BLUE (TRES COULEURS: BLEU)

France, 1993, 100 minutes, Colour.
Juliette Binoche, Emmanuelle Riva, Julie Delpy.
Directed by Krzysztof Kieslowski.

Blue is the first film of a trilogy by writer-director Krzysztof Kieslowski. The other films are White and Red - completing the colours of the Tricolour flag of France and on the themes of the French Revolution, liberty, equality, fraternity.

This film is a focus on liberty, personal liberty. It focuses on a widow, played by Juliet Binoche (The Unbearable Lightness of Being, Lovers of the Pont Neuf, Damage, Oscar for The English Patient). She gradually detaches herself from her previous life, finding an inner liberty - but also an isolation. She is a composer, music comes to haunt her and gradually she completes a work, a concerto dedicated to the unity of Europe. It is a powerful concerto - and its lyrics are based on the chapter on love, 1 Corinthians 13.

Kieslowski became known in the west after many years of film-making with his series on The Decalogue. He also made The Double Life of Veronica.

1.Impact of the film, part of a trilogy, its colour, theme of liberty?

2.The title: Blue - the tone, the visuals, especially with the music? Night, the room, the swimming pool? The result of the pervading blue?

3.The French settings, the roads, the city, the interiors?

4.The musical score, the thematic music, the powerful notes coming into Julie's mind? The final oratorio - its sound, choir, lyrics? The visuals designed to dramatise the oratorio?

5.The theme for a united Europe, a dream? The collage of people from Julie's life seen during the oratorio? The significance of 1 Corinthians 13 and the all-pervasiveness of love?

6.The opening with the car, the tyre, the car on the road, speed, the little girl, the hitch-hiker, the violence of the accident, the boy's reaction, running to the car?

7.Julie - her eye, coming awake, the grief and the news, her own personal physical and psychological trauma, the doctor, the therapy and her gradual recovery? Her decision to kill herself, the tablets - her inability to do it? The response of the nurse?

8.Her personal decisions - the influence of the journalist, the understanding of her husband as a musician, his compositions? His assistant and the calls, wanting to complete the music? The encounter, sexual encounter and its effect on Julie? Her decision to assuage his desire and then leave? Her husband's will, the bequests? Divesting herself of everything?

9.Her living alone, the old house and the gardener, emptying the rooms, the new apartment? Her lifestyle, isolation, reflectiveness? The significance of the swimming?

10.Her psychological journey, being haunted by the musical notes, the journey to liberty, freedom, loneliness?

11.The neighbouring girl, the man going to her room? The petition against her? Her refusal - and the girl coming to thank her? The concierge? The woman coming to ask her to protest against the prostitute? The girl later ringing Julie during the night and her going to the sex show cabaret? The girl's father being there? Her desperation? Stimulating her partner? the acts and the clients? Julie's acceptance of people?

12.The decision to visit her mother, her mother's isolation, mistaking her for her sister, the discussion about fear and Julie's fear - and her acknowledging it? Julie's return and watching her mother? Taking financial care of her mother?

13.Being sought out by the hitch-hiker, his having taken the chain, wanting to give it to Julie? The effect on her - leaving him with the chain?

14.Communication with her husband's assistant, his work in composing, ordering the score? Believing the music lost? The manuscripts and their re-appearance? The assistant and his wanting to complete the score?

15.Julie and the desire to write the music, the urgency? Her gift to the world? The impact of the performance of the oratorio, the music and the lyrics, the range of visual style, impressions, the range of people included - the hitch-hiker, her mother...?

17. The telejournalist and her hostility? the interview and photos? the realisation that her husband had a mistress? The help of the assistant, finding the mistress at the courts? the meeting? Julie's decision to give her the house for her boy? the visit to the gynaecologist?

18. The discovery of the rats, her revulsion, the question of killing them? Her getting assistance? the will to destroy the rats, the mother?

19.A moral fable, European flavour, Christian dimensions? The religious in the secular of the '90s?

MIDNIGHT IN PARIS

US, 2011, 98 minutes, Colour.
Owen Wilson, Marion Cotillard, Rachel Mc Adams, Kathy Bates, Adrien Brody, Mimi Kennedy, Kurt Fuller, Michael Sheen.
Directed by Woody Allen.

A very pleasant surprise.

Woody Allen seems to have fallen on hard times in the last ten years or so. Some of his films have not been released in countries like the UK and Australia and have gone straight to DVD. Critical response has been mixed. Allen has also been making films in England, Spain and in France as well as New York. He did break out of his critical and commercial stalemate with Vicki Christina Barcelona in 2008. With Midnight in Paris, he is back again: some very good reviews and some substantial box-office.

When he made Midnight in Paris, Allen was 74, not bad for an older director with over forty years of directing, writing and acting.

The opening is quite entrancing. Lots of wonderful views of Paris, the familiar views, scenes with people in ordinary life. We know that it is eventually going to arrive at midnight. And it rains but, as it does throughout the film, rain doesn’t take way anything from the distinctive beauty of the city. There is a jazz musical background.

Then we were in Allen territory, character-wise. This time his alter ego is Owen Wilson in one of his best performances. While Wilson has his familiar accent and modulation, he is able to communicate the Woody Allen modulation as well. He articulates Allen’s funny lines and his reflective lines very credibly. Wilson is Gil, who has been writing screenplays for Hollywood, is now writing a novel in his favourite city, though his nostalgia is for the American expatriate life in Paris in the 1920s, the world of F. Scott Fitzgerald, Zelda, Hemingway, Gertrude Stein, Picasso, Luis Bunuel and Salvador Dali (at least).

