DEMON SEED

US, 1977, 95 minutes, Colour.
Julie Christie, Fritz Weaver, Gerrit Graham, Berry Kroeger, Lisa Lu.
Directed by Donald Cammell.

Critics damned this film, but it's the kind of science-fiction enthusiasts thoroughly enjoy. It's of the computer-controls-man genre, full of interesting technology and gadgetry, but showing us man's creativity in making a computer (Proteus - with a sinister voice) which can think of everything and perform many human functions. It also shows man's weaknesses, greed and pettiness and the consequences of human error. The computer in its control becomes devilish and Julie Christie, like Rosemary, conceives a hellish child - because the computer desires immortality: human form - computer brain. Some exciting special effects, plausible suspense and science fiction message. Certainly for the addicts.

1. The appeal, interest? The reviews were very unfavourable. Justified?

2. The appeal of science fiction, science fantasy? The interpretation of the present in terms of an imagined future world? The horrors of the future, the menace to man, man's ability to cope?

3. The indication of the title? The devilish aspects of the computer and its control? Its immortality? Its giving birth and producing itself to take over the world? How did this film fit into the computer genre of science fiction, for example 2001, The Forbin Project'?

4. The production values: colour, Panavision? The American atmosphere and locations? The music and its contribution to atmosphere? Julie Christie in the central role?

5. The technological aspects of the film and their fascination? The importance of the credit sequence and its look and style? The presentation of the huge plant where computers are made? The detailed visual attention to the computer and its functions? The voice of the computer? Its visuals? Its capacity to produce? The computer as almost human?

6. The significance of Proteus as the name of the computer? The fact that it was a machine, man-made? Man's pride in the machine? Its capacity for outdoing man in his mental abilities and control? The analogy of the computer with the Frankenstein monster turning against its creator? The machine controlling mankind? Its aping ways and human thinking, human expression? The perfect computer and its psychology? Its voice, character? Audience response to the computer? Involvement in its activities?

7. The professor as the erring human? His capacity as a scientist and his achievement? As a character and his obsession with the computer and the neglect of his wife? His meeting the approval of the computer? The human error in having his own outlet in the home and ignoring it? The irony of his marriage failing as he achieved success? A man challenged by Science and technology yet defeated by it?

8. Susan as the companion and the person confronted by the computer? The ordinary wife, the break-up of her marriage? Her character, behaviour at home? The fact that she was defeated by the computer? Her experience of its threat? The torment, the torture even to physical torture? The computer confronting her and making her make a decision? Her ability to withstand and the computer outmanoeuvring her, even with false images? Did she succumb to the computer? Her response to the conception and the birth of the child? Credible behaviour within science fantasy conventions?

9. The character of Walter as a human balance? ordinariness, work with her husband? His concern? His being tricked by the holograph? The violence of his being destroyed by Proteus?

10. Comment on the motives for the making of Proteus, the background of the scientific and technological organisation, political and financial exploitation of the computer? The visuals of its providing answers? The people employed, the people involved in programming it, for example the Chinese reading? The style of its answers and advice?

11. Proteus and the significance of its name and taking many shapes? Its power? Its physical presence in the objects that it made and their destructive as well as creative power?

12. The plausibility of the computer making preparations for the conception of a child, its testing Susan, its producing the material for the insemination?

13. The sequences of torture and the mind of the computer in persuading Susan, trapping her in rooms, in the house, tricking Walter, her desperation?

14. How well presented was the conception? The attack of the computer, the overtones of rape, Susan's response?

15. The impact of her pregnancy and its swiftness? The return of her husband and their coping with the situation? The dramatics of the birth, the look of the child? The irony of its metallic surface and its human flesh?

16. The motives of husband and wife for helping the computer's child to live? The professor and his scientific obsession taking over? Susan and the maternal instinct? The credibility of their behaviour?

17. The future in such a world? The repercussions on the environment, society, politics and economics? The repercussions on the patterns of traditional human behaviour?

18. How well explored were themes of science and technology, power and control, the human being coping with the technological environment? Moral consequences?

DEMON POND

Japan, 1979, 123 minutes, Colour.
Tamasaburo Bando, Go Kato, Tsutomu Yamazaki.
Directed by Masahiro Shinoda.

Demon Pond is a film of great beauty and interest. Set in 1913, the film blends its period with a world of timelessness: myth and legend. A scientist and teacher goes into the countryside looking for the Demon Pond which has mythology associated with it. He encounters a village suffering drought, he encounters a long-lost friend and his wife who have water in abundance. He discovers truth about himself, about his friends, about the pond. He experiences the cruelty of human nature and the overwhelming response of the supranatural world. The cataclysm from the Demon Pond (somewhat reminiscent of Peter Weir's Last Wave - with some very good effects blended with some very poor insertion shots e.g. of waves) is a fitting climax to this tale of realism and fairy tale. Within this seemingly realistic framework is a fairytale sequence - the dragon at the bottom of the pond is in fact a princess longing to be liberated and be with her beloved.

The colour photography is beautiful. The music often suggests Debussy’s Afternoon of a Faun. The blending of sequences of the Japanese countryside with the world of the fairy and the grotesque captivates the audience. The climax is spectacular -appropriate to the kind of imaginative fairy tale that the film is. Well acted -and of interest the two feminine leading parts, Yuri and the princess are performed by the, lead actor Tamasaburo Bando, a specialist in feminine roles.

Direction is by Masahiro Shinoda who made the sombre but beautiful Melody in Grey.

