AND SOON THE DARKNESS

US, 2010, 91 minutes, Colour.
Amber Heard, Odette Yustman, Karl Urban, Adriana Barraza, Cesar Vianco.
Directed by Marcos Efron.

And Soon the Darkness is the story of two young American women cycling through Argentina. When they are separated, one disappears, the other spends the rest of the film searching for her. There is mysterious man in the town, also searching for his girlfriend (who is pictured in the prologue to the film). A policeman helps – but, of course, he is in on the racket. Most of the film concerns the girl trying to find her friend, her being captured, her being tortured, her escape.

The film was based on a 1970 British film, about two English girls cycling in France. It starred Pamela Franklin and Michelle Dotrice, directed by Robert Fuest.

The material is familiar – especially from such films as Touristas as well as Perfect Getaway.

The film is an average thriller.

1. The plausibility of the characters, the situations, the behaviour of the girls? The girl being captured? The crooked police and the allies in the town? The friend trying to help and his being killed?

2. The Argentinian settings, the remote towns, the roads, the water, the mountains? Local colour? The musical score?

3. The title, the way it was used, trying to find Ellie? Before darkness?

4. The picture of the two girls, their friendship, their backgrounds, their personalities, travelling together? Cycling? Going to the hotel, being registered, their passports? The later appearance of the passport and suspicions? Missing the bus? In the countryside, swimming, sunbaking, Stephanie going off, their clash? Ellie and her disappearance?

5. Michael, his presence, his friendship, his help with local toughs? His explanation of his searching for his girlfriend? His helping Stephanie – and his being shot?

6. Stephanie, the search, engaging Calvo, the role of the police? The young man and his being with Ellie? Under suspicion?

7. Stephanie and the help from Michael? Her dismay at his death? Her being pursued, captured, tied up? On the boat? Using her wits?

8. The men, their plans, the treatment of Stephanie, the brutality? Her turning the tables on them? Her death?

9. The background of the people in the village, especially Rosamaria at the hotel? A conspiracy against visitors?

10. The tone of the prologue, the torture of the girls? The sense of mystery? The further explanations? Stephanie being rescued by the policewoman – would she really be safe in the future or not?

DR KILDARE’S STRANGE CASE

US, 1940, 77 minutes, Black and white.
Lew Ayres, Lionel Barrymore, Laraine Day, Shepperd Strudwick, Samuel S. Hinds, Emma Dunn, Nat Pendleton, Walter Kingsford, Marie Blake.
Directed by Harold S. Bucquet.

The Dr Kildare series was a long one from the end of the 1930s to the early 1940s. Lew Ayres appeared as Dr Jimmy Kildare, working with the irascible Dr Gillespie, played in typical fashion by Lionel Barrymore. Laraine Day is Nurse Mary Lamont who later become’s Dr Kildare’s wife.

Lew Ayres was dropped from the series in 1942 when he became a conscientious objector to World War Two – even though he served on the front line as a medic.

The film has a strong supporting cast from MGM veterans, Nat Pendleton and Marie Blake (Jeanette Mac Donald’s sister) providing touches of comedy.

The film is the equivalent of later television series of General Hospital, ER, Chicago Hope. However, there are some interesting questions to be raised about the procedures, both psychological and medical, the immediacy of operations, the reactions of the staff – and, finally, although he has advice from his father, Dr Kildare’s use of insulin shock to jolt a person from dementia into normality.

However, the films were very popular – and are still quite watchable.

1. The popularity of the Dr Kildare series? Of Dr Kildare himself? Of Dr Gillespie? Their interactions?

2. MGM production values, supporting features, black and white photography, score, cast? The hospital setting – offices, surgery? Sense of realism?

3. The focus on Dr Kildare, his success as a diagnostician, his working with Dr Gillespie, Dr Gillespie’s favouritism, yet picking on him – and the revenge of his being forced to drink milk? Dr Kildare and his dedication, his love for Mary – but being prudent and keeping his distance? Her attraction to Dr Gregory Lane? Dr Gillespie, his eye on Dr Kildare, generating the possibility of a promotion, hoping that Dr Kildare would not take it, his thinking things over, the discussions with Mary, his staying at the hospital? His attitude towards Dr Lane, respecting him? The decision about the man going blind, death on the operating table? His supporting Dr Lane? The issue of the man with head wound, his seeming dementia, the operation, the decision to operate, without the man’s permission? The criticisms of Dr Carew? The hearing? Dr Kildare, his getting his friends to investigate the background, failure, Mike at the bar? His mother, discussions with his father? The insulin process – and the explanation? The man returning to normality, Dr Kildare finding his wife, saving the day?

4. Dr Gillespie, Lionel Barrymore’s crustiness, his progress – yet suspicions of things modern? Standing by Dr Kildare? The possibility of the promotion, Dr Kildare’s return? Supporting him at the end?

5. Dr Lane, wealthy, debonair, his assurance, his doubts, the man dying in surgery? His hesitation about the injured man, the operation, his being suspended?

6. Mary, devotion, interest in Dr Lane, the gift of the stockings? Assisting at the operations? Her love for Dr Kildare, their discussions, the date, the possible job, her disappointment? Her promotion and her assisting at the final operation, helping with the insulin treatment?

7. The staff at the hospital, the matron and her severity, her explanations, treatment of Dr Gillespie? The other doctors, the nurses? Dr Gillespie’s treatment of them?

8. The humour with Joe Wayman, wanting to take Sally out, the expenses, Mike and the preparation of the drink, Sally and her being charmed?

