FRAGILE

Switzerland, 2005, 85 minutes, Colour.,
Marthe Keller, Stephanie Gunther, Felipe Castro.
Directed by Laurent Negre.

This is the first film of writer-director Laurent Negre who had worked in film and advertising in Switzerland and Spain. It is a character portrait of a brother and sister. The structure of the film highlights how the mother of the two has committed suicide, with different effects on each of the children. The son has looked after his mother for some time and feels that, because of her succumbing to Alzheimer’s disease, she has killed herself to avoid embarrassment for her children. The sister, who has left home, does not know about Alzheimer’s Disease and this comes as a shock to her. The brother and sister bicker – as they have done in the past.

The film consists of a great many flashbacks, focusing on the mother herself. She is played by veteran actress Marthe Keller. The scenes with her have a great deal of pathos as she tries to conceal her illness – and is sometimes lost and bewildered in the maze of city streets.

The film is brief, a portrait of the two characters, clashes in family, senses of responsibility, death and grieving. The sister is also involved in a lesbian relationship which adds another dimension to the theme of relationships.

1. A first film, its scope, emotional impact? Dealing with the theme of illness, Alzheimer’s, suicide?

2. The Geneva setting, the city itself, the buildings, the water, the fountain, homes? Authentic atmosphere? The musical score?

3. The title – who was fragile? Sam, Katherine, Emma? All of them? The fragile situation?

4. The linear story of Emma’s illness, the relationship with her decision, her death and burial? The insertion of the flashbacks, each of them having their memories? (Emma’s flashback within a flashback)? The opening sequence, the bickering – and its not being able to be situated at the end?

5. The bickering, the clashes, Sam and his age, looking after his mother for four years, his artwork? His feeling despised by Katherine? Her life, studies in Brussels? Her relationships? The visits to her mother? The mother and her illness, the children’s behaviour, as seen in the flashbacks?

6. Emma, her character, her marriage for ten years, the divorce, her children, home, her illness, her gradual awareness of it, the nature of Alzheimer’s, her having to cope, Sam and his working at home, Katherine and her visits, the dinners, the arguments, music and singing, Emma tiring? Lost in the city and the lady helping her and Sam coming? Her illness, the tests? Her decision to kill herself, her throwing herself out the window, trying to spare her children suffering? The letters to each? Her lying in state, the burial and the ceremony?

7. Sam, his age, antagonism towards Katherine, his drugs, work, workshop, art? Perpetual anger? The flashbacks, helping his mother, the details at home, not telling Katherine the truth about the illness? His discovering his mother’s death, getting the letters, destroying Katherine’s? Anger in his room, smashing? Going out, the drugs? Katherine giving him a lift, their fighting on the way? His passing the night with his mother’s body? His father, his anger with his father, not staying for the funeral, going to the fountain, the speculation about the water killing him? The tourists, his waiting at the fountain – and Katherine’s arrival?

8. Katherine as older, her studies, distance from the family? The intensity of her relationship with Nadia, Nadia’s devotion, Katherine treating her badly? Going to the centre, the red noses, driving alcoholics home? Finding that Sam was the client? Her not knowing about her mother’s illness, Sam destroying the letter? Their fighting on the drive home, her hitting the rabbit, the bite, the pharmacy? Going to the funeral – and the realisation of what Sam intended to do?

9. The glimpse of the father, the divorce, his being present at the arrangements for the funeral, a quiet man, his relationship with his children, their blaming him?

10. Nadia, relationship with Katherine, the antagonism, putting the case outside the door, coming to the funeral, the reconciliation?

11. The nature of the illness, Sam going to the home and having a tour, his mother saying she was willing to go, planning to kill herself?

12. The lawyer, the financial and burial arrangements, his presence at the funeral?

13. The ritual of the funeral, themes of immortality?

14. The end, the tourists at the fountain, Sam, Katherine coming, the authorities, the last-minute rescue? Their future?

CAMPING A LA FERME

France, 2005, 92 minutes, Colour.
Roschdy Zem, Julie Delarme, Bruno Lochet, Dominique Pinon.
Directed by Jean- Pierre Sinapi.

Camping a la Femme is a film about multiracial societies. The setting is France.

The film focuses on social services, the idea of a mayor to improve relationships amongst the various members of society by offering a camp for young people who are able then to work to contribute to life in the town. The man in charged is a reformed criminal who is sympathetic and is determined that the young men under his care will contribute to the changes in the town.

The film shows a variety of young men, unwilling to do the work but forced to. There is also a young man with disability who is laughed at by the various people.

Obviously, the atmosphere will be eventually a feel-good one as the various young men bond with people in the town, working on farms getting the harvest, working with the priest and repairing the church, the Muslims and Catholics working together. The film does show the background of bigotry in contemporary society with its various characters and mix: a Sicilian thinking he should convert to Islam, an African and his critical mother, the mix of Islam, Judaism and Catholicism.

The film is down-to-earth, humorous, serious. The film stars Roschdy Zem who appeared in a number of French films including La Californie as well as being one of the villains in 36.

1. The light touch? Social concerns? A feelgood film? Optimistic about human nature?

2. Cosmopolitan France at the beginning of the 21st century? The ethnic and religious mix, the cities as melting-pots for crime and justice?

3. The plan for Community Services: the initiative of the mayor, her taking herself seriously, the meetings with the council, her title? The opposition, the expressions of racism and bigotry? The mayor and her social standing, her restaurant, her husband as chef, the forthcoming elections, the hope for TV coverage – and its being thwarted by the return of the dog? Her vicious turn? Her reporting the men to the authorities?

4. The people of the town, hostility, graffiti, the men smashing their own truck, the irony of Amar giving back the money to the bigots? European Union money?

5. Amar, his story, crime, reform, women? His first job for Community Services, the discussion with the authorities, phone calls to the judge? The van, the Pablo Neruda Centre? Picking up the group, the different individuals, laying down the rules, his exasperation? The arrival, the mayor, Anais and her farm, not having any tents, the rain, in the van, permission to go into the barn, to spite Anais’s father? The presence of Leo – and their laughing at his disability? Anais’s reaction?