1. The impact of Japanese cinema, its long reputation and quality? The strong emphasis in Japanese cinema on history and mythology of the past? Its relationship to the present? The stylised drama. history? The Japanese heritage as important in the film industry? The types of stylisation? Pictures of society and religion? The contrast with contemporary Japan?

2. The significance of the 1913 setting and the glimpses of trains and cars? Japanese countryside and its beauty? The blend of the real and of fantasy? The focus on water and mountains, night and day? The real world and the fairy world and the contrast with the visuals? Yuri's home and the surreal colours of the sky etc.? Decor. special effects especially for the fairy world? The climax and the deluge and engulfing waves? The emergence of the beautiful falls? The musical score with the overtones of Debussy?

3. The introduction of the theme of the demon pond? The mythological information, its being marked on the map? Realism with the train journey? The fantasy of past and legend? The visuals - from train, through desert, to the village, to Yuri's house and the demon pond? Search and discovery? The human relationships in connection with the pond? The villagers and their prayer, fear, superstition? The ultimate calamity? The point behind the legend?

4. The relating of the myth to the characters: the searcher, the self-sacrificing victim, the saviour figure, the fickle villagers, the princess feared as dragon but liberated?

5. The audience searching with Gakuen? The map, the train ride, his walking, using up all his water. the dry land, the village and the dust. the people in meeting, the prayer procession? The contrast with his discovery of springs in the forest? The mountains? His fascination with the situation? The search for the pond? The friendship with Yuri? The downpour and his being found by his friend? His persuading his friend to leave? His being confronted with the crisis? Yuri's death,' Akira's death? His being saved? His vision of the princess liberated? The scientist and teacher bowing down in reverence for the imaginative and the fantastic? The audience sharing this experience?

6. Yuri and her beauty, her conversation with Gakuen, her hospitality? Her belonging to another world and yet knowing of the villagers and commenting on them? Her questioning of Gakuen? The discovery of the truth about his knowing Akira? Her love for Akira - and the flashback that Akira tells of his meting with Yuri and his staying? Her grief when the men go off, her attachment to the doll? The tolling of the bell and saving the village? The decision for people to kill her - her being victim, the confrontation, her fear? Her killing herself to save the people? The beauty of her character? (The male actor portraying the role - and his portraying the princess?)

7. Akira and the story of his disappearance, his listening to Gakuen and concealing himself, his wig? His love for Yuri? A collector of legends and protector of the village - and the irony of his death and destroying the village? His pursuing Gakuen during the shower? Going to the demon pond? Tempted to leave? His attempts to save Yuri? The destruction of the village and his death? A Japanese hero?

8. The portrait of the people in the town - the Priests, the teacher, the government official? Their praying for rain, their meetings? The false hope of the shower? Their fickleness in their meting, the man persuading them not to sacrifice his daughter and turning on Yuri? Their cruelty? The lynching atmosphere? The deluge and their being destroyed?

9. The fairy tale sequence - the princess, the nurse, the variety of creatures? Their hoping to be liberated - the nurse's advice to the princess? Their fading back into the pond with the fish? The happiness of their liberation and the icon effect of their ascending to the sky?

10. How satisfying as spectacle? Fairy story and glimpse of another world? Realism? A satisfying blend of imagination and realism? Basic themes of love, friendship, self-sacrifice?

DEMETRIUS AND THE GLADIATORS

US, 1954, 100 minutes, Colour.
Victor Mature, Susan Hayward, Michael Rennie, Debra Paget, Jay Robinson, Anne Bancroft, Barry Jones.
Directed by Delmer Daves.

Demetrius and the Gladiators is a popular sequel to The Robe. The Robe was the first film made in Cinemascope and had quite an impact in its day. The character of Demetrius, played by Victor Mature, was strong in the original film and Hollywood thought it was a good idea to give him another film of his own. This film starts where The Robe literally left off. This time Susan Hayward is to the fore in the role of Mesallina. It is an enjoyable enough Roman- Christian spectacle. The Robe was very serious and solemn. Demetrius concentrates on the spectacle and the enjoyment and is successful in its way. It was directed by Delmer Daves. He is a Hollywood man who at various times specialised in Westerns, e.g., Broken Arrow, The Last Wagon, Cowboy, 3.10 to Yuma. In 1960 he moved to romantic soap-operas like A Summer Place, Parrish, Susan Slade. Most audiences will enjoy Demetrius and the Gladiators at a popular level.

1. Was this an enjoyable spectacle? The picture of ancient Rome, costume drama, the brutality, the pagan aspects of Rome?

2. Was it a successful biblical spectacular: as a successor to The Robe, the touches of Christianity, the problems of sin and conversion? The film's reverent treatment of its subject or not?

3. Which predominated in the film: paganism or Christianity - in the tone of the film? Why?

4. The emphasis on the gladiators, the school and the fights? How well were these portrayed visually and dramatically? The brutality involved? The brutality of the Romans who could watch such games? The condemnation and the thumbs down? The gladiators having no choice but to fight for life? our participating in watching such brutality and the effect on modern audiences?

5. Did the contrast between paganism and Christianity make sense? Conversion? The place of religion in the Roman empire?

6. Demetrius as the focus of the film: Victor Mature's appearance and style, a brawny hero, Demetrius with Peter and the robe? Demetrius' place in Rome, his love of Lucia? The drama of the arrest? The encounter with Messalina, and her manipulation with him? His encounter with Glycon and his fighting with Glycon and allowing him to live? The encounter with Caligula and the threat of death? Messalina’s manipulation enforcing Demetrius to lose his faith? His fighting against Dardallus and the others? His life with Messalina. and his unwillingness to believe in anything? The encounter with Peter , the discovery of Lucia, the value of his conversion? The future with its happy ending?