9. Life at the hospital, patients, the old man wanting to be young, the man going blind, the man hit on the head? The staff and the detail of the running of the hospital? Audiences always liking hospital stories?

HORRIBLE BOSSES

US, 2011, 98 minutes, Colour.
Jason Bateman, Charlie Day, Jason Sudeikis, Kevin Spacey, Colin Farrell, Jennifer Aniston, Jamie Foxx, Donald Sutherland, Ioann Gruffudd, Julie Bowen, Bob Newhart.
Directed by Seth Gordon.

Hitchcock did it seriously. Strangers on a Train. Danny de Vito did it for laughs. Throw Momma from the Train. The three men with horrible bosses note this when they are advised by their ‘murder consultant’ that they should each get rid of another’s boss. Horrible Bosses does not take itself too seriously and plays the scenario for laughs. And, generally, gets them.

We are immediately introduced to Nick (Jason Bateman who does this engaging put upon victim often but well) who is two minutes late to work for his megalomaniac and paranoid boss, Kevin Spacey. Kurt (Jason Sudeikis) gets on well with his boss (Donald Sutherland) but not his cokehead, sex-addict son, a surprising Colin Farrell. Meanwhile, Dale (Charlie Day) is sexually harassed by his dentist (a surprisingly aggressive and lewd Jennifer Aniston). The murder consultant, who has a story of his own, is Jamie Foxx.

The guys get together each evening for a drink and get to talking about what life would be like without their bosses – which leads to a search for a hitman (with a funny offbeat toilet humour detour along the way with Ioann Gruffyd as a ‘wetman’ whom they mistake for a killer). Actually, the film could have been called Bumbling and Bungling Employees, as most of the film is taken up with their casing their targets, intruding into their houses and making a lot of false assumptions and mistakes.

While the mechanism which leads to the resolution of the case, which you might guess when you see what they lose in Kevin Spacey’s bedroom, is contrived, it is nonetheless an entertaining way of getting rid of the bosses.

While the bullying of Spacey and the grossly insensitive exploitation of Farrell are obvious (and irritating for employees and audience), it is the sexual harassment issue that demands a bit more attention. This is role reversal from the usual headline cases – and Kurt is such a womaniser that he can’t quite see Dale’s difficulties – that it highlights the male chauvinist attitudes that cannot recognise sexual harassment for the serious problem that it is. And Jennifer Aniston’s comeuppance is not as drastic as murder but pulls her up dead (so to speak).

Director Seth Gordon has been more of a documentary maker, so he obviously has enjoyed making a comedy. The writers of The Hangover are her again, obviously opting for the raucous and raunchy treatment rather than the refined. In the tradition of The Hangover and Bridesmaids, as they say.

1. Comic and farcical? Serious? The raucous and the raunchy? The combination?

2. The different workplaces, audiences identifying with them? Bars, homes, streets? The police? The touches of realism? The comic score?

3. The title, the bosses and the reactions of their employees? Of the audiences?

4. The initial response to Nick, two minutes late, his boss and his tone, urging his employee on, being petulant, the lies, urging him to drink, the later use against him, the control, Nick working at home, the meetings with his friends, expecting the vice president’s job, his work at the office? The contrast with Kurt? His relationship with Mr Pellitt? His prospects, the contrast with Bobby and his decadent life, Bobby’s attitude towards the company? Mr Pellitt dying, Bobby at the funeral, Kurt and his expectations? His being told to sack people, the disabled and the fat? The issue of money? Bobby and his drugs and the women? The contrast with Dale, his work, his being on the offenders’ list (and the preposterous charge about his offence at the schoolyard at night)? Julia and her treatment of him, her tone, the dental work, her blunt talk, the sexual harassment? Dale and his love for Stacy and their engagement?

5. Going to the bar, their talks, their sharing their miseries, their speculating about their bosses, the possibilities of killing them, the plan?

6. Dale and his advertisements, setting up the issue for a hit-man, getting the wet man instead? The ironic comedy?

7. The naivety of asking in the bar, the encounter with Dean MF Jones – and the humour of his vulgar name? His offering advice, the money, the briefcase, the complaints about the expense for the briefcase, handing it over, the limitations of his advice, the opinion about murder, his being their murder consultant, suggesting they do the killings themselves in the line of Strangers on a Train and Throw Momma from the Train?

8. The further experiences of each of the three at work, the continued persecution and harassment? Julia and her using Stacy against Dale? Propositioning him? The glimpses of Bobby and his life? Dave and his humiliations of Nick at the office?

9. Nick, his being sick, going with the group, their going to the house, spying, in Bobby’s house, Kurt and his crude staining of things? Taking Bobby’s phone? The revelation about Bobby? Their going to Dave’s house, Dale on watch, Dave and his collapse with the nuts? Their plan to make him sick? Dale reviving him? The search of the house, dropping the phone? Dave’s reaction?

10. Dave, listening for the phone, his anger, continued suspicions of his wife, going to Bobby’s house, killing him, the group witnessing it? Their attempt to escape? The police catching them? Their being interrogated – and the excuse of the drag race?

11. The decision to confront Dave, Kurt and his womanising, especially with Dave’s wife? Wanting the tape, it running out? Their anger with Kurt? The irony of the guidance by voice for the driving and addresses, Gregory and his Indian name? The irony that Gregory had taped everything including Dave’s mocking them?