6. The various jobs, the African Frenchman offering to help Anais, their discussions, his attraction? The two at the church, the priest, the repairs, the carry-on about Muslims working on a church? The awkwardness with the nails, the sawing, Jesus and the crucifix? The two at the football field, the dapper man helping the old man with his seventy-third harvest? The convert to Islam praying in the wrong direction, calling from the minaret and the reaction of the town? The man with hayfever and the men giving him marijuana and it clearing up his health, his relationship with his wife? The dapper man with his mobile phone, continually talking to Cindy? Helping the old man, finding his money, finding the old man dead, handling the situation, the question of the money?

7. Their laughing at Leo, their change, Leo and his interest in them, Leo giving the example of the bungee jumping and his exhilaration? Talking with them, wanting to go with them to Paris at the end, his grandfather pleading?

8. The young man and his dog, devotion, his photo album, talking about his dog all the time, the dog walking four hundred kilometres, and taking over the TV program? The Sicilian convert to Islam, his name, prayer, taking everything seriously? The man with his tie and suit, phoning Cindy? The African and his critical mother? The mix of Islam, Judaism, the Sicilian convert?

9. The attitudes of the town, the touches of comedy, the sex-starved wife and Amar? His lying about people’s eyes? Discovering the mayor and her husband?

10. The priest, nice, helping the situation, giving the job?

11. Cindy, her arrival, glamour, with her boyfriend, his inability, her going into the house, meeting Anais – and their pretending to be lovers? The joke on the men? The issue of the bed and breakfast, the mayor giving Anais concessions if she took the group?

12. The jobs, the achievement, the sense of happiness, bonding, dancing together?

13. The happy ending – would this experience, being in the open air, out of the city, the silence and the oxygen actually change their lives?

THE UNWANTED WOMAN

Iran, 2005, 103 minutes, Colour.
Marila Zareie, Amin Hayayi.
Directed by Tahmineh Milani.

The Unwanted Woman is a drama from one of Iran’s pre-eminent women directors, Tamineh Milani, who made such films as The Hidden Half and the feminist critique of male Muslim society, The Fifth Reaction.

The film opens rather daringly with a prologue where a contemporary teacher is talking with teenagers about their expectations. They are very critical of the regime and remember the times of their parents, during the Shah’s pre-revolutionary period, when women were able to be more forthcoming and to appear more feminine, especially with clothes and make-up. The film then shifts its attention to the teacher and her irresponsible husband. He wants to meet his mistress - and his wife insists on going with him. When they are stranded at a motel, there is news of a landslide that keeps travellers in a local hotel but also of a murder in the vicinity, a man murdering his wife in vengeance.

Unable to sleep in the middle of the night, the teacher encounters the murderer, discusses his actions with him, is forced to reflect on herself – and she eludes the police and takes the killer who is also a teacher to a refuge. In the morning, there is a confrontation between the teacher and her husband, the mistress – and the murderer. It ends in death – but it also creates a bond between the two women, especially seeing the reality of the husband’s behaviour. They leave together.

The film is interesting in its intelligent portrait of the teacher. However, it moves into high melodrama in the latter part of the film, especially the final confrontation. Despite this, it is an interesting comment of the early 21st century by a woman director on the traditions expected of Islamic men and of Islamic women.

1. A film of Iranian society? Men and women, marriage, divorce, violence? An Iranian feminist film? The perspective of a woman director?

2. The Teheran settings, the school, the home? On the road, the desert and the mountains? The motel? The night sequences? The atmospheric musical score?

3. The title, the reference to Sima? Unwanted by her husband, society? Herself?

4. The prologue in the schoolroom, the girls, their age, teenagers, their modern comments, their comments on their parents, the more traditional dress contrasted with the past? Their wanting to be independent? Sima as listening to them and their admiration for her? The setting of the tone for Sima as a teacher, educated, able to relate to people?

5. Sima at home, her husband going in and out – and the mystery that she had married him in the first place? Her daughter?

6. Amad, his appearance, his business, the complete contrast with his wife? His story about Saba, wanting to help her? His having to go off?

7. Sima, at home, her husband despising her? Her support of her daughter? Her decision to go with Amad? The journey, his excuses? The meeting with Saba, Sima’s suspicions? The story about Saba being a helpless widow, her property, his needing to help?

8. The scene in the bar, the young couple, the brutality of the man, the young girl? Saba and Sima not wanting her to go with him? The irony of seeing them later, the girl as a runaway, the man arrested? Saba signalling to the young girl that she should escape? The film’s parallel and comment on the older couple?

9. Saba, her background, her later explanation of her life, her marriage at a young age, the brutal husband, drugs and drink, his death? His prostituting her? Her meeting Amad at the party, his talk about his wife, her not wanting to steal him away from his wife, her reliance on him for support? Her going along with his plan, the shock of meeting Sima, her silence in the car, Sima’s contempt for her? The change during the confrontation with the teacher and the gun, her turning against Amad after learning the truth, her support of Sima? Her willingness to die? Her going away with Sima and her daughter to a future?

10. Sima, her understanding of her husband, the road blockage and their having to stay at the motel, accommodation, the dormitory effect, the news of the teacher who had killed his wife and her lover?

11. Sima, midnight, going out to the car, the encounter with the policeman that she had met earlier, his story of his family, his sympathetic helping her? The meeting with the teacher, her deciding to hide him? Having to give her papers, the changing of the tyre, giving the soldiers the biscuits? The encounter and discussion with the teacher, hiding him? Driving him? Her trying to understand what had happened, listening to his story, her feeling the same way, the tradition of the injured party doing violence to the hurting party? Her leaving the teacher at the hut? The promise to return?

12. The road open, the group able to continue on their journey, her sleeping late and peacefully? Her change, strength of character, confronting Amad? The story about the car, his not believing her? The argument, his being hurt and putting on a tantrum? Their going to the hut, it being empty – and the presence of the teacher? The gun? The drive, the confrontation out in the open? Sima and her support of the teacher, her denunciation of Amad? The daughter in the car, watching? The fight, the teacher’s death? Amad and his not wanting to take the blame, Sima and her decision to take her daughter, go with Saba? Her future, an unwanted woman who had found her strength of character?

13. The portrait of Amad, his clothes, moustache, his trying to be one of the boys? The phone calls and the deals? His treatment of his wife, his daughter? His later story about his being married at twenty, wanting to go out and party, feeling constrained? His brazenness in setting up Saba? The journey, the motel, the drive in the morning, his spurning of Sima? The confrontation with the teacher, the shooting? His wanting to escape blame, his breaking down, the women leaving him – to what future?

