COURAGEOUS

US, 2011, 129 minutes, Colour.
Alex Kendrick, Ken Bevel, Ben Davies, Kevin Downes, Angelita Nelson, Robert Amaya.
Directed by Alex Kendrick.

An explicitly Christian film with an evangelical background.

Alex and Stephen Kendrick have made four successful commercial religious features. In fact, their last three films opened on the top ten list in the US. The brothers hale from Georgia, have a media ministry from their Church and have proven that their religious films can be commercially successful and find a wider audience than they might at first have thought.

Facing the Giants was a baseball story. Fireproof was about firemen. Courageous is about policemen. The Kendricks tell a tale that fits into a popular genre and then become more open in terms of God language and morals as the films progress. They also advocate pastoral programs which offer help for marriages (Fireproof) and for father-son relationships in Courageous.

Clearly, they are aiming for a niche market, but one which seems to be expanding.

Courageous focuses on four policemen and their family situations. Not all are ideal. There is a white family where the father does not take enough notice of his teenage son. There is a black family where the teenage girl wants to go out unsupervised. A young rookie has neglected his former girlfriend and her daughter. Another man is separated and has visits from his son. There is a fifth family, a Hispanic family, where the father struggles to find work, but has created a loving family environment.

We see the police at work arresting drug dealers. We see the bonds between the friends who are able to confide in each other, have meals together, talk openly about their faith and churchgoing.

Alex Kendrick, co-writer, producer and director, plays the central role of the white policeman and father. When a tragedy strikes his family, he becomes more conscious of how precious time with his children is. This leads him to read the Scriptures and to formulate what he calls a Resolution, a charter for closer father-son relationships. It is pointed out that the statistics indicate that fatherless sons are more especially prone to criminal behaviour. He persuades his colleagues to go through a formal and family ritual (not in a church) to commit themselves to the Resolution.

For dramatic purposes, one of the fathers lapses.

Speaking of dramatic purposes raises a difficulty with many of the explicitly religious films, including Courageous. The earnestness of the film-makers comes through strongly, even in ordinary dialogue which often sounds highminded and dramatically unreal. And, as the films progress, this becomes even more pronounced with the specific religious references. Sympathetic audiences will not notice or will make allowances. Unsympathetic audiences will be tempted to turn off, not wanting to be preached at but wanting a message through drama and action rather than through sermon.

The film does end in church and with a longish sermon, spoken by Alex Kendrick himself. Which means the film ends in an exhortatory manner.

Another difficulty for many audiences (something which may also alienate the unsympathetic) is the way the father-son difficulties are handled. The father studies the Scriptures and finds many a text on the theme – but they are taken as ‘proof-texts’ without looking at them in their context in the book and in the development of attitudes towards God over the many centuries of the biblical centuries. The result is extremely (and sounds exclusively) patriarchal. It is the father who has full responsibility and will act. The wives look on in admiration but are not included in the commitment. Who will act? ‘I will’ says the father rather than ‘We will’ including his wife.

The motivation is strong. Intentions are admirable. But preaching and proselytising films work more on the converted than not. They would work better, not necessarily being less explicit, but relying on the drama for communicating the message and meaning.

1. The work of the Kendrick brothers? Their target audience? Their films based on belief, Christian perspective, evangelical, preaching?

2. The issue of drama and explicit religious messages, the messages dominating the drama? Or the drama communicating the message? The films as parables for preaching? The impact on the evangelical audience, in the United States? Worldwide audiences?

3. The importance of the faith background, in the state of Georgia, the church of the Kendrick brothers and the mission of preaching, media? Middle America? Embracing all the races? An acknowledgment of the Lord Jesus, providence, God’s presence? The nature of prayer? The proclamation and affirmation of faith – how much deep interior religious experience?

4. The use of the genres to engage the audience, the police and their activities, the gangs, chases? Continuing the genre material while the audience becomes engaged with characters, identifying with the characters and issues, prepared to accept the message?

5. The introduction of humour, Adam’s phone call to his chief, ‘Love ya...’?

6. The father and son theme, the statistics offered about fatherless families and crime? Examples and gangs? The fathers and children in the film, Adam and his son, Nathan and his parents, his own children? Javier and his children? David and the denial of his daughter? Shane and his divorce, his bond with Tyler? Derrick and his membership of the gangs – and Adam reclaiming him? Adam identifying his own role with his son, greater realisations, the personalising of the issues, Adam and his Scripture reading, his discussions with his wife, with his son, the formulation of the Resolution? The decision to hold the ceremony, everybody present, the pastor? Fidelity to the Resolution? The final sequence in the church – and the patriarchal nature of the Resolution, the father being responsible for all?

7. The introduction to the film, Nathan, the hijacking of his car, his chase, holding on, his injuries, the baby in the car? His going to Georgia for a better life for his children? His police background? The change? His reputation, joining the squad, David as his partner, the young rookie, the pursuit of the drug dealers, the chase, running, David making mistakes, not finding the address? The reprimand? Nathan at home, his relationship with his wife? His daughter and her being a young teenager, her attraction towards Derrick? His rules? Forbidding her outings with Derrick? The bonds and the discussion, the drawing on God language, faith, church-going? His participation in the Resolution? His own mentor being present? Jay and the meal at the restaurant, bonding with her? The issue of Shane, the entrapment? The finale? His finding Derrick, the pursuit and arrest of the drug dealers, his sense of obligation towards Derrick? An African American, for African American audiences?

8. Adam, Alex Kendrick taking the role, embodying the screenplay and the direction? His love for Victoria? Love for Dylan, for Emmy? Dylan and his running, Adam refusing to run? Being stern with his son, forbidding him to go out? Allowing Emmy to go to the party? Her dancing on her father’s shoes? His friendship with Shane? His work in the office? In action, the chase, the running, catching the criminals? The bonds with the men, the meals together at home? Men’s business? The news of Emmy’s death, his grief, the funeral, his realisation that he had not bonded with Dylan? His running with him? Reading the Scriptures, formulating the Resolution, persuading the others to participate, the pastor and the discussions about grief, the pastor at the ritual? Going running with Dylan? The realisation that Shane was stealing, the entrapment? Visiting him in jail? Promising to look after Tyler? His preaching the final sermon in the church? The emphasis on fathers and the ‘I will’ in dealing with family problems?

9. Shane, at work, the background of his divorce, partnering Adam, participating in the chase, the visits with Tyler, the men’s dinners and talk, the Resolution and his participation? Taking the drugs, the setup, his being caught, going to jail? Adam visiting him, his wanting Adam to care for Tyler? Adam’s reassurance?

10. Javier, Hispanic, the family, his wife and children, the temporary work, his being let go, his wife’s upset? His reliance on God and prayer? Going to be hired? Being too late? Shane and his explaining Javier to Adam – Adam calling out as Javier watched, the shed, paying him, the irony that it was the wrong Javier? Javier and his wife, the job, the money? Adam getting him a permanent job, his prospering, promoted? The bosses and the test about his honesty, his prayer, integrity, passing the test? With the Resolution? His participating in the pursuit of the druggies, his being asked to impersonate a hardened criminal – the touch of comedy, Derrick’s fear in the back of the car?