12. Julia, the continued harassment, the liaison with Kurt? Her previously blackmailing Dale with photos? Dale having the photos? And his control over Julia? The irony of their friend who was sacked, and was a gigolo? His coming to Julia’s office and compromising her?

13. The effect of the final trick, Julia under control? Dave arrested, Bobby dead?

14. The happy ending – and with Dean MF Jones after his advice? Their futures?

THE TALL MAN

Australia, 2011, 79 minutes, Colour.
Directed by Tony Krawitz.

Cameron Doomadgee was a tall man, an aboriginal man, from Palm Island. Arrested for drunkenness one night in 2004, he swore at the arresting officer and less than an hour later he was dead. The officer, Christopher Hurley, was also a tall man.

Aboriginal deaths in custody has been a serious issue for many years. This one raised headlines because the arrested man had not even reached his cell. What happened and who was responsible?

This documentary is based on a book by Chloe Hooper (who is interviewed in the film) who is critical of the police procedures and the trials and inquests.

However, director Tony Krawitz is sometimes at pains to present the many sides of the discussion. The aboriginal community of Palm Island, especially Cameron Doomadgee’s partner and sisters, are quite vocal about what happened and the way the courts dealt with the matters. A reporter for The Australian is quietly spoken but very convincing in his criticism of procedures and the credibility of the police and their reports. Lawyers also detail anomalies in proceedings.

On the other hand, there is testimony that Christopher Hurley was a good policeman and had served in many difficult communities with racial differences. But, there are also reports of his being charged with violent behaviour. One of the major difficulties is that Hurley changed details of his story and the reconstruction of what happened – a fall, with both men collapsing which does not correlate at all with the injuries Doomadgee suffered, especially breaks in his liver, facial injuries and other cuts and bruising. An aboriginal witness in custody claimed that Hurley beat the fallen Doomadgee in anger. Hurley declined to appear in the film.

Proceedings lasted years. Hurley was freed of all charges, especially manslaughter, but the Queensland government intervened and another hearing was held in 2009.

There are some powerful scenes of the police union meetings and a very gung ho support for Hurley who continues in police work at the time of the release of the film.

In only 80 minutes, the film shows us the episodes and the immediate explanations, the changes in testimony, the history of racial disputes on Palm Island and life there, especially riots after the death, the attitudes of the police and their union, raising many questions for Queenslanders and for all Australians.

1. The events portrayed in the film, the various perspectives, the probing of the mystery, the record of the events and the examinations and trials?

2. The title, the dead man, his life, reputation, the opinions of his partner? His drinking, swearing, the arrest? The interrogation – the suddenness of his death?

3. The title and the contrast between Cameron Doomadgee and Christopher Hurley? Both big men? Hurley and his reputation, the charges against him, testimonies in his favour, the interrogations, his friends and the investigations, the explanation of what had happened, police union support? The trials and inquiries? The aftermath and his continuing to work on the Gold Coast?

4. The success of the film as a documentary, as a record, the book the basis of the film, the interviews with the author, Chloe Hooper?

5. Palm Island, as a location, off the Queensland coast, from Townsville, its beauty? The Aboriginal settlement – and a place for difficult Aborigines in the early 20th century? The role of the police, law and order?

6. The situation with Doomadgee, the explanation, his drinking, the arrest, the forty-five minutes, his being hit, the story of the falls, the nature of Doomadgee’s injuries? The evidence? The post-mortem? The police and their plausible explanation?

7. Christopher Hurley in himself, his work, the witnesses from his previous posts, suggestions of racism, a tough policeman, the charges of his assault, the explanations?

8. The hearings over several years, in Townsville, the prejudice locally, the authorities? The black witness from the jail? The family, the disappointment with the results? The riots on Palm Island?

9. The eventual intervention of the government, its hesitation, the further hearings, the final exoneration?

10. The portrait of the Doomadgee family, Cameron’s partner, the long time together, her witness to his character, his sisters, the friends? As characters, their testimony? The aftermath?

11. The bonds within the police force, the unions, the vociferous meetings and votes, the stances?

12. The legal background, the lawyers on both sides and their comments?

13. The media, the television cameras and interviewers? The testimony of the journalist for The Australian and his rather more objective observations on what had happened?

14. The value of this kind of documentary, a record of what happened, the possibilities for review of a situation, the personal aspects for the people of Palm Island, the aftermath for Christopher Hurley at work – and his declining to be in the film?

HUGO

US, 2011, 126 minutes, Colour.
Asa Butterfield, Chloe Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Ray Winstone, Emily Mortimer, Christopher Lee, Helen Mc Crory, Frances de la Tour, Richard Griffiths, Jude Law.
Directed by Martin Scorsese.

Fans wondered when they heard that Martin Scorsese was to direct a children’s film and in 3D. It didn’t seem like the material for the director of Taxi Driver, Mean Streets and The Departed. There is no need to be apprehensive, Scorsese has made one of his best films (and the vivid and sharp 3D photography works very well indeed).

So, the question is, who is Hugo? He is a boy, Hugo Cabret, from the novel, The Invention of Hugo Cabret, by Brian Selznick. And he is played by Asa Butterfield (from The Boy in the Striped Pyjamas). He is surrounded by a fine British cast led by Ben Kingsley. And he teams up with the vivacious Chloe Grace Moretz (Kick Ass, Let Me In).

That is the who of the title. But, the interesting question is the where and when of the film.