14. The teacher, his story, his confrontation with Sima, her hiding him, taking him to the hut? His story, his being hurt, the rumours about his wife, his loving her, shooting her and the lover? The later argument about whether he had listened to his wife, his acting on suspicions – and the reality of what had happened, the possibility that the wife might have been breaking off with the lover, their being killed out in the open? The effect on him of having killed them? His confrontation with Amad, telling him the truth? Their struggle and his death?

15. The melodramatic tone of the film – background for a serious portrait of an unwanted woman, coming to terms with herself, her husband, her future?

DE INDRINGER (THE INTRUDER)

Belgium, 2005, 110 minutes, Colour.
Koen de Bouw, Filip Peeters, Els Dottermans.
Directed by Frank van Mechelen.

The Intruder is a strong Belgian drama. It has an air of mystery, a search for a missing girl – and the case opens up corruption and deceit, cover-up in a small Belgian community in the countryside.

The central character is a doctor who is devoted to his fourteen-year-old daughter whom he is bringing up by himself. She disappears and his world falls apart. Skilful at the hospital, he begins to make mistakes, act violently and spend his time, after being dismissed, searching the railway stations and other centres for his daughter.

The plot is complicated when he meets a young girl at the railway station who reacts to the photo of his daughter. He takes her home and wants her help – but is then arrested for taking home a minor. However, he has a friend in the police force who supports him. When he follows the girl to the village, with the friend of an old pensioner in a caravan, and the love of a teacher with whom he has a relationship, he begins to probe the deceits in the town, behaviour of parents, disappearances of children, sexual abuse – and official cover-up. During the hunting season, the doctor’s life is threatened by the local authorities and he uncovers a conspiracy.

The film is continually interesting, taking the audience into an enclosed community and exploring the universal values and fears and violence when such community turns in on itself.

1. The film based on a true story? Background of Belgium in the 90s, the scandals of abductions and sex behaviour, violence? Conspiracy theories, the police and the judiciary?

2. The Belgian setting, the city of Brussels, the forests of the Ardennes, the town? The Flemish and French-speakers? The interchange of languages? Belgian society?

3. The opening crash, Tom as a doctor, his work, collaboration with his colleagues, overtime, workaholic, going home to Louise, his devotion to his daughter, her sucking the necklace? A nice set-up?

4. Eighteen months passing, Tom as gaunt, Louise’s disappearance, at the hospital, his brutality towards the drug addict, hurting his colleague, the interview with the authorities, his being suspended? The urge to seek out a psychologist? His search for Louise, intense, asking everyone, the photo, the bars? Seeing the young girl watching the photo, talking, taking her home, her not answering questions, his frustration, the police raiding his house?

5. His being taken into custody, his police friend, their discussions? His later contact with him for information? For final help?

6. The young girl, her parents claiming her, her going home, the family life, the meals, her brazen behaviour, at the bars, flirting? Her slitting her wrists and bottling her blood? Having control over her life? The horse-riding, her relationship with her brother? With her mother, her mother wanting to accept that this was Charlotte? The encounter with Tom, his questions, his frightening her, her avoiding him? Tom finding her with her brother – and the revelation of the truth?

7. Julie, her father abusing her for twelve years, the birthmark, her going with Tom, the family offering a home, her seeing a way out? Her being a Flemish-speaker? The conspiracy in the town, her mother wanting it to be Charlotte, the brother and his sexual behaviour? A future?

8. The information after an hour about Louise, her suicide? The visuals of her death? The perspective on Tom, his refusing to accept her death, his obsession? His hunch about Charlotte, going to the town? Living in the caravan, the friendly man and his support? The forest ranger and his authority, the various people that he encountered, their suspicions and hostility? The family? Going to Gaby’s supermarket? Seeing Freddie? The bar? The generally hostile atmosphere?

9. The encounter with Erica, at the train, talking with her, a relationship, showing the photos, seeing Louise, the school expedition? The clues? Seeing Erica dance with the forest ranger and his suspicions of her? Her reassurance?

10. Hunting, the ranger showing Tom the deer, the boars? The hunting rituals, the face with the blood – and the irony of the prosecutor and later seeing him and his being part of the conspiracy?

11. The town’s feast day, the religious rituals, the church? The processions? The threat on Tom, the gas leak in his caravan, the people disguised at the procession, the bashing? His going to the dance? Suspicions of Erica?

12. The effect of the experience of the town on Tom, growing suspicions?

13. Finding the trailer, finding the remains of Charlotte? The necklace on the woman with the stroke, searching the place where it was found? The flashbacks to the school expedition, the children fooling around, throwing the necklace away, Louise and her looking for it, seeing Charlotte and Freddie? Witness to Charlotte’s death?

14. The ranger, his being Freddie’s father but not wanting it known, Gaby looking after the boy? His mental age of eleven? His hiding the body, building up the conspiracy? The small town and its participation? The eighteen months passing, finding Charlotte, bringing her back to the town?

15. Julie coming to the caravan, the pursuit by the ranger and Freddie? The shooting, the chase, Freddie’s death?

16. The grief of the ranger, the death of his son? The fact that he could have revealed everything but he did not? The consequences for Tom, for Louise, for the family? Tom talking to his police friend, the reflection that Louise was not able to communicate with her father, her suicide because the burden of what she had seen was too strong for a girl of her age?

17. The life of a small town, fellowship – but the evil of cover-up and conspiracy?

HAI NAN CHI FAN (RICE RHAPSODY)

Singapore, 2005, 108 minutes, Colour.
Sylvia Chang, Martin Yan, Melanie Laurent, Tan Lepham.
Directed by Kenneth Bi.

Rice Rhapsody (or Hainan Chicken Rice) is one of those popular food films. Eat Drink Man Woman, What’s Cooking, Babette's Feast – all with a focus on the preparation of food and the serving of food, as well as people enjoying it.

The film stars Taiwanese actor, Sylvia Chang, also director of films Princess Dee and 20-30-40.

She appears as the owner of a restaurant – with a kind of love-hate relationship to the proprietor of the restaurant next door who compares recipes with her but uses duck instead of chicken. While these culinary issues are most important, she is concerned about her three sons. Two of them are gay in orientation and she wants to make sure that the third one is not. She takes in a French international student in the hopes that something will happen for the youngest son.