This nostalgia is not at all shared by Gil’s fiancée, Inez - Rachel Mc Adams in a most persuasive performance, she and her parents types who would walk out of this kind of film. Kurt Fuller and, especially his snobbish wife (Mimi Kennedy), ‘Cheap is cheap, I always say’, are particularly good, caricature, perhaps, with Allen taking shots at the Republican agenda and the Tea-Party?.

Gil likes to get away from his prospective wife and in-laws and wander the night streets of the city. He gets into a taxi and off into the 1920s where the above list of celebrities actually materialise.

For those for whom these names are familiar, the film is a delight, indulging our pleasure in a 21st century man being welcomed into the past. And he meets Picasso’s model, Adriana (a most charming Marion Cotillard) and falls in love with her. (Her nostalgia period is La Belle Epoque and, again delightfully, we are taken with Gil and Adriana to the 1980s and who should be there watching the Can Can at Maxims but Toulouse Lautrec, Gauguin and Degas).

The performances are wonderful. Kathy Bates is perfect as Gertrude Stein, helping Gil with his novel. Adrien Brody has only a few moments as Dali but isvery effective and funny with his talk of a rhinoceros. There is a funny joke with Bunuel about the plot for The Exterminating Angel.

This means that the film might not strike all audiences in the same way. At one moment, there is a reference to a character from the past whom I did not recognise – making me realise that those who do not know Picasso, Hemingway and co would not enjoy much of the film.

The review cannot end without a word of praise of Michael Sheen (in the 21st century narrative) as an American academic who is not burdened by humility – at all. He is described to Gil as ‘pedantic’ (an understatement) by the tour guide, who is played by Carla Bruni.

All in all, Midnight in Paris will go into my list of my favourite Woody Allen films and I would be pleased to watch it again. And I did.

1. The appeal of Woody Allen films? Woody Allen in his seventies? His storytelling, the performances he elicits, the dialogue, wit? Observations on serious matters with the light touch? His use of music?

2. The title, evoking Paris, the long opening credits, the postcards, the people of Paris, the range of life in Paris, the jazz score and its mood? The different trips within the story, to exhibitions, to Versailles, the streets of Paris, the hotels, the shops?

3. The contrast with the Paris of the 20s, at night, the bars and clubs, restaurants, homes? The contrast with Belle Epoque? Maxim’s, the can-can, the restaurants?

4. The musical score, the use of jazz throughout the film, Cole Porter’s songs and his lyrics, Offenbach? The range and the music being inserted into the narrative?

5. The blend of the real, the surreal? The fairy tale – changing after midnight, pumpkin or not?

6. Gil’s ideal Paris, the taxi arriving, the people, the conversation, the bars, the authors, Cole Porter, the parties, Bunuel and Dali, his romancing the ideal of this Paris?

7. Gil meeting F. Scott Fitzgerald, Zelda? Their characters, Zelda and her moods, wanting to go on to other parties, standing by the Seine? Ernest Hemingway, his macho conversation, the image of lions, bulls, fighting? Africa? Gertrude Stein, Alice B. Toklas opening the door, Gertrude being the doyenne of the Americans in Paris? Her strong personality, her range of languages, her writing, her ability to comment on the work of others? Insights? The interactions of these characters? Gil at home in this world?

8. The contrast with the Belle Epoque, Maxim’s, seeing Toulouse-Lautrec?, Paul Gauguin, Eduard Degas? The discussions about the ballet? About art? Adriana and the fashion design? Her employment? The can-can and Offenbach’s music? Adriana feeling at home in this world?

9. The theme of each age being dissatisfied with itself, the past idealised and seeming better? The message about then and now? Being at home in one’s own world?

10. The introduction to Gil, Owen Wilson’s performance, channelling Woody Allen in his verbal manner, expressions? The Hollywood background, the hack writing screenplays? Wanting to write the novel, idealising Paris in the 20s, the American authors living there? A romantic? His engagement to Inez? His living in the present, the pragmatic present? Visiting Paris with Inez, her parents? The socialising and meals? Paul, Inez’ friendship with him, the tours, Gil’s reaction to him, especially about the wine, the dispute about Rodin? The preparation for the wedding? A doomed engagement?

11. The dialogue, Woody Allen wit, jokes, references, literature, philosophy, Woody Allen more upbeat in this film?

12. The difference between being romantic, imaginative, logical? Gil’s work on his novel, the nostalgia, the theme and episodes in the book, the nostalgia shop? His being more introverted, walking the streets of Paris, his love for Inez, the possibilities in the marriage? His reaction to the painting of Adriana in the Louvre, his comments about Picasso from his own experience, Paul’s contradictions? Paul and his offer to read Gil’s manuscript and comment? The relationship between Paul and Carol? The visit to Versailles, Paul and his giving the lecture?

13. Inez, her shopping, her mother and the expensive furniture, clothes, the meals, the father and his business in Paris, being against the French, his reaction to the tea party and Republican jokes?

14. Inez’ parents, their manner, looking down on Gil, suspicious, hiring the detective? The father’s visit to the detective agency, discretion?

15. The shop, the assistant, her help with Cole Porter, the record? Their later meeting, walking in the rain, shared interests? The future?

16. The character of Paul, the guide calling him pedantic, his comments on everything, his superiority, on Rodin, on Picassos, on the wine, on Versailles? Going dancing with Inez and Carol? The affair?