The where is Paris and most of the action takes place in the railway station, Gare Montparnasse. Not only do we feel we have lived in the station, we know the regulars well, the vendors, the police, but we spend a great deal of time in the cavernous spaces behind the clocks of the station where Hugo lives. The film opens with a lengthy running sequence where we experience Hugo in the long corridors and vast rooms in an exciting 3D tour.

The when is the late 1920s, so the period is re-created with costumes and decor, quite sumptuous to look at – and to a stirring score as well.

The time is important because the film is also about the history of cinema, particularly French cinema and the early silent era. Scorsese is a cinema buff par excellence and he takes the opportunity to immerse his audience in the wonders of cinema and animation. Film buffs will really appreciate it. And, because, the central protagonists are children, it offers a wonderful opportunity to learn about cinema in the olden days.

There is a brief cameo by Jude Law as Hugo’s father, a man who loved tinkering with machines and novelties. He has rescued a complicated robotic machine and has been attempting to make it work, but a key is missing. After his father’s death, he is taken by his uncle (Ray Winstone) to work on the clocks in the station. One of the shops is owned by a crusty old man who accuses Hugo of stealing, setting the war veteran commissioner at the station (who interprets all rules rigidly) in pursuit of Hugo who can always escape behind the clocks and hide. Ben Kingsley is the shop owner and Sacha Baron Cohen the commissioner. There is a fine cameo from the elderly Christopher Lee as a bookseller.

This leads us to the films of Georges Melies, the French pioneer of animation, whose rocket to the moon short is well known (and was recently restored to its full colour (each frame hand painted at the time) which is featured at the end of Hugo). It is assumed that Melies died in World War I, but he did not. His many fantasy films went out of fashion with the hard edge of film reporting from the war, and Melies lost his money and studio and withdrew, rather embittered, to the shop at the station.

There is a warmth in the storytelling as Hugo becomes less defensive, where Melies re-discovers and visualises the story of his past and the wonderful experiences of studio filming with his wife, where the key to the robot is found and it begins to work and offers a message to Hugo from his father.

Because Scorsese has always made films for mature older audiences, he knows how to gear his children’s film to entertain and interest adults. Obviously, he hopes that children will identify with Hugo and share the wonder of the technical developments of the period and better appreciate where the films they take for granted came from and the genius of those pioneers like Melies.

1. The popularity of the film? Critical acclaim?

2. The work of Martin Scorsese, his career, his realism in films, melodrama, his interest in the history of cinema?

3. An adaptation from the book, graphic with illustrations? The visualising of the book? Sets, characters, film and fantasy?

4. The technical bravura of the film, the colour photography, the 3D? The elaborate sets: the station, the clocks, the rooms behind the clocks, apartments, the streets of Paris, glimpses of Paris? Machines, magic, the movies, silent images, colour? The tracking shots and the chases? The audience immersed in the Paris of the late 1920s? The musical score?

5. The variety of audiences: a children’s story, children identifying with the characters? Audiences with technical interest, with the history of cinema? Knowledge of George Melies? Film buffs?

6. Hugo as the focus of the film, his perspective on characters and action? His watching life at the station, the details of station life, his job, the various shops, his memory and the puzzle of the automaton?

7. George Melies as the focus, an old gruff man, harsh, his change, his rehabilitation and his reputation?

8. The introduction to Hugo, the station and its vitality, the clocks, his work, the intricacy of the clocks? The world behind the clocks, vast? His watching Melies, the mechanical mouse? His going to the store, stealing, his being caught, emptying his pockets, losing his notebook, the station inspector and his observations? The escape and the chase?

9. Hugo’s story, the flashbacks, his love for his father, the bond, working with him, the automaton, its story from the museum, trying to fix it, the need for the key? The notebook and the designs? His father’s death? His uncle, drinking, working on the clocks, installing Hugo behind the clocks? The later information about his death? The puzzle for all as to who was looking after the clocks? The automaton in his room? Getting the key from Isabelle? The automaton working, the message, the drawing, the link with his father, going to Melies?

10. The notebook and its detail, Melies refusing to give it back? Hugo and his contact with Isabelle? Their meeting, liking each other, going home, Isabelle’s mother, George and his place in the house, the shop, his refusal to give back the notebook, demanding that Hugo fix the mouse? The various tasks?

11. The station inspector, his background in the war, his artificial leg? His attraction towards Lisette, her shop and the flowers? The other shopkeepers, Monsieur Frick, Madame Emilie? The inspector and his attraction to Lisette and his shyness, her response? The importance of rounding up orphans, the inspector chasing Hugo, the puzzle about his disappearance? His office, the phone call, the news about Hugo’s uncle? The confrontation?

12. The books, Monsieur Labisse and his kindness, his advice, finding the books? Researching the early films, going to find the author, explaining the situation to him, his having the films, the plans, going to see the Melies family?

13. Hugo, his ordinary life, at work, at the station? The various types?

14. The importance of the film, bringing the projector, the screen, George’s wife and her delight in looking at the film, Melies coming and being surprised?

15. The flashbacks, the early silent films in Paris, the studio, the cast, the special effects, the fantasy world and creations? The tricks and the editing? George and his wife? Her appearing? The film Voyage to the Moon – famous, seeing it in full colour?

16. The recognition of Melies, the assembly, the acclaim, his explanation about the war and being out of favour with war realism, working in the shop? The honour to him, his reputation restored?

17. Hugo, his mission in life, from his father, the skills, the automaton, the message, cinema, joy?

18. The happy ending, the satisfying ending for children? A satisfying end for adults and their exploration of film history?