However, the international student has a mind of her own and enjoys life in Singapore in unpredictable ways. The youngest son has to find his own orientation – by dating the French student as well as having long reflective conversations with her.

While the film has the light touch, also touches on contemporary issues even with the taboo touch as homosexuality in Asia, it always remains a light comedy drama.

1. The film as a crowd pleaser? Local, Asian, universal?

2. The Singapore film industry? The quality of craft of the film? The locations, the restaurant, the city and the spirit of Singapore? The humour about Singapore? The musical score, the songs?

3. The title and the tone? The Asian tone?

4. The humour, the family, the matchmaking, gay issues? The gentle and popular touch?

5. Jen’s voice-over: Jen in herself, her personality, age, vivacious, her husband leaving her, bringing up the three boys, running the restaurant, her reputation, the clients, the film stars etc, the humorous reference to Jackie Chan (one of the producers)? Her relationship with Tim, the flight attendant, his girlfriends, moving in with his boyfriend? Harry, his flamboyance? Leo, quiet, studious? Her concern about grandchildren – and listening to her generation talk about the joys of grandchildren? Her wanting to make sure Leo was not gay? Her friendship with Kim Chiu, next door, ten years, his being in love with her, the visits, bringing the duck? Her plan with Kim Chiu, taking in Sabine?

6. Leo and Jen at the airport, Sabine not there, her being in the house, Leo and his sullenness, Sabine’s gifts? Sabine as nice, her boyfriend, student, vegetarian, philosopher? The environment? Overhearing Jen talking about Leo liking her? Going bike-riding with Leo? Her upset about her boyfriend, Leo coming into the room, the talk, the sexual experience? Her enrolment – and hearing the dog and freeing it? The party, her trying to reconcile the sons with their mother, her fortune-telling and seeing the four standing together? Her insights about Harry, about Leo? Her wanting to live life? Her going and its effect?

7. Tim, flight attendant, with his mother, the opening of the restaurant, the parties? The news and his impending wedding? His mother’s tantrum? Calling it off? Harry, his continued boyfriends, the range of gifts that he gave to his mother, talking with Sabine, trying to help Leo, the party for his birthday?

8. Leo, in himself, age, studious? At school, his friendship with Batman? Their sharing everything, cycling, swimming, the bullying at school? His surliness towards Sabine? Listening to his mother? His being with her, cycling, comforting her, the sexual experience? Batman’s going, his memories? His anger, frustration with his mother? His going into the cooking competition, giving the duck to his mother? The reconciliation? The film’s ambiguity about his sexual orientation?

9. Kim Chiu, frustrated love for Jen, the specialty of the duck, the journalists coming, his fame? The contest? His continually visiting Jen, the plan with Sabine and his helping? Playing Mahjong with the friends? Jen and her straightforward telling him that she could not marry him?

10. The contest, TV, the range of Singapore foods, the chefs, the cooking, Jen winning? Leo and his wanting to give the gift to his mother on television?

11. The photo together, the four standing as Sabine predicted? The search for the necklace, their all on their knees – and the humorous final togetherness?

12. The world of Singapore, cosmopolitan?

13. Sexuality issues, gay orientation, solutions, marriages, happiness?

14. The theme of family, love, identity, control?

RETRIBUTION

Scotland, 2005, 88 minutes, Colour.
Peter Lochbrun, Gavin Marshall, Simon Tait, Aleksandar Mikic.
Directed by Steven Lewis Simpson.

Retribution is a striking small-budget feature, a police detective story as well as a story about gangsters and – retribution.

The film was written and directed by Steven Lewis Simpson, a Scots director who began work as a stockbroker and trader in Britain but moved, when he was young, to Los Angeles to work for Roger Corman. After returning to England when he was in his thirties, he made a feature called Ties. He also made a feature about gangsters called The Ticking Man. In some ways, Retribution is a sequel to The Ticking Man though it stands alone as a feature and story.

The film opens with a glimpses of the drab life of a detective, Stan Miller. There has been a gun massacre in his town. It is a shoot-out to protect a drug dealer who is in custody, Barry Irwin. There are two eyewitnesses, a young couple who have survived the shoot-out and are being sheltered in a safe house.

The film also involves Irwin’s seedy lawyer, the hiring of a Serbian hit man to eliminate the witnesses. The film is something of a cat-and-mouse story, the confrontations between Miller and Irwin in the interrogation room, the surly and cheeky contempt that Irwin shows to Miller. It also shows the devious actions of the Serbian hit man, his befriending a young pregnant woman, his ability to infiltrate buildings. While he is not immediately successful in eliminating the witnesses, he finally gets into the safe house and is successful in eliminating them.

The film is interesting insofar as Miller then is able to outwit the Serbian killer as well as outwit Irwin who has been released for lack of evidence. There is a violent confrontation with Miller finally successful.

The film is sharply written, indicates Simpson’s training from Corman, a low-budget film-maker who is a skilful storyteller. The film has atmosphere, has significant parallels with American films which work to its advantage, was filmed with a digital camera.

1. Small-budget video production? Quality?

2. The Scottish settings, the city of Edinburgh, ordinary life, public life? The surrounding hills?

3. The director and his work, production and writing, music composition?

4. A police story, a murder mystery? Investigation? The realism of the film, toughness? The world of drugs and hitmen? Callous murders – and the brutal presentation? The police, ordinary, skills? Forensic information? The authorities – and political pressure? The strong individuals?

5. The title, the reference to Stan, to the drug dealer?

6. The opening killings, the visual impact, the brutality, the range of victims?

7. The introduction to Stan, getting up, the toilet, playing patience, the doorbell, the phone, his frustration? At work, his relationship with his staff? With the authorities and the political pressures? The protection of the witnesses, his visiting the house? The tailing of the lawyer, the tunnel? The speculation, the use of camera footage, the working out of what had happened? The middle of the night, the news of the witnesses being murdered? The interrogation of Irwin? His getting off? His forensic friends, his being suspended, the friends and their tailing the criminal and the lawyer? His gathering information? His confrontations with the lawyer? Meeting the hitman at the end of the tunnel? Following the lawyer, the hill, finding the money, the gun and the drugs? His taking the money, the bullets from the gun? His getting the forensic evidence, checking the bullets? Finding the arm – and the macabre use of the arm?