7. The performance of Susan Hayward as Messalina: did she seem an empress, her relationship with Claudius and her infidelity, her brutality, her sexual appetites? Her brutality in watching the gladiators and tormenting them? Her horror of Christianity? Her manipulation of Lucia's injuries? Her lust and it being threatened by Peter? The happy ending with her going back to Claudius? Did this seem credible?

8. Caligula and his madness? What judgement on the Roman empire did he make? His arbitrary use of power, his cruelty, his killing, his not understanding the Praetorian guard, the inevitability of his death? What was wrong with the Roman empire in people like Caligula?

9. The contrast with Claudius? Claudius claiming foolishness in order to survive? Claudius and his gladiator school? A cruel Roman despite his gentleness? His not interfering with Messalina's life? His acclamation as emperor? How simplified was this presentation of Claudius' career?

10. How convincingly was Peter portrayed - his sermon about the Last Supper etc.? His visionary work? His encounter with Demetrius? His dignity?

11. The importance of Lucia in the film - a Christian heroine, love interest, a contrast with Messalina, her injuries, the miraculous way in which she recovered when Demetrius repented? The point of this? (The help of Paula?)

12. The presentation of Stribo and his school - Stribo and his boasting of his talents and his school, the men in the school, Dardallus and his brutality?

13. Glycon and his conversion to Christianity and his effect on Demetrius?

14. The Christian ethic of love versus Roman brutality - was this convincing?

15. Why do biblical and Roman spectacles appeal? Action, characters, costumes,

A DELICATE BALANCE

US, 1974, 134 minutes, Colour.
Katharine Hepburn, Paul Scofield, Lee Remick, Kate Reid, Joseph Cotten, Betsy Blair.
Directed by Tony Richardson.

Edward Albee has a skill in capturing the scathing tones of love-hate relationships in families, the weary futility of argument and mutual hurt, the terror of ageing, with the prospect of increasing emptiness in life. This solid version of Albee's play is fairly relentless in its harrowing emotional clashes and verbal lashings. Katharine Hepburn as the aggressive Agnes and Kate Reid as her alcoholic sister give performances worth seeing. Paul Scofield has many powerful moments. Lee Remick, Joseph Cotten and Betsy Blair give excellent support. Six characters in two and a quarter hours of emotional endurance that offers so much grim wisdom.

1. Audience interest and response to such filmed plays? The concept of the American Film Theatre? The transferring of a play from the stage to the screen and retaining as much of the stage impact as possible? The type of response demanded from the audience?

2. The cinematic treatment of Albee's play? Retaining the dialogue and the way this is dramatised? Keeping the scenes and the differentiation of acts and scenes? The delineation of character - and the contrast with the overall stage presentation with the use of camera techniques of close-ups, editing, tracking sequences etc.?

3. The status of this play in the American theatre, Edward Albee and his style and interests? The importance of the stars and their reputations,, individual acting styles? How well did they act as an ensemble? The reputation of director Tony Richardson?

4. The structure of the play: the separation into acts and scenes, the span of time and its passing, the devices for pausing within scenes? The use of the house and the various rooms? The effect of immersing an audience for so long within this scene and with the small number of characters?

5. The significance of the title - its reference to each character, especially Agnes? Its use throughout the film?

6. The impact of the opening: the presentation of the set, the room and the house and the affluence,, the indication of a way of life and manner? The introduction to the characters in themselves, within their environment, the tensions with one another, the issues?

7. The importance of the rooms,, especially the dining room - the emphasis on the table, the many sequences of eating and drinking? The characters and their behaviour at the table, eating and drinking?

8. The portrait of an American family? The ageing parents, the middle-aged daughter and her problems,, the neighbours,, the alcoholic sister? The focus on age? The background and years of tensions, of love-hate relationships, of the hold that each character had on the other?

9. The film's focus on Agnes and Katharine Hepburn's performance? Her particular characteristics - quivering, manner of speaking, tears? Her preoccupation with herself and her possible madness,, "losing her marbles"? How strong a woman was she, how aggressive? How dominant in her household? The way she illustrated this with her manner, bearing, speech? Her capacity for love and hatred? Her devotion to Tobias and yet the distance from each other? Her love for her daughter yet her critique of her? Her reliance on Clare but her despising of her? How good a woman., how strong, how weak? At meals, the nature of her speculation, her seeing herself as a fulcrum within the family? Her inability to cope? How was this illustrated in her clashes with Clare? The importance of the intrusion of Edna and Harry, past friendships and their being threatened, her inability to cope, her hostility? How interesting a portrait of an American woman, within the confines of family and environment, class and wealth?

10. The contrast of Paul Scofield's portrayal of Tobias? As husband to Agnes? The background of the shared experience of their lives, the strengths and weaknesses, fidelity and, especially, infidelity? Tobias' ease within the house, his being an easy balance? His love for his daughter and yet his inability to understand her and her marriages? His welcoming attitude? His inability to communicate? The importance of having Clare in the household and his relating to her? The background of infidelity? The intrusion of Edna and Harry and his welcoming them, the nature of the friendship, his response to the hysteria and their inviting themselves to stay, his being awake all night? The friendship with Harry and supporting him? His attitude towards their staying and the clash with Agnes? How interesting a characterisation of an older American man?