17. The guide, her explanations of Rodin, later meeting Gil and calling Paul pedantic?

18. Gil and his challenge to Inez? About the affair?

19. Adriana, her character, in the 20s, her relationship with Picasso? Talking with her, her life, the discussions about Ernest Hemingway? Her going to Africa? The return, Gil dancing with her? Going back to the Belle Epoque? Her exhilaration, fashion designing, meeting the artists, deciding to stay? Gil finding her book, the description of her dream, the gift of the earrings?

20. Gil, finding the book, the episode of the earrings, taking Inez’ earrings, Inez and her parents wanting to call the police? Gil contriving to find them? The snobbishness of Inez and her parents?

21. The detective, his following Gil, the taxi in the night, his finding himself in the 18th century, at Versailles? The pursuit?

22. The sketches and characters of Ernest Hemingway, his talk, self-assertion, book, friendship with Gil, references to hunting? Going to Kilimanjaro? Gertrude Stein, her salon, her languages, her words of advice? Support of Gil, reading his book, the encouragement, her perceptions about the engagement? Picasso, his eccentricities, with Adriana? The episode with Salvador Dali, his egotism, his art, his appearance, the discussions about the rhinoceros? The toreador and his place in the group? Luis Bunuel, the discussions about film, Gil giving him the plot for The Exterminating Angel – and his down-to-earth, realistic responses and bewilderment?

23. The overall impact of the film, a Woody Allen masterpiece – from an experienced film director in his seventies?

THE BLACK RAVEN

US, 1943, 61 minutes, Black and white.
George Zucco, Wanda Mc Kay, Noel Madison, Robert Livingston, Byron Foulger, Glenn Strange.
Directed by Sam Newfield.

The Black Raven is a small supporting feature. It was directed by Sam Newfield, prolific director (the IMDB cites 273 titles). In 1951, for instance, he directed eight films. He often used pseudonyms to allay the impression that he was making too many films. He worked for his brother, Sigmund Neufeld.

This is one of those short features, probably more of a television series play these days, where a group of people are stuck in a house because of a rising tide and an uncrossable bridge. It is run by a mysterious person, Amos Bradford, known as The Raven (British actor George Zucco). An ex-prisoner comes to confront him and to demand money from him because of previous crimes. The various people who arrive at the inn include the wealthy daughter of a crime boss and her fiancé who is not approved by the prospective father-in-law, a gangster on the run, a mousey businessman who has embezzled funds. There is also a strong man on the property to deal with problems as well as a sheriff.

They all gather together in the house, the various tensions that are expected arise, especially father and daughter, with the gangster wanting to get away, the mousey embezzler frightened that somebody would seal his money – which somebody does attempt. There are several deaths, the sheriff arriving and trying to sort them out? Some are accidents, and ultimately the ex-prisoner turns up, killing the Black Raven who does the right thing in solving all the mysteries.

The film is mainly of historical interest, the style of supporting films made during the war, the small budgets, the B and lesser grade cast, the kinds of contrivances and issues which later became the staple of television series.

MR IMPERIUM (YOU BELONG TO MY HEART)

US, 1951, 87 minutes, Colour.
Lana Turner, Ezio Pinza, Marjorie Main, Barry Sullivan, Cedric Hardwicke, Debbie Reynolds.
Directed by Don Hartman.

Mr Imperium is an odd film, a very light confection, romance style of the 1950s. It was co-written by director Don Hartman from a play by Edwin H. Knopf. Hartman had received two Oscar nominations for writing for Road to Morocco and The Gay Deception.

The film is very brief, possibly because of editorial cutting. Some of the characters are barely developed.

The first half-hour takes place over one evening where a prince, played by Ezio Pinza (who appeared in Strictly Dishonourable and Tonight We Sing as well as making the role of Paul in South Pacific his own, winning a Tony, on Broadway). He is infatuated by a singer, played by a dubbed Lana Turner. They fall in love, he with a rather romantic patter and a setup to attract her attention while he defended her. However, the politician from his European country arrives (Cedric Hardwicke) and terminates the romance, the prince having to return home.

However, twelve years later he arrives in Palm Springs. Lana Turner is a star actress by this stage, mentored by a producer (Barry Sullivan). She goes to Palm Springs to meet the prince, staying in a house run by Marjorie Main (in a lighter Ma Kettle vein) and her niece, played by a sprightly Debbie Reynolds.

There is a reconciliation. The politician arrives again – but, admiring the actress, is much more conciliatory. However, a rather downbeat ending for romantics, the prince goes back to his own country.

1. A light confection? MGM romance of the 1950s?

2. The Italian locations for the opening, the bay, the restaurant, apartments? The contrast with Hollywood and the studios? Palm Springs?

3. The cast, their skills in their own domains – but brought together here in a confection?

4. The title, the alias of the prince? The alternate title and the reference to the song? Ezio Pinza singing? Lana Turner’s dubbed singing, the cowboy song, You Belong to My Heart, romantic themes?

5. The opening, the establishing of the character of the prince, his country, in Italy? His infatuation with Fredda? Her song, her character, not falling for the prince? The setup of the attack on her, the prince’s defence – and her seeing through it later? His turning up on the balcony? Their falling in love, outings together? The possibility of marriage?

6. The arrival of the politician, his intervention, the pressure on the prince? His attitude towards Fredda? His return home?

7. Twelve years passing, Fredda and her success in Hollywood, performances, her relationship with her producer (Barry Sullivan). Her going to Palm Springs?

8. Palm Springs, Mrs Cabot and her jovial style and patter? Gwen and her being sprightly? Observing the relationship? Mrs Cabot and her questions? Falling for the romance?