8. The killer, in prison, the drug lord? His being bashed – and not ready for the line-up? Relationship with his lawyer, pressure on him to avoid the line-up? His angers, deals, the hiring of the hitman? His complacency in getting out? His girlfriend, at home? His confrontation with the killer in the tunnel? The killer and his threats? The killer getting into the house, potentially killing him? His going to the mountains, the drugs and the money, the money missing? Taking the gun? The set-up with the lawyer, their meeting, the killer and his arrival, killing the lawyer, paralysing the drug lord? His being taken by Stan – and his future?

9. The portrait of the lawyer, corrupt, the meetings in the prison, the deals, hiring the hitman? His wife, infidelity? His wife’s death? The meetings with Stan, Stan’s bluff and doing the deal? His death?

10. The hitman, Serbia, the contacts? Meeting in the tunnel? His contact for getting the guns, following the young woman with the baby – and the return to the building, eluding the police following him by going into the apartment, threatening her boyfriend? His following the witness, unable to kill her? His skill in getting into the house, lowering himself, hiding? The murder of the man? The pursuit of the woman – and catching and killing her? His skills? The meeting in the tunnel, disguised as a jogger, meeting with Stan? The double-cross, his threatening the drug lord, getting into his house, almost killing him? The final meeting, the rifle and getting it from the dealer? His shooting at Stan, killing the lawyer? Paralysing the drug lord? Stan outsmarting him with the false arm?

11. The background of police work, the patient detail, speculation, collaboration? Political pressure with serial killers and the chief and his suspending Stan?

12. The rugged individual, using his wits, common sense, solving the crime?

DIE NACHTRICHTEN (THE NEWS)

Germany, 2005, 90 minutes, Colour.
Jan Josef Liefers, Nina Kunzendorf.
Directed by Matti Geschonneck.

The News is a fascinating German film exploring the aftermath of the reunification of Germany. The central character is a successful television anchor who seems to be on the up and up. However, a journalist, herself from East Germany, decides to do a series of articles on East Germans who have been successful in the unified Germany. As she investigates, suspicions are aroused that the television anchor had been a spy for the Stasi. As her investigation takes her deeper, journalists from other tabloids and magazines become involved – and seek out sources, manipulating them, getting information which is then misinterpreted.

The television bosses discuss the issues, government pressure is brought to bear. The anchor is taken off the news. He then tries to investigate the meaning of what has happened. Finally, a disillusioned former Stasi official contacts him and reveals the truth about how the authorities had tabbed him for a possible agent. The official is living in seclusion with his wife, feels that he has cleared his conscience somewhat and kill himself.

The film highlights the repercussions of this kind of rumour-mongering, tabloid journalism, the qualities of investigative journalism but also the risks taken and the muckraking. The central character himself sees what a successful life he has achieved and the possibility of it all disappearing. The journalist has some second thoughts but is fairly ruthless in her approach to her life and to her career. A rival journalist who seems to be on-side turns out to be even more sleazy. As pressures are brought to bear, his article is not published.

The film offers a German audience some insights into what happened with the unification and the consequences. This is especially true for the less privileged East Germans. For non-German audiences, it is a fascinating look into what has happened, the background of the tight regime in East Germany, the possibilities for character assassination in contemporary Germany.

1. A small-budget video film? Its quality? German perspective, history? Going back into the past?

2. The Hamburg settings, Sylt, Neu Brandenburg? Television stations, the art scene, apartments, the sea? The musical score? The significant east European song?

3. The world of the television studios, the presentation of the news, the anchor, the assistant staff? The bosses and their decisions? The similarity with magazines, newspapers, editors, reporters?

4. The world of reporters, their getting stories, relentless, uncovering the past, unscrupulous? Insinuating themselves into people’s lives? Payoffs? The questioning of their methods?

5. Jan Landers: on television, afterwards, his girlfriend, going to the party, meeting Margarethe? The affair, his discussions with her father? His own parents, their reply to reporters, his father’s criticism of him, his mother supporting him? The rumour about his belonging to the Stasi? His being suspended, the boss giving him some drinks, promise of reinstatement? The aftermath, the phone call from Rashke? Going with Rashke, the arrival at the station, revisiting the air force barracks? Photos being taken? The meeting with Lau at the garage, his contact with Zelewski? Out in the middle of the field with Zelewski, the information about what they had done in terms of possible recruitment, his file? His not knowing? Doris, her pursuit of the file, his learning about the file, her sending it back after the death of Zelewski? His putting it in the rubbish? The irony of the methods, the song that he played in the nightclub, banned that year? The East Germans and their reputation, succeeding in the West?

6. Doris, competent, from East Germany, seeing herself as a success, the plan for the article on successful East Germans? Going after Landers? The reputation of Der Spiegel? The editor, urging her on, his high-placed contacts? The plan, trying to get the file, going to the Stasi offices? Her pressure on the bureaucrat? Her tracking down Zelewski, offering him the money, coming back, his accepting – and her return, the money on the floor, his letter to his wife, his suicide? Her meeting with Rashke, each wanting something from the other, the night together, her forcing Landers’ suspension? The shock of Zelewski’s suicide, her returning the file to Landers?

7. Rashke, shabby, paying for the file from the Stasi offices, the contrast with Der Spiegel, the local reporter? Watching, outwitting Doris, the night with her? The contact with Jan, the tour with him, making the connections? The photos? His editor backing the article, the attack on Landers? The irony of the pressure being brought to bear on the editor and the article being withdrawn, his searching for it and its not being there?

8. The bosses, the pressures, orders?

9. Jan’s parents, the interview with Doris, the father pulling him down, the mother boosting him? His neglect of them, forgetting about them?

10. Margarethe, the world of art, the party, her ex-husband? Attraction towards Jan, the affair, taking him to the seaside, meeting her father? The news about the attack? Her getting legal advice from Martin? Picking Jan up on the road? A future?

11. The girl at the television station, her love for Jan, his not being able to love her back, saying she wanted to save him? His offhand attitude towards her at the end?

12. Zelewski, seeing his life, the humdrum, his alcoholic wife? The memories of the past, the uniform in the cupboard? His routine, walking the dog? The attraction of the money from Doris, his motivation for his wife? His not being able to betray the young man, after explaining everything to him? The note, the suicide – and Doris’s shredding the note?