11. David, the young rookie, college background, his failing the test with Nathan, bonding with Nathan, with the group, the truth a his life, the story about his girlfriend, the birth of his daughter, participating in the Resolution? Contacting the girlfriend, the letter, sending the money, confessing the truth, his visit? The letter and the pledge?

12. The initial carjacking, the thief and his connection with the drug dealers, the kids and their selling the drugs, the car chases, imprisonment? Derrick and his being bashed for an initiation? His being drawn in on the big job? His meeting Jay, the attraction to her, Nathan’s telling him to go away? The police, the gun, stopping the car, the shooting, his hiding? The others being chased, the arrest? His being arrested, in the back of the car with Javier? In court, his future?

13. Each of the men and their future, the climax with the sermon, the emphasis on fathers, the wives smiling their support? A moral film – and morale for American fathers?

J. EDGAR

US, 2011, 137 minutes, Colour.
Leonardo Di Caprio, Naomi Watts, Armie Hammer, Josh Lucas, Josh Hamilton, Jeffrey Donovan, Ken Howard, Dermot Mulroney, Zach Grenier, Denis O’ Hare, Stephen Root, David Clennon, Lea Thompson.
Directed by Clint Eastwood.

While younger audiences may not be aware of J. Edgar Hoover and his influence on American politics and society in the 20th century, older audiences have strong views, and most of them not favourable. Which means that going into this film (as may also have been the case with watching The Iron Lady and Meryl Streep’s performance as Margaret Thatcher), they will be critical.

What Clint Eastwood’s film does, with the foundation of Dustin Lance Black’s telling screenplay, is give some credibility to Hoover’s character and behaviour and, to that extent, some sympathy for a man who, especially in the latter part of his life and career, did not merit it.

Leonardo di Caprio is an interesting choice for Hoover and he takes the opportunity to offer an interpretation of the younger Hoover but also of Hoover in his 60s and 70s. His makeup is effective (more than for the way Armie Hammer’s makeup is photographed for the older Clyde Tolson), as the film continually moves from the younger to the older Hoover dictating his memoirs.

The film does indicate the contribution Hoover made to the establishing and the early years of the FBI. From a staunch anti-anarchist (and anti-Communist) officer in the 1920s, Hoover moved towards a crusade against crime in the 1930s, using his agents (whom he demanded be spick and span at all times), his G-Men? against Alvin Karpis, John Dillinger and many others. He also took a deep interest in the Lindbergh kidnapping case, making sure of pictures and headlines (which Tolson later taunts him with, manufacturing an image while he was not as personally involved as he claimed). The film does not explore the 1940s or the black list and anti-communist attacks of the 1950s apart from referring to Joe McCarthy? as an opportunist. It is the latter part of Hoover’s career which is dramatised and his quite malicious surveillance of John F. Kennedy and Martin Luther King. He dies during the Nixon administration where publicly Nixon extols his friendship with Hoover while instantly sending agents to find his private files. To this extent we get quite an overview of his achievement and his failures.

Hoover was quite a rigid character (although prepared to bend the law in later years in his campaigns), righteous as well. However, with his extreme devotion to duty and the protection of the nation, he was immature and undeveloped, especially emotionally. He may not have understood sexuality very well. He did propose to Helen Gandy who declined but never married and stayed his faithful assistant for almost fifty years. Hoover even imagined marrying Dorothy Lamour. However, people knew of his repression and of his devotion to his second in charge at the bureau, Clyde Tolson, who was homosexual.

The screenplay is both reticent and forthright on these issues. It portrays his mother knowing his personality better than he did – and he lived with her for years and took her to social events – and there is a telling sequence where she reminds him of a boy at school who was nicknamed ‘Daffy’ after ‘Daffodil’ and she warns him never to be a daffodil. In this context, his grief at her death has a profound effect. He identifies with her, tentatively putting on her necklace and taking out her dress – which gives a more interesting angle on his alleged cross-dressing.

There are many interesting episodes in the film, anarchist bombings in 1919, the Lindbergh case, the capture of gangsters, Hoover’s confrontation with Robert Kennedy as Attorney General and the news of JFK’s assassination, his anonymous letter to Martin Luther King exposing his behaviour so that he would not accept the Nobel Prize (and Hoover’s disbelief when he does).

Dustin Lance Black’s screenplay (he also wrote Milk) is a portrait of a man as well as of the American times. Clint Eastwood, making the film when he turned 81, offers a measured look at his subject, offering grounds for the audience being critical as well as acknowledging achievement. And the supporting cast is a strong one. A rather self-effacing Naomi Watts is the devoted Helen Gandy. Armie Hammer is the supportive Clyde Tolson. Judi Dench is a surprise choice for Hoover’s mother but, of course, is always impressive.

Interesting, and an opportunity to think about the 20th century US.

1. Audience interest in J. Edgar Hoover? His role in the United States? Law enforcement? Creativity with the FBI? The passing of the decades? Power? His private personality?

2. A popular portrait and general knowledge of him? The film offering an objective look at him and his life, his work? Any bias in the presentation?

3. A Clint Eastwood film, his career, interest in American politics? The screenwriter, his interest in American politics, for example Milk? His interest in sexual issues?

4. Leonardo DiCaprio? as Hoover, as Hoover young, as Hoover old? The cast, the strength of the cast? Impersonating historical characters?

5. Audience knowledge of America in the 20th century, post-war attitudes towards the Bolshevik revolution? Anarchists? Terror after World War One? Crime and the Depression? The G-Men? heroes? As presented in the movies? And the criminals presented in the movies? The development of the FBI, Hoover’s insight into a fingerprint database, his collection of files, his control of the bureau, of the agents, of the way they appeared and dressed? His involvement with many presidents? The file on Mrs Roosevelt? His file on J.F. Kennedy, on Martin Luther King? The assassinations of the 60S? Nixon? Hoover as a 20th century personality, a personality of power and influence?

6. The structure of the film, the older Hoover, his memoirs, the assistants and the secretaries, his appearance, his dictation, fabrication of stories, the effect of the years, his personality, autocratic, relationships, desperate to stay in power?

7. The contrast with Hoover young, enthusiastic, his sense of duty, diligent and ambitious, an achiever, living with his mother, her influence, his niece? His expectations, his setting up the agency, his office, secretaries, with authorities, the bureaucracy, thinking he should marry, the proposal to Helen, rejection?

8. The portrait of Hoover, the influence of the anarchist bombings at the opening of the film, the graphic visualising of the bombs? His ideology, patriotism, never doubting? His establishment of the agency, his response to the authorities, his inspection of the agents, their appearances, his being very strict, moustaches etc? His files, Helen as his secretary, the typing pool, Helen as his long-time associate? Showing her the files, explaining the fingerprint idea? The kiss, her reaction, keeping his distance? Enabling Helen’s lifelong loyalty? His assessment of communism, the transition from the 1920s to the crime elements and gangsters of the 1930s?