9. The prince meeting Fredda? The reconciliation? The romance, out together? The songs?

10. The intervention of the politician? The prince and his sense of duty? The return? The respect for Fredda?

11. Fredda with Paul, waving goodbye to the prince? The film in its time? Later?

PLEASE MURDER ME

US, 1956, 78 minutes, Black and white.
Angela Lansbury, Raymond Burr, Dick Foran, John Dehner, Lamont Johnson, Denver Pyle.
Directed by Peter Godfrey.

Please Murder Me is a brief supporting feature from the mid-50s, a later film noir, something which would be an episode of a television series in later years.

The film is a contrived murder mystery, opening, like Double Indemnity, with the central character putting his confession on a tape recorder. However, this lawyer, played by Raymond Burr (soon to be Perry Mason), is setting himself to be killed by a vengeful woman with whom he had been in love and who had betrayed him. He had defended her in court against the murder of her husband. She is a calculating woman, a femme fatale, played by Angela Lansbury at age thirty.

The supporting cast is interesting, Dick Foran as Angela Lansbury’s husband, John Dehner as the district attorney and Lamont Johnson, director of such films as Lipstick, The McKenzie? Break, in one of his early acting roles.

The film focuses on the setup of the murder, the court case and the acquittal, the betrayal by the wife, the setup of the lawyer to entrap her, giving his life for the sake of justice.

1. An interesting small melodrama? 1950s style? Film noir?

2. The black and white photography, light and shadow, night sequences? The courts? The artist’s room? Restaurants? Authentic feel – but surreal treatment? The musical score?

3. The title, unexpected? The focus on Craig, his getting the gun, going to his office, the darkness, the tape recorder, the speech to the district attorney? The insertion of the flashbacks? The explanation of the characters? His situation? The final confrontation with Myra, his death?

4. Craig as a person, his law practice, his friendship with Joe, Joe saving his life at Iwo Jima? His explaining this to the district attorney? His declaration of love for Myra, Joe’s reaction? Craig not wanting to hurt him? The murder, his going to Myra’s assistance? Defending her in the court, the discussions, the visits to prison? His declaration that he was the other man? Her acquittal? Her discarding him, his being hurt? The letter from Joe, delivered belatedly? The information about Carl and Myra’s relationship? His going to see Carl, the friendship, Carl and his portrait? Going to the meal, the payment, the setup? His threatening Myra, saying that he had collected evidence? Her coming to the office, her shooting him? Discovering that the pages were empty? Ray Willis and his final comments? A character giving his life for justice?

5. Myra, her relationship with Joe, love, her falling in love with Craig, discovering it was a pretence? The veteran, her shooting Joe? In the court, her testimony? Her lies? Discarding Craig after promising to be engaged? Her relationship with Carl? The restaurant, her hard attitude? Craig and his threats, her disregarding them? The restaurant sequence? Going to his office, the evidence, her shooting him? With his gun? The district attorney playing the tape?

6. Joe, his heroism in the Pacific, his marriage to Myra? Self-made man, investments? Discussion with Craig, Craig telling the truth, his phone calls, his friends hearing them? Going home, his being shot?

7. Carl, the artist, his relationship with Myra? Friendship with Craig, the portrait? Craig saving him from betrayal by Myra?

8. The district attorney, the prosecution of the case, his accusations against Myra? The detectives, the other testimony? Lou Kazarian and his friendship, the late delivery of the letter?

9. Popular ingredients for this kind of murder mystery – and the femme fatale in the film noir?

WALTZES FROM VIENNA

UK, 1934, 81 minutes, Black and white.
Esmond Knight, Jessie Matthews, Edmund Gwenn, Fay Compton, Frank Vosper, Robert Hale.
Directed by Alfred Hitchcock.

If an audience saw this film without knowing who the director was, they would be very unlikely to name Alfred Hitchcock. In later interviews, he said it was the low point of his career. It is a light musical biography of Johann Strauss Sr and Johann Strauss Jr. (This was done much better in Julien du Vivier’s 1938 The Great Waltz – and more chocolate-box-like in the 1972 film, The Great Waltz, directed by Andrew Marton.)

Hitchcock had achieved a reputation with such films as Blackmail, Murder, Juno and the Paycock. After this film he was to go on to such masterpieces as The 39 Steps.

The film is small-budget, made on very artificial sets. It focuses on a few episodes in the life of the two Strausses, focusing on the senior Strauss with his reputation, his orchestra, his putting down of his son. The focus on the younger Strauss is his ambition, composition, his love for Rasi who worked in a bakery. The putdowns from his father, his decision to work in the bakery. However, the key of the film – which many people smile at or laugh at, is his composition of The Blue Danube by listening to the making of bread and rolls in the bakery. The film culminates in his success with The Blue Danube and his father’s having to admit his son’s gifts – plus some intrigue with a countess who fancies Strauss and manipulates an occasion to bolster his career. The ending has the touch of French farce as everything is resolved.

Esmond Knight is the younger Strauss, Edmond Gwenn is very good as the serious elder Strauss (and was to appear for Hitchcock in The Trouble with Harry). British musical star Jessie Matthews is Rasi and Fay Compton is the countess.

1. This film in the career of Alfred Hitchcock? His own estimation of the film?

2. A small-budget British musical of the 1930s? Jessie Matthews and her reputation?

3. The black and white photography, the sets for Vienna, the ballroom, the bakery, apartments? The background musical score?

4. The blend of the humorous and the serious in looking at the Strausses?

5. The Strauss family, the success of the elder, the ambitions of the younger? The clashes? The reconciliation?

6. Austria in the 19th century, the empire, the aristocracy? The role of musicians? Their reputation? Ordinary people?

7. Johann Strauss Sr, his compositions, the Radetzky March, his orchestra?

8. Johann Strauss Jr, seeing him with Rasi, the songs, his being put down by his father? The encounter with the countess?