11. Julia and the contrast of generations? Her being spoilt, her marriages, her vulnerability, the gun? Her moods, her reaction at the arrival, her behaviour through the meal, her resentments, her drinks and talking about rights? Her hostility towards Edna and Harry?

12. Clare as at home and yet out of place? Her relationship to Tobias and Agnes? Love for Julia? The discussions about her drinking, Alcoholics Anonymous? The lonely spinster as a figure of pathos - or not? Her tongue, taunts and cracks, vulnerability? Strengths and weaknesses with each and her support of them?

13. Edna and Harry as an ordinary American ageing couple? The ordinariness of their arrival? The realism and symbolism of their talk about terror? Their feelings their age, loneliness? The coming and imposing themselves, the dramatics of their taking over? Harry and his talking with Tobias and the mutual support? Edna and the discussions with Agnes about marriage, sexuality, rights? Their response to Julia's hostility? Audience sympathy towards their loneliness?

14. The importance of the dialogue and the reliance on language - imagery, wit, cleverness, interaction and the crackling aspects of the drama? The long speeches and their importance in the revelation of character, the raising of themes? At the table, speeches moving about the room?

15. Themes of age, fear, dying? Insights into love, marriage, success, failure, relationships? How was each of the characters meant to be a typically American representation of these attitudes?

LA PIEL QUE HABITO (THE SKIN I LIVE IN)

Spain, 2011, 117 minutes, Colour.
Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet.
Directed by Pedro Almodovar.

It is only in the latter part of this film that we discover (are shocked) to discover the identity of the I of the title. We are wondering why we are being shown particular events as the film moves from present to past and back, and then it suddenly makes sense. But, of course, one has to see the film to experience the meaning of the whole film.

Pedro Almodovar has been Spain’s leading director for more than two decades. His films are usually flamboyant, colourful (bright colours often enough), emotional and melodramatic. This one is no exception. In fact, by the end we realise just how melodramatic it is.

In the 1980s and early 1990s, Antonio Banderas appeared in a number of Almodovar’s films, a strking screen presence. Then Hollywood lured him away. He has returned to his mentor in the role of a professor, a doctor who lectures but who also has a laboratory and assistants for experimenting with skin tissue. While Banderas looks handsome and urbane, not someone that we would immediately discern as a variation on Dr Frankenstein, it soon emerges that he has a human subject for his experiments, a young woman whom he keeps solitary, who resents him. It is only the housekeeper (Almodovar veteran, Marisa Paredes) who has access to his patient. The housekeeper also has her secrets.

Just when we have come to terms with all of this (plus an intrusion and attack by the housekeeper’s criminal son) and have learned that the doctor’s wife was killed in an accident some years earlier and that that has had a traumatic effect on his daughter, we are taken back six years. We see the doctor coping with his wife’s death, and his attempts to keep her alive. We also see the shy daughter at a party where she is hit on by a young man who works with his mother in a clothing store.

And that is probably all a reviewer should reveal of the plot.

As indicated earlier, we are left puzzling about the connection between the past and the present and the motivation that drives the doctor, which becomes more perverse as we move back to the present.

While the film has many common themes from other Almodovar films, especially his portraits of women, especially the fine and challenging Talk to Her, this is serious in tone but presented in a highly theatrical and melodramatic style (more Mediterranean than that of colder climates).
1. The work of Pedro Almodovar? His reputation? Career? His melodramas? Colourful, the Spanish perspectives?

2. The Toledo setting, the city, houses, laboratories? Spanish atmosphere? The musical score?

3. The structure of the film: the time zones, the past, progress through time? The response to the characters as known? Better understanding through the flashbacks? The differences? The changing of perspectives?

4. The title, identity, Vera Cruz, Vincent? The physical aspects, psychological aspects, scientific experimentation, emotions, gender, sexuality? Living with ambiguity?

5. The vigilante perspectives and revenge? The Frankenstein creation perspective? The scientist and hubris?

6. The initial focus on Vera, her age, appearance, locked in, being spied on by Robert and by Marilia? Her behaviour, repressed, the yoga exercises, food? The impact on her character? The puzzle about who she was and why she was there? The subject of skin experimentation?

7. Roberto, Antonio Banderas, his lectures, the response of his students, his particular scientific interests, skin and development? The assistants helping him? Their experiences and experiments? Vera as the experiment? Roberto and Marilia, his relationship with her as housekeeper? Controlling Vera?

8. Marilia, her relationship with Vera, custodian? Stern? The audience discovering her story, her relationships, her children, with Roberto? The master of the house, her relationship, the conception of the child, the wife, the adoption? Bringing the two boys up? Her return to work with Roberto and serving him?

9. Zeca, his appearance, the carnival clothes, disguise? The news of the robbery, the television information? The background of Roberto’s wife, her death, her relationship with Zeca? Roberto’s wife, their daughter? The brother and his attraction towards Vera, the rape? His character and his story? Vera, her being hurt? The shooting?

10. Going back six years, Roberto, his wife, the affair, the crash, his trying to preserve her? Norma, her relationship with her father, the trauma? Growing up? Roberto and his work and the laboratories?

11. The character of Vicente, his work in the shop, his relationship with his mother, the lesbian woman working in the shop? The drugs, partying, his friends? At the social, his attraction towards Norma? Going out with her, the sexual attack, her reaction, his escape, the bike? Roberto and his finding his daughter, the shoe? The confrontation with Vicente and the film’s repetition of what had happened? The different perspective?

