, Semaphore, the beaches and the pier, the homes, workplaces, the theatre? The score? The songs?

3. The importance of the time shifts, the moving from the present to the past, the life of the two sisters and their mother, the death of their father? The behaviour of the two girls when young? The mother at work? These things for understanding both of the girls as well as of their mother?

4. Elise as the focus, her age, living with her mother, the mutual bonds and dependence, her work at the theatre, her friend at the theatre, their discussing everything, Martin and his concern, his love for Elise? Her wanting to be alone, pensive, walking along the beach, the bus rides? At home? Her mother and the papers? The pharmacist and his friendship, his memories? The memories of her father? The stories about him? Her decision about Martin, telling her mother, Martin’s visit, clearing away the papers, moving in? The meal? Love, tensions, clashes, her friend’s advice? Their being together, her mother’s illness, staying with her and caring for her, the information about her mother, her realisation of her love for Martin? The background of the father – the possibility of abuse? Frances running away? Killing herself? Ill? The role of the doctor?

5. The flashbacks to the two young girls, the voice-over, their ages, playing together, at the beach, the role of the father, his death, the role of the mother, her work? Elise and her losing Frances? The pharmacist, the search, the bewilderment, twenty years?

6. The portrait of the mother, her preoccupations, her continued search? Memories of the past, her marriage, her husband and his death, the two girls, going to work, her control over them? Her reaction to Martin, her illness? Her dependence on Elise? The doctor?

7. Martin, pleasant, talk, earnest, love for Elise, the meal, meeting her mother, clearing away the papers, his having to go to the conference, hurting Elise, his being hurt himself, the reconciliation?

8. Elise’s friend, their work together, sharing, the modelling, the resolution?

9. The pharmacist, his personality, his role, insight into the past?

10. The doctor, his concern, treatment of the mother, of Elise?

11. The feel of the film, the empathy with characters, the puzzle of the past, letting go of grief and pain?

NORMAL LIFE

US, 1996, 101 minutes, Colour.
Ashley Judd, Luke Perry, Bruce A. Young.
Directed by John Mc Naughton.

Normal Life is an ironic title for the film, the story of an earnest young policeman and his infatuation with an erratic beautiful woman who is prone to depression and to drug addiction. They marry, he becomes more desperate. However, when he is sacked from his job, and he does not relate well to other police, he decides to put his talents to robbing banks, and then sharing the robbing of banks with his wife. The film opens with the end of his career and his arrest so the audience knows that from good beginnings, there are going to be sad endings.

The film stars Luke Perry, popular from television series, as the young policeman. He does well in this role and is matched by Ashley Judd, at the beginning of her career, as the erratic Pam.

The film was directed by John Mc Naughton, an eccentric director who has shown a great interest in portraying crimes and criminals. Some of his films are Henry: Portrait of a Serial Killer (with James Woods), Mad Dog and Glory with Robert De Niro and Uma Thurman, and Wild Things.

1. The title, its irony, what was normal, the struggle to be normal, the decisions by Chris Anderson not to be normal?

2. The film based on a true story?

3. The American Midwest, the credits, the town, home, the police, the malls, ordinary town? The musical score?

4. The structure of the film: the robbery, the pursuit, the arrest and chase, the shootout? The flashbacks to two years earlier, the portrait of Chris and Pam, their lives, decisions? Resuming the bank robberies, the aftermath and the violence?

5. The pessimistic tone of the film? For both Chris and Pam? The sadness of life, the void?

6. The initial police comments on Chris when he was arrested, their surprise, the flashbacks, the police work, Chris as a loner, not relating well to his fellow police, not countenancing their brutality, not playing the games, their not giving him any backup? His love for books? For reading? Eventually for selling the second-hand books?

7. The episode in the bar, Pam surrounded by the men, the disorder, a sign of things to come? Chris and his attraction to Pam?

8. Their meeting, talking, the dates, the shooting, sharing, the relationship, marriage?

9. The wedding, the formality, the father, the family coming, the cough during the speech and its irony? The meal and Pam in the bathroom? Sign of things to come?

10. Pam as a character, sharing with Chris, the explanations, her interest in the stars and planets, the telescope, the potential depth in her character? Yet self-centred, caring less, her tantrums? Sexual behaviour, refusal?

11. Chris and his work, Pam and his getting the dog, the arguments at the parents’ house, Pam and the bike, the dog, the meal? Chris and his always giving in?

12. Pam as wilful, the credit card, the coming eclipse, her extravagant buying of equipment, presents? Working, her being late, her being fired?

13. Chris and his being fired? The accounts, the debts? Pam not interested? Looking for new opportunities?

14. Pam, her friend, the sexual behaviour? The arguments, the reconciliation with Chris?

15. Chris opening the shop, selling second-hand books, doing security work? The possibilities for settling down?

16. The robberies, the plans, the cars, Chris and his disguise, success, eluding the police, his watching the media reports? Pam following him, seeing the cash, getting an allowance, wanting to participate in the robberies?

17. The number of robberies, the banks, their reputation? The pursuit, the arrest, Chris listening in on the police radio? Pam and her shooting, her death? The Bonnie and Clyde echoes?

18. Chris, going to court, his brother and family supporting him, his changing character, the gun, his death?

19. The irony of the title in view of this story of two ordinary people and their normal life changing to extraordinary and destructive?