9. The opening with the bakery, the fire, the baker and his attempt at rescuing Rasi, climbing up the ladder, climbing down, her losing her skirt, the farcical aspects, her rushing to the shop, the couturier and her alarm, the countess as a customer? The character of the jealous baker?

10. The countess, in herself, her relationship with her husband, her husband as a boor, his verses, his going to Strauss to put them to music, his humiliation? The tension with his wife? Her own compositions?

11. The sequence of the composition of The Blue Danube, Strauss and the tour of the bakery, the rhythms, the sounds, the beats – and his getting the melody?

12. Drexler, the entrepreneur, the countess and her influence, the plan, delaying the senior Strauss, his playing his music? The opportunity for Strauss Jr?

13. Rasi, her work, Strauss going to the bakery, his heart not in it, the jealousy at the bakery? Her jealousy of the countess?

14. Strauss, the performance, the acclaim, Rasi and her moods, his father and his being upset?

15. The farcical ending, going to Strauss’s house, Rasi and her going to him, the countess, her getting out the window? The jealous husband? All’s well that ends well?

16. The senior Strauss and the autograph hunter, his signing Johann Strauss Senior?
 

SOEUR SOURIRE

Belgium, 2009, 120 minutes, Colour.
Cecile De France, Sandrine Blancke, Jo Deseure, Jan Decleir.
Directed by Stijn Coninx.

Soeur Sourire is a portrait of the Belgian nun, Jeannine Deckers who became famous in the 1960s for her song Dominique. Her story was popularised and sanitised in the Hollywood film, The Singing Nun, with Debbie Reynolds. This film was made during her lifetime – and gave no indication of the tragedy of her failed life and suicide which was to come during the 1970s.

Cecile De France is excellent as Jeannine. She has to play very young, getting older, middle-aged. She does this very effectively, communicating the insecurities of Jeannine, the put-downs from her severe mother, her wanting to leave home, her various whims about what she would do, especially going with her cousin to Africa. She discusses her life with a priest and joins the Dominican nuns. The year that she joined them was 1959, the year that Fred Zinneman’s film The Nun’s Story (which was based on a convent in Belgium in the 1930s) was released. The sisters in this film are very much in the vein of The Nun’s Story, sometimes more severe. Although, they farewell Jeannine when she leaves the convent, something different from the end of The Nun’s Story.

The film shows Jeannine in the convent, a television company wanting to make a film about the convent, her composing her song Dominique, the use of it during the program – and the consequences for herself, for the convent. She becomes a celebrity, although the nuns want her to remain anonymous, hence the name Sister Smile, Soeur Sourire?

The film shows her success, her discontent, her leaving the convent. While she had some success after leaving, she did not manage the career that she might have had as a nun. Eventually, she composes a song critical of moral teachings and it is sung in Canada where she is banned.

The film also shows the fragility of her personality, her initial lack of sexual development, the emergence of her homosexual inclinations. A friend who is loyal to her all the years, becomes her refuge when she leaves the convent. She also began to drink, became depressed – and eventually the two women commit suicide.

The film is an arresting portrait of the church and its transition at the period as dramatised by a disturbed character.

The film was written and directed by Stijn Coninx who also explored 19th century church activity with the worker-priests in his 1992 film, Daens.

1. The film as biography, portrait? The church, religious orders, changes during the 1960s? Popular music?

2. The reputation of Soeur Sourire, the song Dominique? In translations? The sales – beyond the Beatles?

3. Belgium in 1959, the 60s and the 70s? The sternness of society? The sternness of the church? Popular music and change?

4. Brussels, the city, country towns, homes, the bakery and the shop, the convent, the recording studios?

5. The musical score, Soeur Sourire’s songs, the range of performances, recording, for television, the concerts? Her other songs? The offensive song, her performance, being banned, singing in cabarets and clubs?

6. The framework of the film, Jeannine in the concert, the encouragement - the flashbacks, the return to the concert, the transition to her failure and suicide?

7. Cecile De France, her screen presence and performance? Jeannine and her life, the harshness of her mother, her passive father, the work in the bakery? The various courses, studies, lectures, art studies, wanting to go to Africa, her plans with her cousin? Her mother accusing her of whims? Her age, experience, naive, Annie and the attraction, Annie’s advances, Jeannine not understanding? Her mannish style, appearance?

8. The family, the father as the baker, his simple traditions, his wife, her harshness? Her ridicule of her daughter? Her loveless marriage? Jeannine’s bond with her cousin, the cousin living at home?

9. Music, learning it, her talent?

10. Pierre, his friendship, Jeannine’s mother’s hopes, wanting an engagement? Jeannine not able to kiss Pierre? His understanding, his later marriage, continued friendship?

11. Jeannine’s religion, piety, Catholic traditions in Belgium, her mother, leaving the house, her mother’s threats? Her anger, going to the priest, his advice, going to the convent?

12. The convent, the superior, the young nuns, the old deaf nun, life in the convent, Jeannine bumptious, her cell, at meals, being hungry and going to the fridge, cheeky? The interviews with the superior, the novice mistress? Discipline in the convent?

13. The issue of whether she had a vocation or not, her motivation for going to the convent, cutting herself off, not letting her family know? Her behaviour in the convent, taking the habit, working with the others, in the garden, prayer?

14. The composition of Dominique, the young nun helping her, the melody, the words, the tribute to St Dominic by a Dominican nun? The reactions, the encouragement from the old deaf nun?

15. Her parents, discovering where she was, the visit? Pierre and his visit? Her cousin and her being hurt by Jeannine cutting herself off?