12. Roberto, the car, the chase, knocking Vicente off his bike, imprisoning him, the chain, water, the food? Drugging him? The build-up to the operation, the transsexual? Its effect?

13. The passing of the years, Vicente and his being transformed into Vera, into a woman? Yet his mind and emotions as a man? Forced to live as a woman?

14. Roberto and his focus on Vera, the infatuation, setting her free, the sexual encounter, Vera and her character?

15. The gun, the meal, Marilia? The shooting, her death?

16. Roberto, the consequences, Vera and her going into the room, killing Roberto?

17. Vera and her freedom, travelling home, meeting the woman in the shop, her mother, the revelation?

18. The ending – Roberto overstepping the limits, both as a scientist, sexually? His death? His mother and her paying the price? The future for Vera? - and leaving the audience with a puzzle, what they felt, what they thought about the issues?

THE FIRST GRADER

UK/Kenya, 2010, 105 minutes, Colour.
Naomie Harris.
Directed by Justin Chadwick.

At first, we might think that his is a feelgood film. An old man hears that the Kenyan government states that all Kenyans have a right to free education. He applies but is rejected. He does not give up and a sympathetic teacher takes on his cause, battles for him. All that is in the film, but there is a lot more.

The First Grader states that it is based on a true story. It also gives information at the opening about the Mau Mau uprising of the 1950s. This means that different audiences, especially for those who have a lived experience and memories of this period, will have different stances.

The film is very critical of the British, their occupation, colonial presuppositions, their military tactics against the Mau Mau, interrogation and torture. Kenya eventually achieved independence in the 1960s.

British residents and landowners who not only experienced dispossession but were the targets of savage violence will not look so benignly on this story of a former Mau Mau who had made the oath of loyalty to the movement and would not renounce it.

Another difficulty in Kenya was the tribalism – and, in recent years, has been shown to be still a difficulty. The Kukuku were the core of the Mau Mau and there are still conflicts between the Kukuyu and other tribes.

Outsiders who look back at the racial and colonial injustices in African countries (and Australia and Latin America) will see justice and injustice on both sides and will ask how to progress from this conflicted past.

Oliver Litindo plays the illiterate farmer, Maruge, portraying him in the vein of a rural Mandela. There are flashbacks to his torture and the death of his wife and children. He can also have his tough moments as the parents of children resent his taking up a scarce desk in overcrowded schools, the criticisms of the old idle men, the hostility of the adult men.

Naoemie Harris plays the sympathetic teacher, Teacher Jane, who takes Maruge in, coaches him, finds that he is a good influence on the children, encouraging them with their own language, with singing and dancing and the issues of freedom. Jane is married to a husband working in Nairobi in diplomacy. The Education Department is not helpful in Maruge’s case and an inspector is actively opposed and intrusive. The character of Jane is the ideal educator with a concern for justice. The fight for Maruge takes its toll on her life, her marriage and her career.

Evernutally, Maruge takes action himself, facing the Kenyan bureaucrats in their comfortable offices, with their suits and ties, reminiscent of their British predecessors.

The education situation reminds us of many other stories of teachers and classes but engagingly so. So are the bureaucratic struggles, but that means we are urged to feel the injustices. The characters may seem idealised or stereotyped, but the film is trying to makes its point through these confrontations.

Since the Kenyan situation, past and present, may not be familiar to many audiences, The First Grader offers an opportunity to remember, to face regrets, and to ask what are the best directions for the future. Maruge, before he died in 2009, addressed the United Nations on issues of education in Africa.
1. The film based on a true story? Kenya’s history in the 20th century? African history? Independence? Developments into the 21st century?

2. The Kenyan location photography, the countryside, the village, Nairobi?

3. The musical score, the moods, the African songs, the dancing?

4. The title, Maruge and his wanting an education, his experiencing the struggle, with the children, his achievement, speaking at the UN? His presidential letter and wanting to read it?

5. The background of the Mau Mau, the 1950s, the information given at the beginning of the film? The visuals of the Mau Mau, the taking of the oath, the young men, going into the homesteads, slaughtering and looting? The motives? The British and their reaction, the arrests? The prison camps, the torture, Maruge being hanged upside down, the renunciation demands, his wife being shot, the death of his children?

6. The film beginning as a nice school story, the old man and the sentiment, his arrival at the school, the possibilities of free education from the government, his claim? The crowd of parents, the heavy application for places? Their limitations? Jane and her staff? The refusal for Maruge?

7. Maruge in perspective, his role in the Mau Mau, the relationship of Africa with the West, the colonial powers, the movements for independence, the violence, the equivalent of a war, the abuses on both sides? Compensation?

8. Independent government, the new Kenyan governments and their bureaucracy, the similarities to the British? Respectability? Yet corruption? The succeeding generations of independent Kenyans and their ability to manage the country or not?

9. The issue of education, the children, hopes? The adults and the old men idle, the young men and brutality? The bored young people – going to discos? Not taking advantage of opportunities for education? The critique of old and young? The importance of morale?

10. Ordinary people in the village, the old men and their sitting idle, mocking Maruge? The shops and the violence? The mockers and their hostility?

11. Jane as a teacher, her background, educated? Her husband working in Nairobi and upper circles? Her kindness, her work, the lessons? Homework? The other members of the staff? The male member of the staff and his primness, severity and strictness? His reaction to Maruge? The young woman on the staff, more open? The mothers and their opposition? The throwing of stones? The husbands and the demonstration? The anonymous phone calls? Jane and her coping, the decision to go to Nairobi, meeting the officials, their rejections? Her relationship with her husband, his concern? The dominance of the African husband? The bureaucrat and his arrival, his rejection of Jane’s stances? The issue of the transfer? Her decision not to resign, to take a stance?