WHITE IRISH DRINKERS

US, 2010, 109 minutes, Colour.
Nick Thurston, Geoffrey Wigdor, Karen Allen, Stephen Lang, Peter Riegert, Leslie Murphy, Zachary Booth, Henry Zebrowski.
Directed by John Gray.

White Irish Drinkers is a Brooklyn story. It shows young men in the 1980s and their growing up in the first decade of the 21st century.

The title refers to the Irish in Brooklyn, their background in contrast with the African Americans, and the Irish tradition of drinking. And the devastation that this has in families.

Stephen Lang does a variation on his hard-drinking father performance and is very effective. An older Karen Allen is the long-suffering mother. Newcomers Nick Thurston and Geoffrey Wigdor a very good as the two sons, Thurston as the artistic son who emulates his gangster brother, Wigdor as the gangster brother who eventually has an admiration for the achievement of his younger brother. Peter Riegert appears as the proprietor of one of the few remaining cinemas in Brooklyn.

The film focuses on the younger brother, tempted to become a thief like his older brother but failing to follow through. He is a very good painter, is reluctant to go from Brooklyn to be further educated but finally makes a decision. He also has an encounter with a young woman who was at school with him, who pretends she is a travel agent executive but is really also a woman frightened of leaving Brooklyn.

While the film shows the interactions of the characters, there is a situation where it appears that the Rolling Stones are going to appear for one hour at the local cinema. There are preparations, the older brother intends to rob the theatre, the loan shark is determined to get money back from the proprietor. This provides dilemmas for the younger brother and whether he will participate in the robbery or not. In the meantime, the father has clashes with his older son yet reveals his concern for him.

Ultimately, with the mother’s blessing, the younger son leaves Brooklyn with the young woman and his friends who have gone to college. But his final gesture towards his father is to punch him on behalf of his brother.

The film is a variation on many films that look at this kind of family in Brooklyn – but is quite effective. It was written and directed by John Gray, an eclectic writer-director, mainly of material for television, with such films as The Day Lincoln Was Shot, the remake of Brian’s Son and Helter Skelter.

1. A Brooklyn story, contemporary, built on the past, the Irish in Brooklyn, hard workers, the world of crime, the world of bars and drinking, the Catholic background, young people trapped in this environment? Hopes and possibilities?

2. The atmosphere of Brooklyn, the streets, homes, rooms and basements, the La Fayette cinema? The workplaces, the police precincts? Bars? The sense of realism? The score?

3. The title, the explanation, the traditions, in the succeeding generations, in the modern generation? The title and stereotypes?

4. A portrait of two brothers, their age, their experiences, their relationships, Danny older and tough, going into crime, the jewellery robbery, connections with the fence, his criticisms and condemnation of Brian? At home, the clashes with his father, love for his mother? Ray and his getting out of prison? The fights with Ray? The plan to rob the theatre, the pressure on Brian, his being a role model, the plan, Brian agreeing? The memories of the past, the camp, the tent, Danny protecting Brian? Brian unwilling to participate in the robbery? Danny and the crowd, the knife, talking to Brian, his envy of Brian, his father and his bailing him out of prison, their fight? The meal with his mother? Listening to his father’s story of saving him when he was young? Danny’s death, the funeral? The mother and her story of the camp that Danny should have gone on, how it may have changed his life, his being trapped in Brooklyn, the waste of a life?

5. Brian as younger, weaker, Danny protecting him? Brian’s art and his skills? Meeting his friends in the bars? The white Irish drinkers? In the bar, meeting Shauna? Their past, her story about the travel agency, her travel, her hopes, getting out of Brooklyn? Their going to the cemetery, the naked run through the cemetery, the sexual relationship, her admiration for his art, stopping the relationship? His giving her the gift of the painting of the cemetery incident? Her being at the theatre, the truth about her not having travelled? Her being at Danny’s funeral? The friends at the bar, Todd, his getting out of Brooklyn, going to college in Pittsburgh, the possibilities? The others thinking of moving out? Brian wanting to stay, his mother finding the basement, seeing the art and her being at a loss? Going to the police station, the father bailing out his son? Brian’s decision not to steal the money, Whitey and his gift, as a father figure, Brian offering it to Danny to get out of Brooklyn, the crowd at the theatre, wanting their money back, Danny and his fight, being stabbed, his death? Brian’s final talk with his mother, decision to go, stopping and punching his father?

6. The portrait of the parents, the mother good and patient, the very hot meals, the father at work, the past, the camp story, the injury to Danny, grief? The father’s drinking, his workmates? Danny and the fight, the taunting? The sad story about Danny, the bail, the fight in the street, Brian hitting him? His wanting to shake hands?

7. Whitey, the cinema, his debt, Brian as an equivalent son, the possibility of the Rolling Stones coming, the equipment, the advertising, the crowds, the reaction, offering the gift of money to Brian? The loan shark coming to demand his money?

8. Brian and his friends, the discussions in the bar, the friend who decided to stay, training to be a garbage collector, his security, his happiness?

9. Shauna, her background, her friends, being trapped, the interaction with Brian, finally leaving with him?

10. The world of Brooklyn, young people being trapped – staying or leaving? A microcosm of situations in other parts of America and the world?