16. The media priest, the television program in the convent, the discussions with the nuns, the superior, hearing the song, proposing that Jeannine sing it? The development of her career?

17. The community, the superior’s reaction, change of attitudes towards the publicity, the contract, the royalties? Her cautions? Going to the recording?

18. The church in favour of her work, the media in favour of her, the forced anonymity, the discovery of the truth, the television program, the media? Her parents claiming her because of her success?

19. Jeannine and her temperament, not wanting to go to Africa, her moods, success, the English versions of the song, the clash with the young nun and her denunciation of Jeannine? Issues of the royalties and the community? Concerts? Annie and her continued friendship, the contacts?

20. Annie, the sexual orientation, her approaches initially, keeping contact, her life and work, the refuge for Jeannine?

21. Jeannine, leaving, the farewell, her hopes, her identity as herself rather than Soeur Sourire, the reactions of the media? Her agents, hopes, going to Canada? Her parents denouncing her, especially with the sexual orientation?

22. Annie, the relationship, sexuality, Jeannine going to live in the house, sharing it, their clashes, love?

23. Her drinking, decline, the passing of the years, losing the money? The lawyers, her agents, the failure in Canada, the ecclesiastical disapproval of her song? Humiliated by the bars and the clubs?

24. Her final decline, her suicide with Annie? The sadness of the end of her life – and the possibilities of what might have been?

THE LITTLE PRINCESS

US, 1939, 98 minutes, Colour.
Shirley Temple, Ian Hunter, Mary Nash, Cesar Romero, Arthur Treacher, Richard Greene, Anita Louise, Marcia May Jones, Sybil Jason.
Directed by Walter Lang.

The Little Princess is based on a story by Frances Hodgson Burnett. Originally A Memoir of Sarah, it was adapted for the stage and the author was persuaded to add scenes from the theatre piece to a final version of the novel. The author is also famous for Little Lord Fauntleroy and The Secret Garden. All three stories have been filmed many times.

The film was a star vehicle for Shirley Temple, as was The Bluebird at the same time. She was coming to the end of her period as a child star. At one time she was the most popular star from Hollywood. The film has a strong supporting cast of character actors as well as a romance between Richard Greene and Anita Louise.

The film is set in1899, the beginning of the Boer War, the Siege of Mafeking and its relief. Shirley Temple portrays the daughter of a soldier who is wounded in the war. Treated well at a school for young ladies, when she is impoverished, the director (Mary Nash as a kind of Wicked Witch of the West in London) makes her a servant in the house. The little girl searches for her father – and ultimately finds him, with the help of Queen Victoria, who appears at the end of the film.

The film was directed by Walter Lang who also directed The Bluebird as well as many MGM musicals in the 40s and 50s.

The popularity of Frances Hodgson Burnett’s stories? The many film versions? The Shirley Temple film as a classic?

1. Adapting the story for Shirley Temple, her screen presence, star quality, performance, song-and-dance, sentiment?

2. The colonies, London at the end of the 19th century, the period, the military, Miss Minchin’s School, the streets, the hospital? The musical score, song-and-dance routines?

3. The appeal to older audiences, younger audiences?

4. 1899, Sarah and her experience of India, the opening with the Boer War, Mafeking, the siege, the relief? The army, the parades, the volunteers? The hospital, the injuries, shellshock? Queen Victoria’s visit?

5. Crewe and Sarah? The bond between them, love, the father spoiling his daughter, the army requirements, leaving Sarah at the school, disappearing from the room?

6. Going to Miss Minchin’s, the pony and the trouble, Miss Minchin and the overtones of the witch? Bertie more genial? Miss Minchin changing at the prospect of money, moving Lavinia out of the room, treating Sarah as special?

7. The room, the comfort, her father leaving, Becky as the servant cleaning the shoes, the friendship between the two, relationship with the other girls, friendly, the clash with Lavinia?

8. Life at the school, classes, meals, Miss Rose, Jeffrey, Bertie?

9. The appearance of Ramm Dass, pleasant, looking after Sarah?

10. Miss Rose, an orphan at Miss Minchin’s, used by Miss Minchin, meeting Jeffrey? Jeffrey and his grandfather, their clashes, teaching Sarah to ride? The farewell, the bad news for Sarah, the letter and Miss Minchin reading it, her being sacked, going to the hospital? With the wounded Jeffrey?

11. The party for Sarah, her presents, the news about her poverty, the change, the presents given back? The reaction of the girls?

12. Her room, cold and hungry, working in the kitchen, being criticised, with Becky, their sharing, Lavinia and her domination – and Sarah throwing the ashes over her?

13. The visits to the hospital, search for her father? Bertie leaving, pretending to be a major, everybody joining in the pretence for Sarah’s sake? The song and dance for the soldiers?

14. Crewe and his injury, Sarah’s beliefs that she would find him, his shellshock? The care at the hospital?

15. The insertion of the fantasy dream, all the characters present, costumes, comedy, the trial of Miss Minchin, the ballet? Sarah waking up and finding the room transformed? Ram Dass looking on?

16. Miss Minchin, chasing Sarah, the police?

17. Queen Victoria, with the soldiers? Talking with Sarah? Her help?

18. Sarah in the room, hearing her name, finding her father, bringing him back to consciousness?

19. The happy ending – and 1939 only forty years after the events portrayed?

CASUALTIES OF WAR

US, 1989, 113 minutes, Colour.
Michael J.Fox, Sean Penn, John Leguizamo, John C. Reilly.
Directed by Brian de Palma.