13. The decades of division between Eastern and Western Germany? The aftermath of the unification? The film set in 1995 and the slow process – especially of acceptance of East Germans by the West?

THE MAN

US, 2005, 83 minutes, Colour.
Samuel L. Jackson, Eugene Levy, Luke Gloss, Miguel Ferrer, Anthony Mackie.
Directed by Les Mayfield.

At only 83 minutes, this comedy is not setting itself up to be the laugh triumph of the year. Rather, it is a modest comedy/thriller, a variation on The Odd Couple, setting the pair in the middle of a police investigation of gun-running in Detroit.

Eugene Levy is a talented comedian. He can do deadpan with the touch of the ingenuous perfectly. He is a master of the double-take. Just check out his performances in Best in Show or The Mighty Wind or even his naïve father in the American Pie series. Here he is a genial, if earnestly single-minded and proper, salesman for dental products from Wisconsin in Detroit for a convention. He is mistaken for an agent for illegal arms sales.

The person who should have been at the rendezvous is Samuel L.Jackson as an intense, humourless, take-no-prisoners cop. He has no hesitation in press-gang methods and the poor salesman finds himself caught in the middle of a set-up and a sting. So, the comedy is the contrast between the good salesman and the relentless cop. It involves being shot, car chases, confrontations with ruthless criminals, being sick, arguments, impersonations as well as a visit to the cop’s ex-wife and daughter and going to her ballet performance – and, of course, despite all odds, mission accomplished.

Jackson plays his role as professionally as he does in any serious drama and, therefore, serves as a strong foil for Levy’s distress. The main villain is once again, of course, British (Luke Goss).

It wouldn’t matter if you missed it but, of its kind, it is an amusing Odd Couple scenario.

1. A brief comedy? An odd couple? Sparring partners? The drama, the comedy?

2. The Detroit settings, the streets, cafes, police precincts, warehouses, convention centres, schools? A credible background for this kind of comedy? Atmospheric musical score?

3. The title, the jokes about who was the man, the jargon of the streets, the man, the bitch…?

4. The focus on Andy Fidler, at home, his wife, his rehearsing his speech about dental products? On the plane, his compulsion to talk, give away samples? The hotel, reading USA Today, getting the gun contact? The changing of his life, the encounter with Vann? His being taken in, being used, the slapstick comedy for Andy and his plight? The interactions with Van? His being the simple soul, his attempts to escape, the driving of the car while handcuffed, his flatulence, eating red meat? The visit to Vanns’s wife and daughter and his getting on well with the daughter? His saying that he always made friends with everybody eventually? His encounter with Joey, the phone calls, the mishaps with depositing the gun in the rubbish, the restaurant? The murders? His final confrontation, taking over, having Vann as his bitch? The success of the sting? His being in the water, in the pool? His finally getting away? The pressure by the authorities that he finger Vann, being wired, Vann realising this? The showdown, avoiding the bullets, the happy ending? His going to the airport – and Vann with his bullet fingering Andy to be searched? Eugene Levy’s presence, the stodgy businessman, genial, good-natured, rising to the occasion, suffering humiliation, being shot? Helping the police?

5. Vann, Samuel L. Jackson in his tough mode, undercover, drug deals? His taking on the commission, getting the money from resources? His going to meet Joey? The mishaps, his taking Andy, the rough treatment, shooting him, handcuffing him, pursuing him as he drove the car? Vann and his using his wits, discovering the dead dealer, his contact with Booty, chasing him with the car, hitting him? His later finding that Booty had been killed? The plan for setting up the gun deal? Using Andy, the phone calls, the authorities watching him? His having to be submissive to Andy? The role reversal, the set-up? The escape? The final shoot-out? The friendship with Andy, visiting his ex-wife, his daughter, eventually going to the ballet performance? His being changed by his experience with Andy?

CRASH

US, 2004, 113 minutes, Colour.
Sandra Bullock, Don Cheadle, Tony Danza, Keith David, Loretta Devine, Matt Dillon, Jennifer Esposito, William Fichtner, Brendan Fraser, Terrence Howard, Ludacris, Thandie Newton, Ryan Phillippe, Larenz Tate, Beverly Todd.
Directed by Paul Haggis.

Here is a solid drama with important themes that would be of interest to adult audiences. However, Crash contains a number of very angry characters who express themselves forthrightly in rough language that may not be to everyone's taste. It does seem a strong film to illustrate weakness and sinfulness in human nature but with the possibilities of forgiveness and redemption.

As noted, Crash is a film about anger. It is also about pride, covetousness, greed, lust, sloth and envy. In fact, the film is a serious reminder that we are all affected by original sin, that we are affected by personal sin, both sins of our own and sins of others, and there are serious consequences.

An initial voiceover tells us that in cities, people bump into each other all the time, that they have the experience of literally touching and being touched. However, in Los Angeles, nobody walks. People all drive and avoid human touch. The voice wonders whether people crash just to make human contact. The film has a great number of characters and they soon start bumping into each other, sometimes with dire consequences, sometimes with hope.

The immediate issue that alerts us to the film's seriousness and, indeed, can put the audience on edge, is that of racism. Like many modern cities, Los Angeles is a melting pot of peoples and cultures. While respect for different people is a continual hope, this does not always happen in practice. African Americans and whites clash abusively. Asians are insulted. People of Middle East origins are taunted about their lack of clear English and humiliated. The result is smouldering rage and outbursts of irrational violence.

Sandra Bullock, as a wealthy and arrogant District Attorney's wife, states at the end of the film that she had erupted against blacks who hijacked her car but that that was not really the cause of her anger. She says she wakes up angry every day.

Of course, she probably has the least reason for anger. A black television director (Terence Howard) submits meekly to taunts and is shamed as a bigoted police officer (Matt Dillon) manhandles his wife (Thandie Newton) when they are pulled over for no real reason. The partner (Ryan Philippe) later does a good deed for the director but is soon a violent victim of society's subconscious racist suspicions. On the other hand, we see the bigot caring for his ailing father and involved in rescuing a woman from a crash.

Don Cheadle is a competent police officer, having an affair with his partner, trying to care for his erratic mother, too busy to care for his delinquent brother (Larenz Tate) and being offered promotion by authorities if he complies with a cover-up by Internal Affairs.