19. Scorsese’s tribute to cinema and the cinema geniuses?

CITY FOR CONQUEST

US, 1940, 104 minutes, Black and white.
James Cagney, Ann Sheridan, Frank Craven, Donald Crisp, Frank Mc Hugh, Arthur Kennedy, George Tobias, Jerome Cowan, Elia Kazan, Anthony Quinn, Lee Patrick.
Directed by Anatole Litvak.

City for Conquest is a film about boxing and the arts. It was directed with humanity by Anatole Litvak who made many films at Warner Bros at this time. It has the special effects, especially collages, from later director Byron Haskin who used the same techniques for Litvak’s Blues in the Night.

The film also has a strong score by Max Steiner, echoes of George Gershwin’s Rhapsody in Blue.

James Cagney portrays one of two brothers. He is a boxer, a genial man, sympathetic to his younger brother who is an aspiring composer. He is played by Arthur Kennedy in his first film.

The complication is Ann Sheridan, a neighbour who is James Cagney’s girl but who has ambitions to be a dancer and see her name in lights. She is charmed by a suave dancer played by Anthony Quinn.

The film was cut for release but a fuller version of the film was release in 2007. Frank Craven gets third billing but appears in only one scene. However, in the extended film he has many sequences and is also the voice-over introducing the film. Cut footage also includes scenes of the central characters when they were young.

Veterans like Donald Crisp and Frank Mc Hugh appear in the film. But it is also the first film of Elia Kazan who was to go on to be one of the most celebrated Hollywood directors, winning Oscars for Gentleman’s Agreement and On the Waterfront.

There are boxing sequences. The film culminates with a performance of the younger brother’s symphony, City for Conquest, in Carnegie Hall.

Some of the tough elements of the Warner Bros films of the 30s and 40s – but with a touch of humanity and a touch of the arts with music.

1. A Warner Bros film of the 30s-40s? Brooklyn, tough, the arts, the blend?

2. The black and white photography, the city streets, the boxing arenas, society gatherings, dance and theatre, Carnegie Hall?

3. The musical score, Max Steiner’s symphony, the echoes of Gershwin and Rhapsody in Blue and the tribute to New York? The range of popular songs used?

4. 1934, the Depression, the collages of activities and the streets of Brooklyn?

5. The strong cast, Cagney as tough but sympathetic? Ann Sheridan, dancing and glamour? Early films of Arthur Kennedy and Anthony Quinn? Elia Kazan?

6. The bonds between the two brothers, their contrast, no rivalries, mutual support? Eddie’s final tribute to Danny?

7. James Cagney as Danny, with Mutt, at the gyms, the training, tough, the agents, the truck-driving and the building sites, at home, Eddie and his music, Danny deciding to fight to win the money for Eddie’s scholarship, Danny’s success in the ring, Scotty and his being impressed, the development of Danny’s career, travel?

8. Peggy, living in the same building, in love with Danny, her dancing, the encounter with Murray, her being swept off her feet, the effect, wanting to see her name in lights, Eddie’s explanation of this motivation? With Murray, leaving with him, the dancing, the tours? Murray and his hard style? The contract, going on tour, New York, her name in lights? Her abandoning Danny?

9. Eddie, at home, composing, playing, Danny listening, at the social and his being ignored, playing the jazz, the Broadway contract, going to Carnegie Hall, the final triumph?

10. Danny and the effect of Peggy’s leaving, her message, his bashing the friend in the ring, the decision to fight the champion, the culminating boxing bout, the opponent cheating, damaging Danny’s eyes?

11. Danny, in hospital, accepting of what had happened to him? Wanting a job, the paper kiosk in the street, making friends with people, working with Mutt, his listening to Eddie’s symphony? Peg, his glimpse of her, the reconciliation?

12. The supporting characters and flavour: Googi, background of friendship in the past, in jail, getting out, Danny supporting him, going up in the world, entrepreneur, the clubs, the boxing matches, his reaction to Danny’s defeat, taking the rivals in the car, the shootings? Murray, charm, dancing, his tough attitude towards Peggy?

13. Effie, her taking pity on Peggy when she asked for a job, learning about the concert, going to the concert?

14. The old-timer, his narrative introducing the film – and the sequence where he stopped the boy stealing bread?

15. A satisfying film of the 40s – tough, emotional – and still interesting?

MARTHA – MEET FRANK, DANIEL AND LAURENCE

UK, 1998, 88 minutes, Colour.
Monica Potter, Joseph Fiennes, Rufus Sewell, Tom Hollander, Ray Winstone.
Directed by Nick Hamm.

Martha – Meet Frank, Daniel and Laurence is a light romantic comedy. It was written by Peter Morgan who went on to write a number of significant plays and films including The Deal, The Queen, The Special Relationship, The Last King of Scotland, Frost/Nixon.

American actress Monica Potter portrays a young woman who wants to escape the United States, gets the cheapest flight and finds herself on the way to London. At the airport she encounters a record executive, played by Tom Hollander, who is attracted by her and gets himself seated next to her in the plane. They seem to connect very well. When she arrives in London, he arranges for her to go to a hotel. However, she backs out of what seems to be a dangerous relationship. Tom Hollander is Daniel and he summons his friends Frank (Rufus Sewell) and Laurence (Joseph Fiennes) to discuss the situation. Frank later encounters the young woman and takes her to the Tate Modern exhibition. However, the story is told from the point of view of Daniel who is in a dilemma, confiding in a neighbour who is a psychiatrist, played by Ray Winstone. It emerges that the significant person in Martha’s life is actually Laurence whom she had met at the airport – the screenplay cleverly misleading the audience in terms of the relationships. She provides a final challenge – and, of course, Laurence is the winner. (The Americans did this kind of romantic comedy and multiple suitors with a flight attendant played by Jane Wyman in Three Guys Named Mike.)