Casualties of War is a powerful Vietnam war film written by David Rabe (ex-Vietnam veteran, author of Streamers) and directed by Brian de Palma, best known for his Hitchcock homages like Obsession, Sisters, Dressed to Kill as well as The Untouchables.

The film is based on a true incident of the war, 1966, written up as a short novel for The New Yorker by Daniel Lang. It focuses on a small group who go out on a patrol, kidnap a village girl, use her as a prostitute and then kill her. Sean Penn is quite persuasive as the leader of this group. Michael J. Fox, a serious Lutheran from the Midwest, is the voice of conscience and the audience sees the incident through his bewildered and disgusted eyes and shares his moral dilemmas.

The action sequences are particularly strong. The rape sequences are particularly vivid and bring home to audiences of men and women the utter humiliation and degradation inflicted on the rape victim. The film is highly critical of American macho attitudes, the presumptions of soldiers during war. With its emphasis on civilisation and the loss of civilised behaviour, the film is also a critique on the war.

The film has a quiet ending - which seems to undermine the high and powerful drama of what has gone before.

1.The traditional Vietnam War films in the '80s? This perspective from the late '80s? A memoir of the '60s? The waging of the war, American involvement? Moral issues? Justice?

2.The perspective of David Rabe and his war experience? Brian de Palma and his melodramas? An effective combination?

3.The use of Thai locations, Panavision? Audiences immersed in the war? Action, stunts and special effects? Ennio Morricone's score, choral effects?

4.The perspective of Sven Eriksson? In the train, his seeing the Vietnamese girl, his anxiety, his memories? The flashback technique? The devout Lutheran, the American soldier, committed to the army? His not being in Vietnam long? In action, the attack, the explosion, his being wedged in the ground, his legs in the tunnel? Terror, the bombardment? Meserve rescuing him? His experience of the horrors of war?

5.Meserve, his personality, in command, tough, the daring rescue of Eriksson? His friendship with the group, his black buddy and his death in the field? His relationship with the group? His attitude towards the enemy, bitterness? The attacks on the Viet Cong? His criticisms of Eriksson as a sympathiser?

6.Eriksson and his gentle manner, ploughing with the old man? The children and the fruit? The Viet Cong attack, his shock? Criticisms of him as a sympathiser?

7.Back at base, hospital, recuperation, orders, the wanting of a night on the town, not being able to go to the brothel? Angers, against the VC? Racial attitudes, prejudice, hatred of the enemy?

8.Meserve and his decision about the mission, the attitudes of the rest of the group? Their trek through the jungle, arriving at the village? Choosing the girl, the brutal taking of her from her mother? The girl's anguish? The forced march, Eriksson on point, the girl carrying the pack? Arrival at the hut?

9.The focus on the girl, kidnapped, her mother, her pain and anguish, bewilderment, language? The attitude of the men? Leering? Carrying the pack, her cut back? The rape sequence - from Eriksson's perspective? The brutality, using her? Her fear? The aftermath, the shame? Her hunger, Eriksson trying to help her, trying to free her? Caught by Clarke? At the railroad? The orders to kill? Clarke stabbing her, her staggering across the rail, Eriksson trying to save her? Her being shot? The pathos of her experience and death?

10.Meserve and his attitude, callous, presumption? Macho, using women, the enemy? His rationalisations about her being Viet Cong? The arguments with Eriksson? Diaz and his not wanting to rape the girl, wanting Eriksson's back-up and vice-versa? His loyalty to the group, being cowed by them? His participation in the rape? Clarke and his viciousness? Hatcher as the dumb American soldier? The talk about beer?

11.Leaving the hut, the mission? Eriksson on guard? The river, the shooting? The transportation of weapons? Hatcher and his ignorance, giving positions away by shooting? Clarke and his wanting to kill the girl? Eriksson ordered to shoot, the others and their refusal? Clarke stabbing her? Eriksson firing the shot and disrupting his group? The helicopters, the raid, the bombardment?

12.Eriksson going to the authorities? His talking with the black commander, the commander giving the allegory of his own experience and humiliation, the birth of his child, his wife on the floor? His advising to forget and things would be calm again? The officer and his abuse of Eriksson, the silence, wanting to transfer him? Eriksson and the attempts on his life? Getting drunk? Talking to the chaplain and telling the story?

13.The group and their revenge on Eriksson, the tension of the grenade in the latrine? Eriksson taking the shovel and hitting Clarke, challenging Meserve? Disgusted that the authorities didn't care?

14.The trial, justice in action, the cross-examination and the attitude of each of the group - their values, lack of values? Their sentences? Meserve and his whispering to Eriksson?

15.Waking up in the train, getting out, giving the girl her scarf, her talking to him, talking about waking from a bad dream? His own, American society's?

16.The comment on the macho soldiers, the talk about Genghis Khan and rape? Attitude towards the victim? The pathos of the victims?

17.Themes of war, the title? Civilisation and values? Eriksson's comment that if men are about to die, they should act better and not recklessly? A challenge to conscience?

CATHOLICS (THE VISITOR)

UK, 1973, 87 Minutes, Colour.
Trevor Howard, Martin Sheen, Cyril Cusack, Godfrey Quigley, Raf Vallone.
Directed by Jack Gold.

Catholics (The Visitor) was considerably delayed in reachinq Australian screens and was scarcely publicised (though weII reviewed by the secular press), this short drama of changes in the Church around the year 2000 seems topical with parallel happenings with Archbishop Lefebvre and his followers. The visitor (Martin Sheen, a young nodern priest) visits and examines a remote Irish abbey which (exploited by American television and international pilgrimage tours) promotes Latin masses and fights against changes. While the issues are interestingly explored (though not with theological precision or finesse),the drama finally focusses on Trevor Howard's bluff but tormented abbot and his portrayal of this man of religion is superb. Based on Brian Moore's novel, Catholics.