While there are angry sequences, there are some moments of real beauty and goodness: the rescue from the crashed car and a tender scene between a locksmith and his five year old daughter which precedes one of the most frightening scenes where a frustrated Arab draws a gun on the locksmith.

The film was co-written and directed by Paul Haggis who was screenwriter for Clint Eastwood's Oscar-winning film, Million Dollar Baby. He has created a serious portrait of flawed human beings, not shirking the ungliness of their malice, but ultimately reminding us that we cannot judge people on surface evidence. Haggis also enables us to leave the cinema believing in forgiveness and hope.

1. The title, the accidental crash at the beginning and its consequences? The voice-over and the comments on people bumping into each other and making contact, in Los Angeles bumping as the only way of contact? Making links? The way this meaning was illustrated throughout the stories?

2. The screenplay, the interlinking of the characters, a providence, synchronicity, coincidence?

3. The portrait of Los Angeles, the city, the poor areas, the rich areas? Police stations? The district attorney? The world of television? Night and day? The musical score?

4. The strong cast and their skills in portraying a range of characters, mouthing not politically statements, highlighting dramatic and racial issues?

5. The importance of the race issues, their being highlighted, the range of characters discussing the issues, especially Anthony and Peter? Graham and his observations, his mother? Jean? The DA? Christine and Cameron and their experience of racist attitudes? The intercutting of these themes?

6. The initial accident, Graham and his presence, Ria and her assistance (and the revelation of his relationship with her)? The flashback, the two days of the action, the intercutting of the incident and themes? Audience expectations?

7. Graham’s story: his success, ambitions, his affair with Ria, his mother’s phone call and putting her off, his not wanting to take responsibility for Peter, the shooting? Gathering the information? The corrupt policeman, his taking a stance, Internal Affairs? Flanagan and the discussions? His discussions with the DA? The blackmail about his brother? Discovering his brother dead? Going to the hospital? His mother and her grief, her upbraiding him, praising Peter for bringing in the groceries when he Graham had bought them? His own blaming himself? His future and his compromises?

8. Peter and Anthony, the introduction to them, the talk as they walked down the street, the car-stealing, the focus on prejudice and police with black suspects? Audience interest in them, sympathy or not? Robbing the car, taking it, trying to sell it, the blood and the car? Finding the Chinese? Their attitude towards people in the bus – the poor people? The robbing of the van, discovering the Asian migrants? Anthony ultimately letting them go? Their argument? Peter walking, his being a normal young man, the influence of Anthony? His devotion to St Christopher and the medal and the repercussions of this? His hitching the ride, his meeting up with Officer Hanson, their talking, his laughing about the St Christopher medal, his getting it from his pocket, his being shot? His body being left on the side of the road? Anthony, surviving, on the bus, freeing the immigrants?

9. Jean and Rick, wealthy, the society function, Rick as the district attorney? The argument at night, the locks on the door, Jean and her anger at the locksmith? Her treatment of Maria? Her racist attitudes? Phone calls to her friend? Falling down, the hospital? Her reflections on her anger, embracing Maria? Rick, exasperation with Jean, the locksmith? Election issues, the information about the corrupt policeman, the discussions with Graham, going into the press conference? Keeping up appearances?

10. The locksmith, his ethnic background, his diligence in his work, Jean and her tantrum, insulting him, especially about the key? His leaving the key? Going home to his little girl, giving her the necklace, her fifth birthday? His wife? Going to work for the Iranian, the Iranian being angry with his work, his explaining the specifications for the door? The accident with his family? The Iranian coming, threatening the girl, her being saved, the parents’ grief, their joy? The victim of racial tensions both from white and from Asians?

11. The Iranian family, the father, his angers, his shop? The daughter and her self-assurance? The buying and selling, the insults by the police? The shop and the lock? Finding his shop smashed, the insurance man, Asian, and the discussions? The accident? His getting the gun, buying the gun and the insults of the man at the shop? The confrontation, the shooting? His shock, being with his daughter, his confessing to her?

12. Officer Ryan and Officer Hanson? Their work together? Their stopping Christine and Cameron, Ryan and the background of his father and his illness? His molesting Christine, humiliating her, humiliating Cameron? Letting them go? His phone call to the hospital about his father, his being abusive, the visit and the reaction of the woman on duty? Hanson and his going to the officer in charge, the discussions about attitude, the reasons for his wanting a transfer? The officer and his explaining his rise, not wanting to compromise it, advising compromises? The accident, Ryan and his desperate efforts to save Christine, her response? The audience and the ambivalent attitudes towards Ryan after his molestation and after his heroism? His devotion to his father and yet his anger and abuse?

13. Hanson and his going alone, his being advised to know himself, his saving Cameron from Anthony and Peter? His picking up Peter, the St Christopher medal, his not wanting to be biased, his fearing the gun, shooting Peter and disposing of the body? Going against all his principles?

14. Cameron and Christine, the night out, being held up by the police, Cameron and his seeming to be weak, Christine and her being upset, drinking? The experience of the molestation by Ryan, humiliated? At home, the anger? The next day? Cameron and his being a television director, at the studio, the discussions about actors and what should be said, the producers humiliating Cameron, his accepting it? His being held up, the taking of the van? His anger and not caring? His being helped by Hanson? The reconciliation with Christine?

15. The Internal Affairs investigation, Flanagan and his personality, the interview with Graham, the information about the corrupt officers, the race issues, the drugs, the planting of the gun? Its relationship with the re-election of the district attorney?

16. The range of characters, principal and supporting: a bird’s eye view of Los Angeles, the range of suburbs, societies, issues?

17. The religious themes of sin, the deadly sins, the possibility of some kind of redemption?

CINDERELLA MAN

US, 2005, 144 minutes, Colour.
Russell Crowe, Renee Zellweger, Paul Giamatti, Craig Bierko, Paddy Considine, Bruce Mc Gill, Ariel Waller.
Directed by Ron Howard.

Cinderella Man is advertised as a boxing film, but it is much more than that. It is a film about the Depression. It is also the story of a good man who has a second chance at success in his life and becomes a hero and role model for people who suffered in the United States during the 1930s.