Direction is by theatre director with the Royal Shakespeare Company, Nick Hamm, who moved to television and films including The Hole and Godsend.

1. A British romantic comedy of the 1990s?

2. The work of Peter Morgan, the sprightly dialogue, the clever plotting?

3. The scenes in Minnesota, the wide American expanses? The contrast with London, the details of the locations, the parks, the galleries, restaurants, flats? The musical score?

4. The title and the leads for a romance? Martha and her relationship with each of the three? Audiences thinking that she was relating to Daniel but was relating to Laurence?

5. Laurence, his anxieties, going to the psychiatrist, talking, the psychiatrist listening, the story and the complications – and the interruptions, audiences finally realising that Martha was at Laurence’s place?

6. Daniel, his work, the lifestyle, the record company, his wealth, the encounter with Martha at the airport, the ticket and the trick, the apology, first class and the other woman in the seat? Changing seats, talking, self-revelation, the offer of the hotel, the card?

7. Martha and her life, her job, life collapsing, leaving her apartment, leaving the US, the UK for ninety-nine dollars? Daniel and his ploy, her reaction? Her arrival at the airport?

8. Laurence, continuing his story, the audience thinking that Martha was in love with Daniel? The final revelation?

9. The meal, the arguments, the ideal woman, Laurence upset in discovering that she knew Daniel?

10. Frank, his acting, his past, his fears of performance, fighting Daniel, going to the audition, rehearsing, with the other actors, leaving and not performing, in the park, the encounter with Martha, her story, his recognising her, the argument, going to the gallery, the bet about her meeting someone, his phoning Laurence?

11. The irony of Laurence’s story, going to the airport, missing Daniel, meeting Martha, the car, the information and the announcement, the ride, talking, showing her the city, the meal at the hotel, he being the one for Martha, Daniel’s flowers?

12. Meeting Martha again, the apology, the return, tired, at home, the bond, his going to the psychiatrist, her going to sleep, seeing the photo of the friends, leaving the note?

13. The meeting with all three, the different reaction of each, Laurence and his chase, happy? Her doing the trick with the ticket – and going to Iceland?

14. A romantic comedy about love at first sight?

THE MIGHTY McGURK

US, 1947, 85 mintues, Black and white.
Wallace Beery, Dean Stockwell, Edward Arnold, Aline Mac Mahon, Cameron Mitchell, Dorothy Patrick, Aubrey Mather, Morris Ankrum, Clinton Sundberg.
Directed by John Waters.

The Mighty Mc Gurk was one of Wallace Beery’s last films. It also features Dean Stockwell who made a number of films at this period, a very attractive young actor who continued his career in his adult life. There are various MGM supporting cast including Edward Arnold being nasty as usual, Aline Mac Mahon being demanding, Cameron Mitchell as a young hero and Dorothy Patrick as the attractive fiancée.

The film has elements of many other films made by MGM, especially echoing Wallace Beery and Jackie Cooper in The Champ. This time Beery is a has-been fighter, his reputation depending on a lie. Edward Arnold is the owner of a saloon, scheming to expand, especially with the taking over of the Salvation Army building across the street. The Salvation Army is led by Cameron Mitchell, a former boxer who was coached by Beery but pulled out. Dorothy Patrick is Edward Arnold’s daughter, in love with the Salvation Army man. There are a variety of crooks as well as ‘characters’ from the Bowery.

This was one of Wallace Beery’s last films and he spends a lot of time mugging as well as echoing such performances as his Oscar-winning The Champ. Dean Stockwell is forced to have a British accent, which he doesn’t do too well, and seems to follow in the footsteps of Freddie Bartholomew.

The director was John Waters, a second-unit director of many films, directing only small-budget films himself.

1. An MGM programmer of the mid-1940s? For Wallace Beery fans? For Dean Stockwell?

2. The Bowery settings, old New York, the recreation of the period? The saloons, the Salvation Army? Uptown? Investment offices? The wharves? The streets? An authentic atmosphere? The score – and the medley of old familiar songs?

3. The title, the focus on Slag Mc Gurk? His boxing career, his being a champion – and the opponent taking a fall? His belt? His doing work for Mike Glenson? His antagonism towards Mamie? The price on his belt in her pawnshop window? Their continual bickering? His borrowing money? Going to the wharf to meet Caroline, missing her, the fight, his taking the commission on fifty men to go to Albany? His hiding, his encounter with Nipper? Nipper and his being an orphan, alone, not wanting to go with his uncle? His going back to the Bowery with Slag?

4. The relationship between the two? Slag, hard surface, soft heart? His interest in Nipper, the story? Looking after him, the false philosophy about friends and enemies, teaching him to fight? In the house, Nipper getting the dog? The dog and the bed? His taking him to his uncle, meeting the crooks, the promise of the reward? Looking after him? In the saloon, with Mike Glenson, with Mamie, the police stopping the fight? The decision for staying or leaving? Never packing, Slag and his soft heart? The brawl for the Salvation Army building? Nipper and his going to the Salvation Army, the preparation for the adoption papers? The future of the two together? Slag as a father?