9. Crime as his target, establishing the G- Men, his speaking to the newsreel, its screening – and the audience laughing at his speech? Showing the scene from Public Enemy and the audience liking the films about the gangsters? The G- Men and Karpis, Dillinger? The role of Melvyn Purvis? James Cagney as an image, Public Enemy Number One and the sequence, the sequence from G- Men? Shirley Temple at the premiere, Hoover kissing her, the photo opportunity? His acclaim, the contacts, the widespread reputation of the agency?

10. The Lindbergh kidnapping case? The meetings with Lindbergh? His concern? His not having a high estimation of Hoover? The years passing, detective work, the doctor and the contacts, Schwarzkopf and his interventions, his dislike of Hoover? Local authorities? The setting up of the money, the ransom money, the notes, their being cashed? Hauptmann, under suspicion, his car, the arrest – and Hoover featuring? Late explanations that he was not in the photo? His presence at the trial? His joy at Hauptmann’s conviction? The glimpse of Hauptmann as a character, Lindbergh?

11. The various presidents that Hoover served under, President Hoover, Roosevelt, his file on Eleanor Roosevelt? The passing over of the immediate post-war period, Truman and Eisenhower? His dislike of the Kennedys, the files on Kennedy, the confrontations with Robert Kennedy?

12. The film bypassing the blacklist era – the passing reference to Mc Carthy as an opportunist?

13. The 1960s, the different attitudes in the United States, the Vietnam involvement, J.F. Kennedy and his behaviour, his personal behaviour and women, the tapes? The visit to Robert Kennedy, their clash? The assassination of Kennedy, the phone calls from the agents, his phoning Robert Kennedy with the news? His satisfaction?

14. The Civil Rights movement, the role of Martin Luther King, the news footage of the time? The tape about King, his private behaviour? Wanting to thwart his Nobel Prize? Dictating the letter, Helen’s reaction? Sending it anonymously, expecting Martin Luther King to back down, watching the television with Clyde Tolson, King accepting it and Hoover’s disappointment and frustration?

15. Nixon, the clashes with Nixon, Nixon going on television at Hoover’s death, claiming friendship – while sending his agents immediately to find the private files? Helen shredding them?

16. Hoover and his family, living with his mother, the presence of his niece? His personality? The absent father? At home, the traditional lifestyle? Expectations of marriage? Helen, the attraction, in the library, the kiss, the awkwardness? His not understanding his sexual identity? Meeting with Clyde Tolson, setting up the later meeting, his excitement and nervousness, rationalising it later, allowing him an interview? The discussion, his need for Clyde Tolson? Tolson accompanying him and accepting his position as assistant? The meals out, the irony of the meeting with Ginger Rogers and her mother, Anita Colby? Not dancing? His being upset, going to work, Ginger Rogers’ mother laughing at Hoover? Understanding what made him tick? His mother, the long explanation about the boy at school, the name Daffy, short for Daffodil, his suicide? Her saying that she would prefer a dead son rather than a daffodil? Hoover and his life’s control over his affections and sexuality?

17. Clyde Tolson, as a person, bright, his place in society, the social and meeting Hoover, attracted to him, taller than Hoover, ambitious, the interview, accepting the position? Being Hoover’s assistant, ever-present? The relaxation, their enjoying going to the races? Tolson aware of his affection, the arguments with Hoover, Hoover and his suggestions about marrying Dorothy Lamour? The fight, the kiss, the effect on Tolson, the effect on Hoover?

18. The sequences with his mother, her presence, going to the movies with her, the socials, her death and the effect on him?

19. Hoover’s grief, going to his mother’s closet, the jewels, the dress – and giving a psychological credibility to the issue of cross-dressing?

20. Clyde Tolson and his stroke, the effect, in hospital, the visits? Hoover’s health, the doctors, testing them out, the injections? The visits to Tolson, the house, Tolson getting weaker? Their discussions about need and love? Tolson’s anger at Hoover, questioning him about breaking the law, calling him a mean little man?

21. Helen, her presence in the office over the years, always doing Hoover’s will, complete loyalty? Writing the letter against Martin Luther King? Her shredding the private files?

22. Hoover getting old, clinging to power, his foolishness in not resigning and going out in glory? The collapse, the death, the indignity of him lying on the floor, Clyde Tolson and his grief, the tributes to Hoover?

23. The film showing Hoover’s achievement, assessing him as a person, his action, the power for good, the flaws, his power for destruction? Hoover’s heritage and his place in American 21st century history?

TOOMELAH

Australia, 2011, 106 minutes, Colour.
Daniel Conners, Michael Connors, Dean Daley- Jones, Christopher Edwards.
Directed by Ivan Sen.

Toomelah, northwestern New South Wales, indigenous community.

Writer, director, photographer, composer Ivan Sen (Beyond Clouds) came from Toomelah. He knows what he is talking about. He knows what he is dramatising. This is very clear in this sometimes quietly compassionate film, a film that sometimes reveals an inherited anger.

2011 has been an impressive year for films about indigenous communities in Australia. The documentary, The Tall Man, raises issues of police action in north Queensland. Here I am is an urban story of prison, drugs and hope/hopelessness. Mad Bastards showed family relationships in the west. Murrundak was a musical reflection on Australian history from the Black Arm Band.

Toomelah tells a story while it offers something of a documentary look at the community in the town. What makes it the more telling for the audience is that a young boy, Daniel, is the focus of the film – and life in Toomelah is seen from his perspective. We watch Daniel sympathetically and appreciate the limitations of his young viewpoint while we can see and appreciate the wider issues that he does not. Audiences sensitive to language will have to accept the swearing that is second nature to the people of Toomelah and to Daniel himself.

Daniel’s mother loves her son but has a drug problem. His father is in the town but away from home, out on the road with a meth problem. The stalwart of the family is Nana, a quiet, contemplative elderly woman who offers a final embrace to Daniel which reminds us that a need for being loved is basic to solving all other problems.

Daniel fights at school and is reprimanded (and the whole town seems to know instantly). He stays with his friends, especially Linden, out of jail but still the main supplier of marijuana around the place. He admires these men who welcome him, use him, of course, for deliveries and for framing a man they don’t like. They fish, they tell stories of their totems, they drink, they sing. And, they disappear.

School in Toomelah offers some hope. Many of the young children like school, which also helps them appreciate the bitterness of 19th and 20th century racism and massacres of aborigines. There is a photo chart at the school illustrating all of this as well as the strong aboriginal heritage. Further, the children are being taught words from their own language, instilling a sense of the dreaming, of worth and of cultural inheritance.

Toomelah serves as a state of the question for the second decade of the 21st century. And Ivan Sen is a symbol of achievement.

1. Australian indigenous films? The work of Ivan Sen? His perspectives, personal, Aboriginal? The film for Australian audiences? World-wide audiences?