The star is Russell Crowe. Despite the news about his real life tantrums, he shows himself once again to be an actor who can completely immerse himself in his role. He has made only six films in the last seven years, five of them Oscar-nominated, winning for Gladiator. Looking back at them, we can see that he has chosen roles which show the nobility of the human spirit and heroism. He was the older whistleblower exposing the tobacco industry in The Insider, mathematician John Nash in A Beautiful Mind and a principled captain of a ship in Master and Commander.

Here, Crowe is an everyman character. There is a frequently quoted line from Marlon Brando in On the Waterfront about his frustrated boxing career: ‘I could have been a contender’. Crowe portrays a contender from the waterfront.

He is James J.Braddock, a successful boxer at the end of the 1920s. He is happily married with three children. He is a Catholic, though when he experiences hardships during the Depression, he tells his devout wife he is ‘all prayed out’. There is a nice touch at the end when he faces his tough bout against world heavyweight champion, Max Baer. His friends and supporters from his New Jersey neighbourhood gather in the local church and the parish priest sets up the radio there for everyone to listen in.

Braddock was not a wealthy man but he lost his stocks and shares in the Wall St crash of 1929. This reduced his family to living hand to mouth while he tried to get work on the docks. An occasional fight brought some income, but the film shows just how hard it was for families to survive day by day with little food, light and gas bills overdue and no credit at the local shops.

His victory in a demonstration fight that he was not expected to win led to further success and the chance to fight for the title. If you do not know whether Braddock actually won or not means a very suspenseful climax to the film, audiences identifying with him against the clownish and brutal Baer and with his wife listening anxiously.

Renee Zellwegger is a versatile actress. While she appears as the supportive wife, she brings strength and conviction to her role. Paul Giamatti (so good in Sideways) steals his scenes as Braddock’s coach and agent.

Boxing is not everyone’s sport and some of the fight sequences may be a bit graphic for everyone’s taste. However, it is the spirit of Braddock, whom writer Damon Runyon dubbed ‘Cinderella Man’ because of his rise from poverty at a later time in his life, that carries us through the film.

Two years ago, the racing film Seabiscuit, was popular viewing. This was another Depression hero, a horse which was not expected to win races but who, after severe injury, got back the strength to win. This is the spirit of the battler and Seabiscuit encouraged people at a time of struggle. Cinderella Man shows us how well the public respond to a good man who overcomes difficulties, who is willing to try even though he may not win. Braddock was this kind of hero. The film also shows us that he was a man of principle and integrity.

1. The critical success of the film? Acclaim?

2. The re-creation of the 20s and 30s? The boxing world, gymnasiums, Madison Square Garden, the dressing rooms? The audiences at the fights? The Depression era, boxing and heroes for the Depression?

3. The New Jersey settings, the homes in the 1920s, the poor apartments in the 1930s? The contrast with clubs and wealth? The streets, the docks?

4. The musical score, the songs and the period? Costumes and décor?

5. The title, Damon Runyan and his naming James J. Braddock with this title?

6. The film based on a true story, the facts, the dramatising of the events?

7. The Depression, the need for heroes, people and unemployment, poverty, the need for heroic underdogs, with a second chance? Braddock as a Cinderella man in his time? Why for the beginning of the 21st century?

8. Russell Crowe as Braddock, his screen presence, immersing himself in the character? Braddock as a fighter, techniques and skill, strength? As a man, integrity, honesty? As devoted husband, loving father? The issue of going on welfare, paying back when he had the money? The anguish of the poverty, the hunger, not being able to pay the bills, the family struggles, his literally holding out his hat at the Boxing Commission? His injuries and still working on the docks? His relationship to the world of boxing, to Joe, friendship, his agent, the fights? His being suspended? The labour issues during the Depression and Mike Wilson and his going to help him? The miracle of the comeback, his success? The final captions and the explanation of his subsequent life, his war record, labour and building? A hero, a suburban, Depression everyman?

9. May and her love for James, the kids? Life in the 20s and prosperity? Love in the 30s, the hardships, her rationing out the food for the children, the cold and no heat, the electricity going off, her losing credit at the stores? Her sewing for a living? Her not wanting to be separated from the children, the anguish of having to send them to her sister? Her following the boxing but never going to the matches? The church, the Catholic faith, her reliance on her sister? Her supporting James, love, desperate, not wanting him to fight? The ultimatum? The press conference, the restaurant and the fancy dinner, the insults of Baer and her throwing the wine in his face? Her not wanting her children to listen to the fight, going to them, her joy in his victory? Her character? The sketch of the children, their age, experience, experiencing poverty? Hunger, cold? The boy’s illness and the need for treatment? Medicine? The children and their few toys, playing games in the street? The issue of honesty and the son stealing? James and his training them to punch and defend themselves?

10. Joe Gould, personality, style, his talk, skill as an agent, his coaching James? The encouragement in the early years? The victory, the defeats? His giving money when James begged? Pleading his cause with the commission? His doing the deals, Jimmy Johnston? Urging James on, the comeback fights, success, his joy? His skill in the support at the ringside? The fight against Baer, the dinner in the restaurant, the victory, his happiness at the end? The sketch of his wife, their apartment and its being empty, keeping up appearances? Her support of May? Her joy with Joe at the end?

11. Jim Johnston, the money man, tough with his deals, suspending James? The discussions with Joe, the deals, Joe and his being persuasive about letting James fight the champions? His surprise at Braddock’s victories? The sketch of the journalists, their headlines, their criticism of Braddock, the sports news interviewer, the questions of May? The headlines, the commentators at the ringside? The role of the media?

12. Mike Wilson, his befriending James on the docks, his drinking, with his wife at the party, James separating them? His support of James on the waterfront? The strike, Hooversville and Central Park, the police attack, James finding him, his death? The Braddocks and their support of his wife?

13. The range of boxing opponents, their skills, styles, attitudes? The surprise of the victories over the champions?

14. The choreography and editing of the bouts, the showing of the public? The camera work and involvement of the audience in the bouts, the poundings, the KOs, the victories?

15. Max Baer as a person, his reputation, his fights, causing the death of two boxers? His personal lifestyle, arrogance in the press conferences? The restaurant, the high life with the women, the insults, May throwing the drink in his face? The fight, his taunting James? The range of skills he used, Joe and his urging James on, the surprise at his loss?

16. The film as a piece of Americana – uplifting, underdogs, Americans and the need for heroes?