5. The character of Nipper, his age, British background, the orphanage, the death of his mother, not wanting to go to his uncle? At the wharf, ingratiation himself? His very British manner and vocabulary? Going to the saloon, the fights, in the house, the dog? Going to his uncle’s? His realising the truth? His decision to go, packing? His going to the saloon, the fight, the Salvation Army, his staying?

6. Mike Glenson, the tough man, the saloon, the brewers from Chicago, wanting the Salvation Army building? His relationship with his daughter? The final brawl, the police? Urging his daughter to go to Johnny?

7. Johnny, the fighting, with Slag, leaving him, the Salvation Army, playing in the streets? And the irony of Slag going undercover, playing the drums in the procession? Caroline, the wharf? Their love for each other? The finale and her father urging her to go to Johnny?

8. Mamie, tough, pawnshop, lending the money? The belt and the price? Her arguments with Slag? The final proposal and the happy ending?

9. The characters around the Bowery, the pub? The contrast with the criminals uptown?

10. Popular entertainment – dated now?

MARTHA – MEET FRANK, DANIEL AND LAURENCE

UK, 1998, 88 minutes, Colour.
Monica Potter, Joseph Fiennes, Rufus Sewell, Tom Hollander, Ray Winstone.
Directed by Nick Hamm.

Martha – Meet Frank, Daniel and Laurence is a light romantic comedy. It was written by Peter Morgan who went on to write a number of significant plays and films including The Deal, The Queen, The Special Relationship, The Last King of Scotland, Frost/Nixon.

American actress Monica Potter portrays a young woman who wants to escape the United States, gets the cheapest flight and finds herself on the way to London. At the airport she encounters a record executive, played by Tom Hollander, who is attracted by her and gets himself seated next to her in the plane. They seem to connect very well. When she arrives in London, he arranges for her to go to a hotel. However, she backs out of what seems to be a dangerous relationship. Tom Hollander is Daniel and he summons his friends Frank (Rufus Sewell) and Laurence (Joseph Fiennes) to discuss the situation. Frank later encounters the young woman and takes her to the Tate Modern exhibition. However, the story is told from the point of view of Daniel who is in a dilemma, confiding in a neighbour who is a psychiatrist, played by Ray Winstone. It emerges that the significant person in Martha’s life is actually Laurence whom she had met at the airport – the screenplay cleverly misleading the audience in terms of the relationships. She provides a final challenge – and, of course, Laurence is the winner. (The Americans did this kind of romantic comedy and multiple suitors with a flight attendant played by Jane Wyman in Three Guys Named Mike.)

Direction is by theatre director with the Royal Shakespeare Company, Nick Hamm, who moved to television and films including The Hole and Godsend.

1. A British romantic comedy of the 1990s?

2. The work of Peter Morgan, the sprightly dialogue, the clever plotting?

3. The scenes in Minnesota, the wide American expanses? The contrast with London, the details of the locations, the parks, the galleries, restaurants, flats? The musical score?

4. The title and the leads for a romance? Martha and her relationship with each of the three? Audiences thinking that she was relating to Daniel but was relating to Laurence?

5. Laurence, his anxieties, going to the psychiatrist, talking, the psychiatrist listening, the story and the complications – and the interruptions, audiences finally realising that Martha was at Laurence’s place?

6. Daniel, his work, the lifestyle, the record company, his wealth, the encounter with Martha at the airport, the ticket and the trick, the apology, first class and the other woman in the seat? Changing seats, talking, self-revelation, the offer of the hotel, the card?

7. Martha and her life, her job, life collapsing, leaving her apartment, leaving the US, the UK for ninety-nine dollars? Daniel and his ploy, her reaction? Her arrival at the airport?

8. Laurence, continuing his story, the audience thinking that Martha was in love with Daniel? The final revelation?

9. The meal, the arguments, the ideal woman, Laurence upset in discovering that she knew Daniel?

10. Frank, his acting, his past, his fears of performance, fighting Daniel, going to the audition, rehearsing, with the other actors, leaving and not performing, in the park, the encounter with Martha, her story, his recognising her, the argument, going to the gallery, the bet about her meeting someone, his phoning Laurence?

11. The irony of Laurence’s story, going to the airport, missing Daniel, meeting Martha, the car, the information and the announcement, the ride, talking, showing her the city, the meal at the hotel, he being the one for Martha, Daniel’s flowers?

12. Meeting Martha again, the apology, the return, tired, at home, the bond, his going to the psychiatrist, her going to sleep, seeing the photo of the friends, leaving the note?

13. The meeting with all three, the different reaction of each, Laurence and his chase, happy? Her doing the trick with the ticket – and going to Iceland?

14. A romantic comedy about love at first sight?

THE IDES OF MARCH

US, 2011, 101 minutes, Colour.
Ryan Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood, Marisa Tomei, Jeffrey Wright, Max Minghella, Jennifer Ehle.
Directed by George Clooney.

No need to beware this Ides of March. It is an interesting and entertaining (even though it ultimately surrenders to the cynicism that realpolitik usually leads to) political drama that is based on a play, Farragut North from 2008, the year of Barack Obama’s election and now released a year before the 2012 election. More than topical.

The Ides of March meant betrayal and backstabbing for Julius Caesar. While there is a death in this film (though not for one of the central political characters), the main protagonists live to do battle another day.

At first, this is an enthusiastic look at an-up-and coming young political adviser who has more than a touch of idealism, Stephen Meyers. He is played with keen calm by Ryan Gosling. He is working for the Democratic Governor of Pennsylvania who is seeking the Democratic nomination for President. It is the week before the vote and he is about to debate with his Republican opponent. The action of the film takes place over one week.