2. Ivan Sen and his background, films, music, photography, his memories in this film?

3. The glimpse of Aboriginal history, the photos on the wall, the groups, the individuals, the massacre, the mission, the 19th and 20th centuries? The impact of having this collage on the wall of a school in the 21st century?

4. The title, the town, western New South Wales, the countryside, the Aboriginal part of the town, houses, streets, the school, the river? The seasons and the weather? The audience getting to know the town, experiencing the town and its life?

5. The focus on Daniel, his age, his screen presence? His eyes? The audience looking at the town and the experiences through his eyes? The innocent boy, yet the role models, wanting to be tough, the influence of the men, his mother and her drinking, the drugs, his father and his drugs, living away from the house, the meth? The young boys and their friends? The drugs? The older men, their talk, drinking? The importance of their singing and their talking about the totems? Going fishing? Their cars? The computers, the games? The fights, the setups, brutal reality, the drugs and the sales, the police, the violence and bashings, the threats? Daniel growing up in this situation? His future?

6. Daniel waking up at home, getting the two dollars from his nana, buying the chips? Going to the school, the issue of languages? Tupac and the pen, the clash between the two boys, the reaction of the teacher? Daniel being suspended? Everybody in the town knowing? The possibilities for Daniel, his truancy? His return to school at the end, the other children, learning the Aboriginal language and words? Possibilities for him?

7. The boys, their age, their lifestyles, having been in jail? Aboriginal art? The tough attitudes? Repeat offence? Bruce and the stories, their bashing him, Bruce and the car, Daniel, the police?

8. Daniel’s dad, in the gutter? His mother, her relationship with Bruce, her glazed eyes, her treatment of Daniel?

9. The visit of Aunty Cindy, her story and the stolen generation, her decision to come back at this stage of her life, any connections with her sister? Her wandering the town? Remembering? Daniel being with her and listening?

10. The other children, Tupac, the clashes, Tatiana as the girlfriend? The fight in the schoolyard, the intervention of the parents?

11. Tupac, the information around the town, Daniel challenging him, the fight?

12. The disappearance of the boys, Daniel alone, the rope, the storm? Going back to his nana, her hugging him?

13. The 20th century and Aboriginal townships, hardships? The 21st century, the relative affluence, computers and games, texting? Cars, the possibility of education?

14. An Aboriginal boy growing up, the role of parents, role models in the town, authorities, educators? The future?

 

 

 

 

HABEMUS PAPAM (WE HAVE A POPE)

Italy, 2011, 102 minutes, Colour.
Michel Piccoli, Jerzy Stuhr, Nanni Moretti, Marghereta Buy.
Directed by Nanni Moretti.

‘Habemus Papam’ are the words that announce, from the balcony of St Peter’s, the election of a new Pope. Catholic audiences may have wondered about a film on a conclave and Pope in 2011. So might audiences not interested in or hostile to the Catholic Church. Nothing to fear for anyone. This is a genial look at the Church, at its rituals and pomps, at its authority structures and reliance on the Holy Spirit and on human choices, on the burden of the Papacy and what this might do to an ageing Cardinal thrust into the limelight who suddenly realises he is not able to carry out what is being asked of him.

Nanni Moretti has always had a wry sense of humour in such films as Caro Diario/Dear Diary as well as a strong sense of pathos with The Son’s Room. His previous film might have given Church authorities pause and cause for alarm on hearing of this project. It was Il Camaino, a quite blatant satire on Silvio Berlusconi.

This film is beautifully made, the Vatican apartments, courtyards, Sistine Chapel vividly re-created. There are plenty of scenes in the ordinariness of Rome as well. The decor, rituals and robes of prelates are meticulously presented.

And, in the middle of it is Moretti himself, a non-believer, playing a non-believing psychiatrist to attend to the new Pope. It is surprising how nice he makes most things, especially the Cardinals, each of whom is shown praying that he not be elected and how unworthy he is of the task. No ambition in sight or earshot. And, after the election, when they remain in the Vatican, they are generally pleasant and friendly, playing cards, reading and allowing themselves to be organised into a volleyball tournament by the psychiatrist. This gives the audience plenty of time to reflect on and gauge their responses to these glimpses of hierarchy.

Central to it all is the French Cardinal Melville who, after hesitating, says yes to the election but just after ‘Habemus Papam is proclaimed, suffers a panic attack and can’t go through with his presentation to the waiting crowds (plenty of St Peter’s square stock footage here giving authenticity as well). When the shrewd PR official (Jerzy Stuhr) allows the Pope to visit another psychiatrist (Margharita Buy), his holiness eludes his adviser and disappears into the crowds.

Actually, this theme is not new. Pope Kiril (Anthony Quinn) did it in The Shoes of the Fisherman. Pope Leo (Tom Conti) did it in the delightful Saving Grace. This time, the Pope (who has not yet chosen a name) is played most persuasively by 85 year old veteran of decades of French and other movies, Michel Piccoli. We believe his breakdown – we are made to realise just how heavy this task must be on anyone – and follow his trying to cope as he travels in a bus, goes to a small hotel, encounters a group of actors who are rehearsing Chekhov’s The Seagull which he knows well as he wanted to be an actor but his sister was accepted into drama school when he was not.

So, the action keeps veering between the wandering and soul-searching Pope, the devices the PR man gets up to by planting a Swiss Guard in the papal apartments to give the impression the Pope is still there and in prayer, and the doings of the Cardinals.

Not sure whether the rescue sequence is quite credible, but it is all make-believe (more or less), so it really doesn’t matter so much.

What remains is a look at the Papacy, a questioning look from the point of view of the psychiatrist (who finds Psalm texts which indicate the author describing a depressed state of mind – an interesting sidelight), a challenging look for the faithful to appreciate what the Papacy requires, and a gentle reflection on the Catholic Church, its old (and eccentric) traditions as well as its belief in God and mediating God’s love and the potential of its core spirit to make the world better.

1. How serious a film? How comic? The blend? The work of Nanni Moretti? Satire? Respect?

2. The impact of the film for Catholics, for general interest? Italian audiences?

3. The detailed recreation of the Vatican, The Sistine Chapel, the Conclave? The rooms for the cardinals? St Peter’s? St Peter’s Square? An authentic feel? The musical score?

4. Rome, the ordinary aspects of the city, the trip to the psychiatrist? The pope wandering, walking, buses, the hotel, the theatre?

5. The plausibility of the plot, the pope and his panic attack, the office and its responsibilities? Personal confidence? Ability to cope? The pope’s behaviour?

6. The scenes of the death of the previous pope, the introduction to the theme? Audience knowledge of Vatican rituals?

7. The procession to the Conclave, the orders, the cardinals praying that they would not be elected? The blackout? The ballots? The discussions, the favourite cardinals, the black smoke? Cardinal Melville? The decision to elect him? The screenplay not giving the reasons why he would be nominated?