12. Her husband, being apart, the phone calls, the visit, the anonymous accusations about Jane and misbehaviour, his upset, his macho attitude tw his wife?

13. The background of tribal divisions in Kenya? The blame for the Mau Mau? The clashes and the references to past tribal clashes? The need for change?

14. The character of Maruge, his age, his experience, his willingness to learn, his letter and wanting to read it, in the classroom, forming the letters, with the other child and helping him form the number 5? With the children and singing, dancing, the issue of freedom? The hostile child? Being stoned? His discussions with Jane?

15. His decision to go to Nairobi, dressing up, the goat as payment, entering the building, his interview with the bureaucrats, his plea?

16. The media and the interest, going to the village, Maruge in town, the television interviewers and their intrusions? The posters with Maruge encouraging education?

17. The new teacher, the bureaucrat, the pomp and circumstance of her arrival? The young boy and his change of heart, leading the children in revolution? The demands for Jane?

18. Jane’s return, reading Maruge’s letter? The compensation from the government?

19. The disc jockey, the radio programs at the beginning, throughout, the end? His initial criticisms of Maruge? His change of heart?

20. The final information, Maruge and his going to the United Nations? President Obama – and the atmosphere of 2009?

OAKIE’S OUTBACK ADVENTURE

Australia, 2010, 94 minutes, Colour.
Voices of: Katy Manning, Troy Dann, Kate Ceberano, Jack Thompson, Alan Jones, Robyn Moore.
Directed by Troy Dann.

Strange, sometimes, the films one discovers on a plane. I had never heard of this one before – and now wonder why.

This is an animation film for children which teachers might be interested in and might be able to use some segments for classes and for informing children about Australian stories and history.

It may also have been intended for overseas audiences because Oakie is a dog from the US who lands in Australia by mistake. However, he is welcomed by the animals, by an aboriginal girl and by a latterday Crocodile Dundee called Action Dan, who takes Oakie all over the Northern Territory and tells him a lot about Australia. In fact, the film opens and closes with some rather serious and homiletic observations about respect, racial understanding and care of the environment.

Some of the storytelling is quite entertaining. Waltzing Matilda is first to be shown, later The Man from Snowy River. Henry Lawson’s The Loaded Dog is included and we hear Click Go the Shears with the final credits have The Road to Gundagai. Along the way there are songs and stories about the Northern Territory, Aboriginal History, Captain Cook, Ben Hall and Ned Kelly.

It is somewhat in the vein of the Yoram Gross’ animation films of past decades, the combination of people and talking animals like Dot and the Kangaroo.

The film goes for an hour and a half but could easily lend itself to be watched in many self-contained segments that younger audiences could enjoy and then respond to. An easy way to learn Waltzing Matilda and remember some classic tales.

Not so sure about Oakie himself and his coming from the US – but, I suppose, we do have a lot we could pass on to the Americans!
1. The audience for this film? Appeal? Children? Adults?

2. The style of animation, the voices, the music?

3. The introduction, the emphasis on the importance of stories and storytelling?

4. Oakie and Texas, landing, thinking he was in America, the encounter with the Aboriginal girl, the animals, Action Dann?

5. Waltzing Matilda, the recitation, the visualising, the modernising? The sheep, the slapstick, the hot stove? The ghost underwater?

6. The animals, lizards, eagles, other birds, the frog, crows, the bull?

7. The Aboriginal girl, her appearance, her voice, the talking grub on her shoulder?

8. Song and dance, the Northern Territory, Ayers Rock?

9. The town, the homestead?

10. Action Dann, the history of the Aborigines, the emphasis on the environment, the Dreamtime stories, white settlement, the role of Captain Cook?

11. The stations, the cattle, the Northern Territory?

12. Mulga Bill, barmy as a bandicoot? The bike?

13. The story of the Outer Barcoo, Michael Mc Gee and his shanty, the christening, like a branding? Mc Ginnis?

14. The background of squatters, convicts, George Barrington?

15. The telling of the story of The Man From Snowy River, visualising it?

16. The helicopter, the Aboriginal girl, saving the bird, the wedge-tail?

17. The telling of the story of The Loaded Dog, the mining, the fishing, dynamiting the fish, the singing of Click Go the Shears?

18. I Love a Sunburnt Country... the story of Lasseter, the finding of the reef, losing it, rediscovering it, the myths about Lasseter?

19. The history of gold, the development of Cobb and Co, the bushrangers, Ben Hall and his story?

20. The Ned Kelly story?

21. Fish, the barramundi?

22. The painted Aborigines, the Mc Donnell Ranges, the history of Mc Dowall Stuart and his exploration?

23. The explorers wanting the inland sea, Eyre and the salt lake? Sturt and the desert? The Mc Donnell Ranges? The black and white map, the visualising?

24. The landowners, Sir Sidney Kidman, the drover’s life?

25. The didgeridoo, ‘The devil gets your soul’? ‘The devil went to the Outback’?

26. Dann and Oakie, all that Oakie learnt in his visit to Australia, the best mates? His returning home?

27. The final lecture, the focus on all people, all environments?

28. The final credits – and The Road to Gundagai?

29. Australiana designed for younger audiences all in ninety minutes?

UN CHAT A PARIS (THE CAT IN PARIS)

France, 2010, 98 minutes, Colour.
Directed by Jean- Loup Felicioli and Alain Gagnol.