The governor is played with his familiar charm by George Clooney (who chose this role since he is producer, co-writer and director). He challenges voters who hold more conventional opinions by stating that his foundation is the American Constitution. And, he draws crowds and delights them. Included in his entourage is his seasoned adviser (Philip Seymour Hoffman). The Republicans have their equivalent (Paul Giamatti). When the latter flatters our young idealist and invites him to meet to talk things over and offer him an alternate job, he goes but regrets it and makes some errors of judgment. He also does this when the flirtatious intern (Evan Rachel Wood) offers a seduction and is taken up on it. There will be grave consequences which we (and the idealist) do not foresee.

We watch the razzle dazzle of public appearances and events. The media intrudes, as always, and there is quite an amount of mutual favours and of political blackmail going on, especially with Marisa Tomei as a campaign-bitten journalist. Leaks, spin, the usual ingredients. There is a Senator to be wooed with promises of important positions and press conferences to trumpet his backing and bringing numbers for the vote.

There is back-stabbing though, in this scenario, the idealism of Brutus turns into the manipulation of Cassius. Stephen does have a lean and hungry look.

Politics is dirty or becomes dirty and, though this is the world of leadership for us all, it is not a pleasant or pretty world deep down (or on surfaces, come to think of it).

1. The political interest of the film? In a non-election year in the US? Preceding an election by one year? For American audiences? In the 21st century? The parallels with Democrats and Republicans in fact?

2. George Clooney’s political perspectives? Democrats, Republicans, his stances? Critique?

3. The film based on a play, the title, Farragut North? The play opened out? The issue of election success versus a job in lobbying in Farragut North?

4. The title, Julius Caesar, Brutus, betrayal, assassination, loyalty, stabbing in the back?

5. Observing the political campaigning and election processes? Behind the scenes, the politicking, the ploys, strategies and tactics, motivations and ambitions, ruthlessness? In the private arena? The public arena?

6. The focus on Stephen Meyers? Ryan Gosling in the role? At thirty, his political experience, skills? His position in the campaign? Ambition? The introduction? Mouthing Governor Morris’s words? The preparation for the debate, the hall, the microphones? The personnel? His personal life? Isolated? The encounter with Molly, working with her, flirting? The sexual encounter, casual, each using the other? Personal relationships as secondary? Stephen and his relationship with Paul, Paul as the campaign manager, the discussions? Tom, the opposition, the meeting, the flattery, the offer? Ida, the interviews, her tough stances, his answers and know-how? In his office, believing in the governor’s principles, for example national service? The opposition to the senator? The governor and the deals with the senator? Paul and the leaks? The time limits, the public and manipulation, observing the manipulation of the public? Molly and talking, drinking, the sexual encounter, the follow-up, the phone call, the revelation of the truth, her pregnancy, helping her with the abortion, willing to pay, driving her, being caught up and not collecting her as promised? The expose? The information, his being fired? The arguments with Paul, Paul and the demands of loyalty, Stephen keeping the meeting with Tom to himself? Suspicions about the leaks? Molly’s death? His going to Tom, unable to be hired because he was not dependable? The truth and the image? The press conference, the governor, Stephen using Molly’s phone to telephone the governor? Meeting with him, making demands? The value of winning? Paul being fired? Everyone present at Molly’s funeral? Stephen and his hold over Morris? The new intern, the system? Victories, the meeting with the senator, endorsing the senator, the collaboration and the future?

7. George Clooney as Governor Morris, his appearance, manner, in the debate, his principles, issues, his role as governor, the Democratic party? The support of his wife and family, the jokes? Tough, behind the scenes, the meetings, the discussions about whether the senator should be on-side or not, needing his numbers? The compromise? His flight to North Carolina, secret, campaigning? Working the numbers, the plans? The relationship with Molly, the revelation of the truth, her pregnancy? His firing Stephen, his attitude towards Paul? The phone call, his being upset by Stephen? The funeral, the meeting, letting Paul go, endorsing the senator? The foundation of his candidature – weak and strong, public and private?

8. Paul, the years of work, his abilities, managing campaigns, plans, pragmatic, his relationship with Ida, the leaks to her, the issue of the senator’s support? Secrecy? Upset about Stephen approaching Tom, not communicating with him? His control? Stephen fired – and this backfiring on him? Accepting his fate, going to Farragut North?

9. Ida, the media, her contacts, tough, deadlines, interrogating Paul, interrogating Stephen, her hold over people, Stephen rejecting her, not being a friend?

10. Tom, his skills as a campaign manager, his allegiance to the candidate? Plans, flattering Stephen, the meeting and the offer, the newspaper and the revelation, Stephen’s visit to him, his explanations of why he could not hire him?

11. Molly, her father and his political power, the strict Catholic background, sexuality and favours, at work, for the campaign, her abilities, flirting with Stephen, the drink, the sexual encounter, the phone, pretending she was the cleaning lady? The issue of the abortion, her going to the clinic, waiting, Stephen being fired and not coming? Killing herself? At the funeral? Morris and the cover-up? Her father’s grief?

12. Ben and the other members of the campaign staff, the role, tough, ambitious, awkward, discussions, his future?

13. The film showing the work of the staff, the pressure of the campaign, the debates, the media, the deals?

14. The glimpse of Morris’s wife, the family, her support – yet his betrayal?

15. The overall portrait of American politics, ambitions and loyalties, pragmatic, cynicism, moral issues? The 21st century?