8. The crowds of people, the newsreel footage, the black smoke, the white smoke? The television comments? The Italian commentary, world commentary?

9. Cardinal Melville, his age, his reaction, his tentative response, saying yes? His vesting, his tight neck, the advice that he was given, the build-up to the announcing of his election, his scream of panic, the cardinal backing down?

10. The cardinals and their reaction? The cardinals as a group, the variety of individuals, Gregori and his seeming to be the favourite? Cardinal Brummer and his awkwardness? The Australian cardinals wanting to go out, to the gallery and have a cup of coffee? The cardinals having to stay? Going to their rooms? The variety of activities, eating, drinking, playing cards, sleeping?

11. The PR man and his handling the situation, his going to the media, the press conference, his calling in the psychiatrist? The planning of the visit to the psychiatrist’s wife? His work with the pope, the phone calls, his decisions, getting the Swiss Guard to be a presence in the papal rooms? His orders? The cardinals’ reactions, believing him? Their waving to the pope, playing the music so that he could hear?

12. The Swiss Guard, his commission, eating in the papal rooms, watching the television, listening to the music, watching the cardinals and the volleyball match?

13. The pope, his discussions with the psychiatrist, the talk, his bewilderment? Cardinal Gregori and the discussions about the soul and the subconscious and faith?

14. The psychiatrist, his family, his ex-wife, his praise of her? His having to stay, concerned about his children? His reading the Psalms, the quotes about depression in the Psalms? His lack of belief? Organising the cardinals, the teams for the volleyball tournament, the games? His disappointment when it was called off?

15. The pope, travelling with the PR man, the discussions with the psychiatrist, about family, his parents, reminiscing, his not knowing much about his past life, his wanting to be an actor, his sister becoming an actress? Listening to the words of the psychiatrist – and his later return to her, and her being busy with the children?

16. The pope wandering the city, hiding, the bus rides, talking to himself, going to the hotel and checking in, the issue of money? The range of actors in the hotel, Chekhov and his knowing the lines, the breakdown of one of the actors, the ambulance? His going to the theatre, his offering to act? His telling the truth to the psychiatrist?

17. The phone call, the public relations man and his telling the truth to the cardinals?

18. The plan to go to the theatre, how credible? The performance, the cardinals going to the theatre, taking the pope back to the Vatican?

19. The pope’s return, accepting his role, gaining self-confidence, prepared to accept the burden?

20. The genial atmosphere of the film, the spoof but not critical of the cardinals and of the church? The issue of the papacy, the election, an old man? The burdens and responsibility, human capacities, humility?

 

SHALLOW GRAVE

UK, 1994, 93 minutes, Colour.
Kerry Fox, Christopher Eccleston, Ewan McGregor?, Ken Stott, Keith Allen.
Directed by Danny Boyle.

A brief Scottish black comedy with some very macabre and violent touches at the end which serves as a tongue-in-cheek fable about greed and selling one's soul. Three flatmates interview potential tenants, taunting many of those that they interview, but choosing one who soon turns up dead with a case full of money under his bed. They are pursued by gangsters. Friendship is sorely (more than sorely) tested. The friends fall out, the police investigate, the gangsters are killed and also buried in shallow graves, paranoia sets in with the three as they begin to betray each other with violent consequences.

Kerry Fox (Angel At My Table, Country Life) is the star. Two emerging young actors make their mark in this film and went on to significant careers. Christopher Eccleston portrays the boring accountant who is more than transformed by the experience, his getting the short straw to cut up the victim for burial, a Jekyll-and-Hyde? experience. The other character, a journalist, is played by the young Euan McGregor?. He was to have a very successful career very quickly, culminating in the Star Wars Trilogy as well as such films as Moulin Rouge. The film was written by John Hodge and directed by Danny Boyle. They were to have an even greater success with Trainspotting but then moved somewhat upmarket with A Life Less Ordinary and The Beach and were not so successful. Danny Boyle returned to small-budget form with 28 Days Later and a number of television films.

1. Entertainment value of the film? Black comedy? Psychological study? Moral fable about the desire for money as the root of all evil?

2. The impact for the British film industry in the 1990s, a move towards black and bleak offbeat comedy dramas? Small budget? The work of Danny Boyle and his team? The strong cast?

3. The Edinburgh and Glasgow locations, the interiors of the flat, the rooms, the vast space, the loft? The contrast with the workplaces of each of the characters? The exteriors, the dark, the cliffs, the pool, the forest and the shallow grave? The musical score?

4. The title and its tone, death, discovery?

5. The plausibility of the plot, the three characters and their sharing the flat? Their ability to live together? Their wanting a roommate? Their interview style? The new roommate, his death, the money? The reactions, the disposal of the body, the other criminals and David killing them? The police investigation and interrogations? Their moral collapse and violence?

6. Hugo, novelist, the interviews for the flat, his sharing the meal with them, his death? The audience seeing the flashbacks but the characters not knowing what had happened? The drugs, the thugs, the battering of Hugo, in the bath, leaving him dead? The irony of their return, the confrontation, their deaths? The police investigation?

7. The three characters, the practical jokes, the range of interviews and the humiliation of the candidates? The characters of the candidates, their behaviour, their expectations, their reaction to being humiliated? Cameron and his interview, being led to believe that he could stay - and the finale at the restaurant and his attacking Alex in the toilet?

8. The characters, Juliet and her medical background, David and the scenes of his working as an accountant, the indication that his was a boring profession, in the silence at the tables with the other workers? Alex and his flair for journalism? As a combination, sharing the flat, their behaviour during the interviews? The quick sketch to differentiate and delineate their characters?

9. The reaction to the money, Juliet phoning, Alex finding the money? The questions about handing it in to the police? The long delays? The final decision about cutting up Hugo? Their going to the supermarket and buying the tools? David and his declared inability to dismember the body? The three straws and his getting the short straw, his doing the dismembering? The repercussions and its role in transforming him into a violent killer? The burying of Hugo, taking him in the car, the shallow grave? The body parts in the suitcase and in the pool?

10. Juliet and Alex spending the money on the video camera, their watching it, David's stern reaction? His beginning to take over? His persuading Juliet to be with him rather than Alex? The antagonism towards Alex? The hiding of the money, his spending time in the loft? The irony of the criminals coming, his watching them from the loft, their coming up to the loft and his killing them and throwing them down? The repeat performance for the burial?

11. The changes in them all, the police and the interrogations, each of their interviews, tensions, information given? The inspector and his assistant, his genial attitude, asking speculative questions, giving the card?

12. The decisions about the money, the motivations? Juliet and her buying the ticket to Rio? Alex and his wanting to ring the police? David and his taking the money by himself? The confrontation with Juliet about the ticket, with Alex about the phone call? The physical fights, Alex and David, Juliet killing David, David stabbing and transfixing Alex? Juliet and her apology, putting the knife in further? Her going to the airport?

13. The police inspector, the photographs, the final image of Alex transfixed? Alex as the most imaginative (and the details of his nightmare while wondering about the money and the violence)?