1. Critics were strong in praise of this film. Why? Its impact, range of jnterest, quality of acting, themes?

2. For what audience was the film made? English-speaking television audience? For Catholics, non-Catholics? Church and renewal in 1973 when the film was made? In later years when the film was released?

3. The focus of the title on the visitor and yet the focus of the film on the abbot? The original title of the novel was 'Catholics'. Which is more appropriate?

4. The choice of Ireland, for the conflict between renewal and the old Church? The visual ptptesentation of lreland? Its remoteness? Ancient Catholic history? Monasticism, people and their devotion to religion? The initial presentation of lreland and the outdated Mass? The contrast with Rome at the turn of the century? Rome and the Superior General as modern, clothes, computers? The visual, contrast, of the new Church world and the old? The importance of the musical score and its echoes of traditional music?

5. How much did the audience need to know about the nature of religion, the Catholic Church and its organisation, Renewal? How much about theology? And the history of the Church? The knowledge of the monks themselves and their ignorancere, shared bgy some of the audience?

6. The comment on Ecumenical Councils? Vatican IV and its particular focus? Rome and its attitude towards those not renewing themselves? The General and his responsibility, his deputising Fr. Kinsella as Visitor with powers and decisions?

7. The place of the sacraments? The nature of obedience? Theological discussion about the teal presence of the Eucharist? the traditional attitudes towards obedience? Fr Kinsella and his knowledge of South America, the social revolution in South America and the place of the Church? A point of division between the new church and the old?

8. How did the film present the ignorance of the Latin Mass? The monks and their explanations of the changes and people not attending Mass, the reversal to the Latin Mass and the number of pilgrimages, flights from all over the world? The types that were interested in preserving the Latin Mass? Their determination? Had the Latin Mass become more than a mere issue of the way of worship but of renewal, in the Church, obedience?

9. Comment on the detail of the Irish setting, the remoteness, the abbey and its way of life, livelihood, coast and the fishing, the abbot and his way of ruling? Helicopters and boats needed to get to the island? The distance from Rome?

10. Fr. Kinsella as a young American priest deputised by the Superior General as Visitor? His character within hjmself, as a modern priest, as a devout priest? The questions about prayer? His watching the Latin mass at the beginning, the refusal of transport, his determination to do his job and go to the island by helicopter? His attitude towards his job, towards the Latin mass, towards obedience, towards the abbot? Was he authoritarian in his manner or attitude?

11. The presentation of the monastery in its ancient beauty and remoteness? The spirituality of the order? The life-style and its poverty, the exercise of authority and potter? The monks and their ignorance, their spirituality and devotion? How fixed in their old ways were they? How inevitable was this?

12. The film's focusing on the abbot? Trevor Howard's performance and its strengths? His place on the island and his governing the monastery, his sanctioning of the Latin Mass? Audience expectations of a clash between the abbot and Fr. Kinsella? His welcome to Fr. Kinsella? His introducing the monks, his showing him the hospitality of the monastery? His cautious approach with Fr. Kinsella? His ironical comments? His introducing Fr. Kinsella to the monks in chapel, to the meals? The details of the way of life in the monastery? His explanation of its history? The indication of ambiguity in the abbott’s attitude? That he was not intransigent? The important question of the visit and his discussion with Fr Matthew? His exercising of authority and his respect for Rome? The question of own personal prayer and its difficulties? His decision to resign? What type of man was he? Did he explain his background sufficiently, his religious torrent? The importance of his hearing the monks, hearing Fr. Kinsella and deciding to forbid the Latin Mass? His comments on the Our Father? The decision that he should remain abbot, his leading the monks in prayer and to obedience? The final torment of his not being able to pray and yet wanting to, the still picture of his tormented face with which the audience was left? How masterly a study of a religious man?

13. Fr. Kinsella by contrast with the abbot and the complexity of his experience? As a modern religious in dress and attitude, the exercise of power, his more modern style of Eastern praying, his learning from listening to the monks, discussing, overhearing the abbot with Fr. Matthew, the confrontations, the learning of the religious torment of the abbot and making the decision that he should stay?

14. The monk who said the Mass and his simplistic attitude towards religion? His ignorance of Church history and the place of Latin in the Church? His taking for granted that what he said was right, his discussion with Fr. Kinsella after the catching of the fish? His explanation of himself? Was it inevitable that he could not understand Fr. Kinsella and was suspicious of him? How could he change except by blind obedience?

15. The young monk and his obsession, his participation in the prayer vigil, his anguish in the fields and Walter trying to guide him? Young fanaticism?

16. Walter and his supporting role in the monastery? His genial temperament, support of the abbot? His support of Fr Matthew and his regret of this? His daring the young monk to confront Fr. Kinsella?

17. Fr. Matthew as the embodiment of the religious, spiritualised state? Novice Master, severity, stern criticism and confrontation with Fr Kinsella? His organising the vigil and the abbot's confronting him with pride and disobedience? Why would he obey at the end?

18. The impact of detailed sequences such as the meals, the monks at work, the chapel sequence?

19. How realistic was the issue, the crisis, the interaction of character? How dramatic? Did the film veer towards the melodramatic at any stage?

20. How appropriate was the solution? A Catholic reaction to the solutions? A Non-Catholic’s? understanding of the issues and then resolution? A proper exercise of power and consultation, a due regard for peoples’ feelings and attitudes?