Hard to tell whether this is an animation film for younger audiences (some scenes too frightening as a little girl is a central character) or for older audiences (a police investigation of a robbery and the threats of a gangster to waylay a sculpture en route to a museum).

The animation style is quite striking and the plot keeps moving. It has a brief running time.

And the cat? He is the pet of a little girl whose father, a policeman, has been killed and whose mother is in charge of the investigations. The cat goes out at night and meets up with a cat burglar who skims over the roofs of Paris with feline ease. One night the little girl follows the cat which leads to all kinds of trouble with the gangsters and the police – and the cat burglar being nicer than we at first thought.

One of those films that is interesting enough to watch but not memorable.

1. The audience for the film? Adults? Children? An adult story, with a child at centre? The cat and animals?

2. The animation style, the design, the characters, the cats, the voices, the score?

3. The focus on Paris, the roofs, the houses, the streets?

4. The cats – and the image of cats and cat burglars?

5. The mother, the little girl, the cat and bringing the lizard, Zoe and her response to her mother, her mother being tired, Claudine as the maid and nanny?

6. The burglar, his manner of walking the roofs, stealing, the police puzzle?

7. The nights, the cat going out, the dog barking, the cat meeting up with the burglar? The jazz score? The man robbed? The mask? The importance of the mask for the burglar?

8. Discovering that the mother was the superintendent, the clue of the cat paws, her assistant and his doing the work? The briefing? The colossus and the transfer – Victor Da Costa as the criminal? The revelation that Da Costa had killed the husband of the officer? The itinerary of the colossus?

9. The martial arts, the octopus hallucination? The effect on the superintendent?

10. Da Costa, the villain, his henchmen, the plan?

11. The bracelet, with the fish, the burglar giving it to the cat? Providing another clue?

12. Zoe following the cat, the people throwing bricks at the dog barking, Zoe seeing the burglar, the criminals and their pursuit of Zoe, the darts, deadly aim of the crooks? The cat burglar, saving Zoe, the scratch, carrying Zoe on the roof, the roof tiles and their instability? Da Costa, the lake, the boat? The arrest of the burglar?

13. The criminals, Claudine and her being in on the plan? The cat attack?

14. The crooks, shooting the spider? The spirit and its following the cat? The power cut? The cat and the goggles? The difference in animation – the sketch style of Jean Cocteau? The gargoyles and the cathedral?

15. The mother, her search, the traffic? Suspicious of the burglar?

16. The gargoyle, Da Costa and his fall, his being caught? The burglar saving Da Costa, and Zoe?

17. The colossus, astride Paris?

18. The superintendent, the recovery of Zoe, the revelation about Claudine and her tough stances, Da Costa arrested, the cat burglar as being a hero?

COUNTRY STRONG

US, 2010, 117 minutes, Colour.
Gwyneth Paltrow, Tim Mc Graw, Garrett Hedlund, Leighton Meester.
Directed by Shana Feste.

The world of country and western singing, tours, concerts, recording. And the toll on the singers themselves. And the pressures of fans and the media.

Gwynneth Paltrow is Kelly, a grammy award winning singer, who has had a long career which has taken its toll. She has been drinking and suffered a miscarriage when she fell during a concert. As the film opens she is about to come out of rehabilitation. But, is it too soon?

Her husband, James (Tim Mc Graw) is also her agent but the marriage love has cooled over the years. He still believes in her and sends her on tour. She has met an orderly who offers to be one of her sponsers. He is a young singer who is hired to keep and eye on her and be a supporting singer. Garrett Hedlund is Beau, quite a sympathetic young man. The other character in the picture is an aspiring singer, Chiles (Leighton Meester) who is initially awkward but is saved during performance by Beau.

Country Strong takes us into the day by day life of this group of people. Often, very often, there are more downs than ups. Kelly is more fragile that people thought and makes a mess of concert appearances. Beau is devoted to her but realises that there is little future in a relationship and looks to Chiles. Chiles, with Beau’s encouragement and support from James, goes from strength to strength. We also see the pressures from agents, entrepreneurs and, especially, a pruriently curious and fickle media.

The film is both pessimistic and optimistic. Some succeed. Some fail. There is a fine scene towards the end when Kelly offers Chiles some sound advice about living a career and being a celebrity and then goes out to belt out a range of songs to the delight of fans and of James. Gwynneth Paltrow sang in the film Duets as well as the opening song in the film about Truman Capote. Both Garret Hedlund and Leighton Meester are impressive in their songs and performances.

Not everybody warms to country and western music, but this is quite an effective behind the showbiz facades interpersonal drama.

1. The country and western world, the singers, the bands, the agents, the promoters, the crowds?

2. A focus on celebrity, ambitions, success, achievement? Kelly and her career? Chiles and her hopes? Achievement? Beau and his talent, his success? Kelly’s final advice to Chiles?

3. Kelly and her emphasis on love over and above success? Themes of life? Of death?

4. Texas, the roads, Houston, Austin, Dallas? Authentic atmosphere? Tennessee?

5. The pessimistic tone of the film, especially with Kelly’s life and career? The optimism, her talent and success? Chiles and her final option for Beau?

6. The range of songs, country and western music, its style, the lyrics: Choices Are, Country Strong, Giving to Me, Time is .... The performances, Beau and his ease, Chiles and her development, Kelly and her talent? The concerts, the support, the recording studios?