14. The film as a macabre black comedy, the characters, their behaviour, their motivations, seemingly normal, temptation transforming them, Dr Jekyll and Mr Hyde? The ironic comic touches? The violence? The moral fable about greed and its consequences?

STUCK ON YOU

US, 2003, 120 minutes, Colour.
Matt Damon, Greg Kinnear, Cher, Meryl Streep, Eva Mendes, Seymour Cassell, Jay Leno.
Directed by Peter and Bobby Farrelly.

The Farrelly Brothers, Bob and Peter, have built up a reputation over the last ten years of being the comic writers
and directors of questionable, if not bad taste. They have made sport of the dumb and dumber, of the uptight (There's Something About Mary), mental illness (Me, Myself and Irene). Their focus now is on conjoined twins. However, while they do walk a thin line at times, their tone is much gentler this time, even sweet at times, but nonetheless humorous and even challenging.

Because Matt Damon and Greg Kinnear are so engaging as the twins, Bob and Walt, audience sympathy is instantly with them. It comes as rather a shock to hear people refer to them as freaks. We have got to know them so well, we don't think of them as freaks. This is part of the Farrelly technique: to involve us emotionally with 'different' people and then show us how they are derided and discarded so that we see and feel the injustice.

Damon and Kinnear work so well together (in a lot of funny scenes, often with slapstick) so that we share their dilemma when Walt wants to go to Hollywood for an acting career while Bob is prone to panic attacks even when unobtrusively on stage behind Walt. Things work out in Hollywood quite differently from what we might expect as Walt stars with Cher in a terrible TV series called Honey and the Beaze (Bob still there and having panic attacks). Cher gets to send herself up unmercifully.

A nice surprise is co-star Meryl Streep as herself, proving, especially in the grand finale, what a good sport she is.

It is enjoyable to speculate on how Bob and Walt with their being so close and connected, sharing their lives, their
physical, psychological and emotional dependence, indicate how close the Farrellys themselves are. Actually, this is a very nice film.

1. The reputation of the Farrellys, the focus on different, even abnormal situations, their range of humour, questions of good taste? This film, this topic of Siamese twins, humour, sentiment, taste?

2. The theme of twins, the physical connection and the consequences, the psychological and emotional consequences? Siamese - American? Their being called freaks? Society accepting Siamese twins in theory, not in practice? The film showing people trying to cope with Siamese twins?

3. The title, the physical bond between the two? Their acting together, their skills, going into action? The irony and their being separated, the consequences, their wanting to be together?

4. The Martha's Vineyard locations, the homes, the diner, the theatre? The contrast with Los Angeles, the motel, the studios, old people's home, television channels, studios and sets?

5. The characters of Bob and Walt, seeing them as children, joined together, playing together at home, the bonds between the two little boys? Seeing them play sport and the skills to highlight the talent of each - though the two of them boxing, two of them playing football, in the goal? Both being Prom Kings? Walt and his desire to act, his performance as Truman Capote with Bob along with him (suffering from panic attacks)? The opening and the customers wanting the large order within the three minutes for their free lunch? Bob and Walt working together to prepare the hamburgers? Dates, Bob and his awkward and gauche statements, the transition to Walt? The sexual encounter and Bob with his laptop? Their managing, sleeping, showering?

6. Bob, May, the three years internet communication? His falling in love with her?

7. Walt and his wanting to act, the discussions with Bob, Bob and his reluctance? The farewell, going to Los Angeles, their response to arriving in Los Angeles, full of optimism?

8. The two as both ingenuous and optimistic, their over-keen response to the motel, the writer (and his continually being asleep with his tape of typing, the eyes painted on his lids)? The meeting with April, her easy acceptance of them? The agent, going to the old people's home, sleazy deals, contracts, percentages? The phone call in the shower, Walt and his enthusiasm for the job, going to the main studio, being directed to the pornography lot?

9. At the studios, their seeing Meryl Streep, having the conversation with her? The meeting with Cher, her negative response, her seizing the opportunity, the invitation to the job?

10. Cher and her sending herself up, the discussions with her agent, the studio boss, the series "Honey and the Beaze"? Her planning to sabotage the show by hiring the twins? It backfiring, Walt being successful, the good reviews - and the criticism of Cher? The studios, the ratings, variety? Bob and his panic attacks, dressed in blue and the use of the blue screen? The success of the program? The Massachusetts audience watching and enthusiastic?

11. The agent and his ringing about the exposure, their options to deny or to face, their decision to go forward, going on the Jay Leno show, jokes, being forthright, people's response? The ad for the double value? Their becoming celebrities? Public opinion? Cher's response?

12. Walt and his wanting the separation, Bob not wanting it? The issue of the shared liver, the risk to Walt? The decision, the operation, the visit - and their being lost! April and May? The two coming out of the hospital, each of them off-balance and swaying towards the other? The low ratings, the decision to stop the show? Walt and his feeling abandoned, out of work?

13. The character of May, Chinese background, Walt communicating with her, her arrival, going out, the two of them not telling her the truth? Dancing, dining, the car, seeing her to the door? Her visit, seeing them in bed, misjudging them, rushing away? Bob and his being hurt? Her return, her love for Bob, the separation in the hospital, marrying him, finally pregnant?

14. Walt, the decision, the friendship with April and her support? Sitting in the park and leaning on the statue (and the final credits showing that he was a mime student)? Urged to do what he would like to do the most, his return to Massachusetts, the belt around the two of them and their working together in the diner?

15. The theatre, acting, the musical of Bonnie and Clyde? Meryl Streep having said she would like to work at Martha's Vineyard, starring in the musical, her being a good sport and performing in the play? Walt and his singing, happy? Everybody in the audience and their appreciation?

16. The happy ending, audience presuppositions about the freakishness of Siamese twins, learning to appreciate the persons, how they ticket, their relationship with one another, mutual dependence, need for some independence? Appreciating the bonds? Broadening their understanding and sympathy through humour?

SKY PIRATES

Australia, 986, 88 minutes, Colour.
John Hargreaves, Meredith Phillips, Max Phipps, Simon Chilvers, Bill Hunter.
Directed by Colin Eggleston.

Sky Pirates is Australia's contribution to the derivative adventures from Raiders of the Lost Ark, Indiana Jones and the Temple of Doom as well as Romancing the Stone and Jewel of the Nile. Measured by the American films, it is a poor relation. It has plenty of special effects and atmosphere, some good stunt work and an interesting cast. However, a smaller budget and smaller running-time story has to be good to match the originals.

This film relies on sky adventure. On the other hand, it is a piece of harmless and nonsensical entertainment. On the other, there is time-worn material, chases and final confrontations.

The film excels in the aerial photography, the use of Easter Island locations (as well as a range of Australian city and Outback locations). Musical score is by Brian May. Direction is by Colin Eggleston (The Long Weekend). The production is by John Lamond (who made his name in the film world with a series of Australian sex films including Australia After Dark, Felicity, Pacific Banana).

1. An enjoyable derivative of Indiana Jones and swashbuckling adventures? Comparisons - fair or not?

2. Panavision photography, the atmosphere of the 1940s, period, air force and planes? Aerial sequences? The sea locations - especially for the sea of ghost ships? The use of Easter island locations? Brian May's atmospheric score?

3. Gung-ho adventure with derring-do heroics?

4. The prologue and Easter Island in the 19th century, the broken pieces of the moal? Setting the mood for the adventures to follow?

5. World Two and the air aces? John Hargreaves' cheerful Harris, comparing him to Biggles)? His mission, the encounter with Savage, the Reverend Kenneth Mitchell going on board - and glances at his daughter? General Hackett and Logan? The flight, the puzzle about the mission? Logan interfering with the package? Difficulties, storm? time warp? Harris' coping with the plane, Savage's panic, the crash landing? The sea of ghost ships (with echoes of The Philadelphia Experiment)? Harris as hero, survival capacity?

6. The plausibility of the Easter Island stone tablets, the Moa, its curses? The broken pieces? Mitchell and his interpretations? The mission to Easter island and the finale with the parts reunited? An exercise in supra-natural power?

7. Harris and the return from the mission, the court martial, Savage turning against him? The courts, the sentence to imprisonment? His escape, help? Taking the plane, the outpost and the types there, gambling, Russian roulette? An exotic outpost (courtesy of Mad Max ... )?


3. Savage as villain, his official status, Nazi blond type, his panic during the crisis, the crash landing, the court martial and his lying? His going to Easter Island, Valentine his assistant? Getting his comeuppance?

9. The Reverend Mitchell, the background of science and religion, interpretation of the Moa? His reserved manner, his uncomfortable flight - and its consequences?

10. Melanie as his attractive daughter, Harris's glances at her, her helping him escape, sharing in the heroics?

11. the aerial action - including Harris on the wings? Exciting sequences? Matinee style?

12. Easter Island and its atmosphere, the cave, the explosions, chases? Confrontation between Savage and Harris? The heroics? Everything in right order and the close-ups of the stone statues?

13. 85 minutes of enjoyable derivative action?

SUNDAY

UK, 2002, 95 minutes, Colour.
Directed by Charles Mc Dougall.

Sunday is an award-winning re-creation of the events of January 1972 in Londonderry, nicknamed afterwards Bloody Sunday. The film uses drama as well as television and newsreel footage of the time to recreate the period and the atmosphere.

The film focuses on the British troops, the officer in charge, his later being decorated by the queen - while the audience knowing his ruthlessness in planning. There are glimpses of Ted Heath, his cabinet advisers. There is also the portrait of the judge who was to preside over the subsequent inquiry for the events of January, the massacre of Irish citizens.

The film focuses on the period, Londonderry as safe, the British occupation, the growing resentment, the move for civil rights, the clashes between Catholics and Protestants. The film also highlights one family, the Youngs, on the eve of the demonstration, two sons and their going to the march. The film also focuses on the family of an electrician who works for the British troops.

The film recreates the march, the mayhem as the British troops come in and fire on ordinary citizens. There are allegations later that some of the young men were armed. When the film moves to the re-creation of witnesses giving testimony at the inquiry, it also moves to the subsequent grief of the families, the funeral sequences, and then another re-creation of the massacre. With this culmination, the action of the British soldiers and the death of innocent people remain with the audience. The film won a SIGNIS award at the Monte Carlo Film Festival of 2002.

The film is significant because it was written by Liverpool writer Jimmy Mc Govern, writer of Cracker, Priest, Liam, Hillsboro.

1. A docu-drama of a significant event in Northern Irish history? Bloody Sunday? The role of the troops, the action of the marchers, the subsequent inquiry? Justice still not done at the beginning of the 21st century?

2. The re-creation of the period, the Londonderry setting, the use of newsreel footage?

3. The focus on the British, the commander, his strategies, his orders? The ordinary troops themselves, age, experience, gung-ho attitudes, saying they couldn't wait to confront the marchers? Coming in the tanks, the shootings, the episodes on the television screen in the pub while they celebrated and ridiculed the Irish? The witnesses in the inquiry? The man who wanted to give testimony not being required? The judge and his summing up of the quality of the testimony of the soldiers and his judgment on their actions?

4. The atmosphere of the times, the difficulties in Northern Ireland, republicans, unionists, the clashes? The discussions about the strategy of demonstrations and gunmen emerging from the demonstrators and causing mayhem? Motivation for the strictness of the British reaction? British politics, attitudes towards Northern Ireland, concern, disdain?

5. The focus on the Young family, the various members, the outing, the dance, the broken shoe? The family of the electrician, his wife, her brother, the decisions to go on the march?

6. The visualising of the march, familiar material? The soldiers coming? The beginning of the shooting, the panic, the attack by the crowd? The shootings, innocent people dying? The young men? Schoolgirls? The old man wanting to help the wounded man crying out? The initial visualising of these sequences? Their being replayed in more vivid detail at the end of the film?

7. The aftermath, Johnny Young dead, Leo Young being taken, interrogated, the man at his shoulder ridiculing the Irish? The boys having helped the young man into the car, examined him, the allegation that he had nail bombs in his pocket? The people going to the hospital, seeing the corpses in the mortuary? The preparation for the funerals, the wakes at home? The anguished response of the families? Johnny's sister and her desperate shouting and crying? Her mother being prepared to forgive, her explanations of why she would forgive? Leo's wife and her concern? Mr Young and his grief? People at the wake? The funeral, the coffins, their being carried, the archbishop in the church?

8. The inquiry, the witnesses, the giving of testimony? The seeming objectivity? The screenplay being based on the documentation? The reading out of the findings by the judge, his assessment of the witnesses, the probabilities for the young man to have had the bombs in his pocket, the behaviour of the British soldiers?

9. An important re-creation of a significant day in Northern Irish history? The fact that there was still not a resolution of what had happened, of justice being done until the beginning of the 21st century?

SLUMS OF BEVERLY HILLS

US, 1998, 91 minutes, Colour.
Alan Arkin, Natasha Lyonne, Kevin Corrigan, Jessica Walter, Rita Moreno, David Krumholtz, Carl Reiner, Marisa Tomei.
Directed by Tamara Jenkins.

Slums of Beverly Hills is certainly an oddball comedy. The juxtaposition of slums and Beverly Hills in the title indicates the ambiguities that are there in the characters and in the plot. The film is the work of writer and director Tamara Jenkins. It has a very good cast led by Alan Arkin and Carl Reiner as two brothers but focuses on a young teenager, played by Natasha Lyonne. There is a very good supporting cast with characters like Marisa Tomei, Rita Moreno and Jessica Walter as well as Kevin Corrigan who has appeared as a strange character in many films.