7. The portrait of Kelly, the home movies of her as a child, her joy? Married at twenty, in love with James? Her choices for her career? On stage, people’s response? Her being energised? The Grammy awards? Her love for James, his falling out of love with her? Alcohol? The fall from the stage, the miscarriage? Her rehabilitation, Beau and his presence in the institution, being her sponsor? James and his visits? Her leaving, getting out too soon, not well enough prepared? The sequences with James, her dependence on him, her love, his seeming indifference? His protestations of love? With Beau, with Chiles and her success? The pills, the preparation for the concert, receiving the doll with the bloodstains and the accusation of murder? Her collapse, alleging food poisoning? The response of the press? The next concert, her collapse, being taken off by James? The failure in Austin? Her dependence on Beau, going out with him, the train ride, the sexual relationship? Her love for James, kissing him, his not responding? Visiting the child with leukaemia, singing with him, dancing? The build-up to confidence, performing in Dallas where the accident happened, her going to Chiles, her words of advice, her strong performance, the range of songs, change of costumes? Her coming out, avoiding the crowd, her death? The media and their speculations about her and their effect on her, the final letter to Beau about the meaning of her life, relationship with him, her death?

8. Beau, driving to the hospital, the ticking off by the head nurse, going to Kelly, singing and playing with her? Being her sponsor? James’s arrival, taking Kelly away? Beau and his singing, the smooth and calm singing? His fans? Taking care of Kelly, concern about her pills, alcohol? Chiles, her attempt at singing, being taunted by Beau? His coming on stage, helping her, singing with her, the bond, the later duets, talking things over, love? His performances as support to Kelly? The fans’ response? The final song dedicated to Kelly? His discussions with Chiles, offering her a possibility of love? Her return to him?

9. James, marrying Kelly out of love, the long marriage, falling out of love, in bed, not kissing, his hard tactics with Kelly? The softer tactics, love? Arguing with the agents, being tough with them, being tough with Kelly, his wariness of Beau? Taking on Chiles, supporting her – and the touch of jealousy for Kelly?

10. Chiles, her story, the false stories, her hesitant singing, her ambitions, the failure on stage, Beau coming to her rescue after taunting her? Overcoming the difficulties? Travelling with the group? Her development, the record, Kelly upset at Chiles singing what seemed to be her song? Her relationship with James, with Beau, James coming to the door and her hurrying him out, the choice that Beau offered her, her choice for career – listening to Kelly’s final advice, coming back to Beau?

11. The staff, the singers, the crew, the press? The sad ending with Kelly’s death? The hopeful ending with Beau and Chiles?
 

SUBDIVISION

Australia, 2010, 90 minutes, Colour.
Gary Sweet, Bruce Spence, Steve Bisley, Kris Mc Quade.
Directed by Sue Brooks.

Subdivision is a particularly Queensland film. It was filmed on location in Hervey Bay. It captures the atmosphere of the small Queensland town on the coast.

The issues are topical, the focus on workers, especially builders and the difficult times in changing circumstances in development in country towns. Gary Sweet portrays the traditional worker, reliable – but following old patterns. Steve Bisley is the finance agent, running the risk of bankruptcy and trying to deal with his clients. The film shows the background of family life in the area, traditions, tensions. The film also has a lot of local talk about Queenslanders – and suspicions of Victorians. The emphasis is on football, state spirit – as well as focusing on the challenges to that state at the beginning of the 21st century.

The film was directed by Sue Brooks, a project that she took on rather than a personal project like The Road to Nhill and her Japanese Story.

1. A Queensland story, the different focuses of Queensland life, Hervey Bay, parochial? How relevant the film for all Australia?

2. The Hervey Bay locations, the coast, the town, homes, buildings? The musical score?

3. The Queensland interest, culture, the buildings, the climate, football, regard for other states?

4. The title, the building industry, symbolic?

5. The financial issues of the late 20th century, the beginning of the 21st century? Subdivisions, building, industries, the flow-on effect? Restructuring, bankruptcy? The community and mateship?

6. Digger, his name, Gary Sweet’s style, the hard man, old school, at home, his relationship with his wife, demands on his men, relationship with his son, hiring and firing? His twenty years’ coaching of the football team? Hard decisions, dismissals? The Aussie battler, 21st century style?

7. The contrast with his son, Jack’s age, experience, at work, not as strict as his father? His friendship with Solly and the other men? Building, walking off? His place in the football team? His seeing Tiff, following her, flirting? Going into her office, his interview, hard style, his demonstrations, lack of finesse? Copying the papers, using Tiff’s connections? The phone calls and the deals? At home, his mother, the clash with his father? Failure? Harry’s situation and bankruptcy? Tiff and her disillusionment, not helping him?

8. Solly as a character, Polynesian background, his relationship with the young girl, her pregnancy (and her questioning who the father was)? At the birth? Supporting Jack, going with him?

9. Harry, his company, customers, the houses he built, his working with Digger? Jack and the confrontation? Harry at the football, his part-coaching? The issue of refinancing, the town meeting, Harry and his speeches, and the irony of his house and boat in his wife’s name?

10. Tiffany, from Victoria, her skill at work, her methods, Jack and his poor presentation? The note and the photos? Falling in love with Jack? Her reaction to his betrayal? Finally helping him?

11. Digger, his opting out, not having any answers, sitting on the roof? His wife and his disappointment in her?

12. The workers, the man who would lose his home, desperation?

13. The people at the meeting, the reactions, the speeches, the language? Jack, his plan, supported by Tiffany and Solly? Digger supporting his son?

14. The resolution, people saving jobs and their finances? But the need to change?