The setting is the 1970s, the focus is on a dysfunctional family, a father who has an addiction to gambling, drives around Los Angeles with his daughter and her two brothers going into cheap motels. One of the reasons is that living in Beverly Hills qualifies for the daughter to get a better education. However, the kind of education that the daughter receives is from the strange characters in this nomadic existence. The focus is on family, family relationships. However, it is also on rites of passage, especially about sexuality. The film itself plays for oddball comedy rather than explicit moralising. In this way it is entertaining - but requires some reflection on the part of the audience so that they can assess what is really happening, the values of the characters, the ultimate ends of this kind of life.

1. The impact of the film? The title, the contrast between slums and Beverly Hills? Rich and poor? The ironies of American society?

2. The 1970s setting, cars, clothes, manners, mores? The contrast with the 90s and comparisons?

3. The Beverly Hills setting, Los Angeles? The seedy motels, the parks, homes? The home base for these eccentric characters? Their not having a permanent home?

4. The nature of the comedy, broad comedy, satire, irony? The physical comedy, verbal comedy, innuendo? Combining for an oddball comic experience?

5. The portrait of family, the single father (later mistaken for the children's grandfather) and his relationship to his children, his neglect of them, care of them? His wanting a better education for Vivian? Neglecting the boys? The decision to move from hotel to hotel to have a Beverly H ills address for a better education? His character, dodging the rent, his relationship with his brother, with Rita? His girlfriend and the response of the family? The other women in his life? Gambling, success and failure?

6. The focus on Vivian, her age, experience, smart, her father wanting to get her a better education? Her relationship with her brothers, love, antagonism? The moving into the hotels, the demands for space, for rooms etc? Her love for her father? Her meeting with Elliott, his drug-dealing? The arrival of Rita, Vivian and her looking after Rita? Rita and the police, Murray and his bringing her home? Her staying with the family? The influence on the others? The move to the better motel, Rita and the discussions with Vivian about sexuality? Vivian and the meeting with Elliott, the sexual encounter and its impact on Vivian? Their return to the hotel, finding Rita, the struggles with reviving Rita? The family lunch, Mickey and his attack on the family, the irony of Vivian stabbing the leg with the fork? What Vivian had learnt from these encounters, from Elliott, from Rita? Moving off to the new hotel?

7. Rita, drugs, age, experience? Emotional instability? Wandering, the police? Her moving in with the family, her father giving money, his wanting her to go to nursing college? Rita, the discussions about sex? The urine sample, her being pregnant? Her boyfriend, the phone call, his refusal to acknowledge the child? Her taking the sleeping pills, Murray, the paramedics, Rita being revived? Her parents coming, her father attacking her, attacking Murray? Telling her parents she is pregnant, the return home - a future?

8. Murray, a decent man, trying his best despite his addictions? His girlfriends?

9. The brothers, their age, experience, on the move, neglect of education, having to cope?

10. Elliott, the L.A. drug dealers, the friendship with Vivian, the sexual encounter? Helping with Rita? His future?

11. A glimpse at the American way of life, a caricature of family - yet its relationship to actual families and the challenge for people to reflect on the nature of families and relationships?

THE SCARLET CLAW

US, 1944, 70 minutes, Black and white.
Basil Rathbone, Nigel Bruce, Gerard Hamer.
Directed by Roy William Neal.

The Scarlet Claw is one of a series of Sherlock Holmes stories (updated to the middle of the 20th century) made by Universal Studios after the initial success of The Adventure of Sherlock Holmes at 20th Century Fox in 1939. Basil Rathbone and Nigel Bruce continue their partnership as the eminent detective and his friend Dr Watson. Rathbone clearly has made the role his own, a strong presence, sharp logic, interest in detection - never smiling but able to be humorous and ironic at the expense of Dr Watson. Nigel Bruce continues to be the bluff Dr Watson.

This film acknowledges in the screenplay the references and influences of The Hound of the Baskervilles and a story by G.K. Chesterton where a postman was so unobtrusive that nobody realised that he was the murderer. In this film there is a monster in the marshes. The actor, the guilty party in the film, adopts one of his disguises as the local postman. The film is an interesting murder mystery, solved in the eminent way by Sherlock Holmes after the opening of the film at a meeting of the Royal Canadian Occult Society. There is nothing occult about the goings-on in the film - all it needs is facts and the deduction of Holmes. The setting is Canada at the end of World War II - with a final very patriotic quotation from Winston Churchill on the role of Canada as being part of the empire as well as the neighbour of the United States.

1. The popularity of Sherlock Holmes stories and films? Basil Rathbone and Nigel Bruce incarnating Holmes and Dr Watson? The early 40s and the popular series of short films? In retrospect and in comparisons with other casts of Sherlock Holmes films and television series?

2. Black and white photography, the studio, the suggestions of Canada? Eerie atmosphere, Quebecois atmosphere? Musical score?

3. The personality of Sherlock Holmes, visiting from England, at the Royal Canadian Occult Society meeting, his politeness, his scepticism, his alleged openness, wanting facts? Being insulted by Lord Penrose? The letter from Lady Penrose? His going to the village, his investigations, the visit to Lord Penrose, looking at the corpse? Working with the local police? Journet and Marie, seeing him hit her, his reactions, questions? His decision to go out at night into the marshes, the piece of cloth from the shirt? The visit to the judge, the hostility, catching him on his feet, the truth? The information about the shirts? His being too late to stop the judge being killed? His friendship with Dr Watson, relying on his bluff nature to be obvious in the inn and attract the attention of everyone there while he slipped away? The confrontation with Tanner, his escape? The photo, the discussion with Lord Penrose, the truth about the actor, his madness and vengeance, his escape, his revenge? The final setting up of the killer, Holmes pretending to be Journet, the confrontation in the marshes? The solution of the case?

4. Dr Watson, bluff, over-sensitive, very British in style and speaking manner? His being in the inn and getting everybody's attention while thinking he was unobtrusive? Falling into the holes in the marsh? His saving Holmes's life by treading on the steps? His participation in the finale - and the final falling in a hole?

5. The influence of The Hound of the Baskervilles, the marshes, the monster, the clawed throats, the sheep, Lady Penrose? The garden trowel? The police and the investigations? Superstition in the village, the name of the village La Morte Rouge? The reality of the escaped prisoner, his disguises, his revenge? A murder mystery to be solved by logic?

6. Lord Penrose, the occult society, his beliefs, criticism of Holmes, ordering him out of the house? The later interview, the truth about his wife? The butler, his resigning, drinking in the hotel? The range of characters in the town, especially at the hotel? Potts the policeman, the discussions with Holmes and Dr Watson, discussion of murder mysteries? Delivering the letters, his talking about fear? The Father Brown story and the postman? His being unmasked as the killer, his death? His disguises as Tanner the boatman? The disguise as Laura the maid and killing the judge? The confrontation with Journet? The killing of Marie? The background of his being an actor, the murder, the judgment, prison and escape?

7. The victims? Journet and the final confrontation, especially after the death of his daughter, justice being seen to be done?