THE LONGEST YARD

US, 2005, 113 minutes, Colour.
Adam Sandler, Chris Rock, Burt Reynolds, James Cromwell, Walter Williamson, Nellie, David Patrick Kelly, Nicholas Turturro.
Directed by Peter Segal.

Back in the 1970s, Robert Aldrich used to make some hard-hitting dramas that succeeded because of his tough style. The Longest Yard (re-titled The Mean Machine for non-American audiences who do not know or understand American football) was another star vehicle for Burt Reynolds who starred as a disgraced player fallen on hard times who is pressured by the prison warden to coach a team that his guards can play against and defeat. The Longest Yard has inspired two remakes in five years: Mean Machine, a British drama that pitted former footballer Vinnie Jones against David Hemmings and, now, keeping the original title, a vehicle for comedian Adam Sandler to challenge James Cromwell. And, over thirty years on, Burt Reynolds is there with a better than usual role as the prison coach. (Many of us won’t be around for the version thirty years from now with Sandler guest-appearing as the coach!)

This is a football movie, so don’t expect punches to be pulled. They aren’t, neither are the kicks and shoving. This is a prison movie, so don’t expect the usual fights amongst the inmate gangs, the sadistic behaviour of the guards to be pulled either. This is a 2005 movie, so don’t expect the language to be polite or the locker-room jokes to be tidied up. (Cloris Leachman, who is almost 80, turns up in a particularly crass and thankless role.)

That said, this is a testosterone sports film where it is tough to build up a team, where the clashes are grinding, where authorities are corrupt and unscrupulous, where comeuppance is also the name of the game.

It is also a comedy of sorts, especially with Adam Sandler drawing on his hangdog look persona and Chris Rock doing a lot of his usual patter (and able to get away with all kinds of racial humour). But, Sandler has been trying to develop his image in recent years to both romantic hero and stronger screen presence. It is a bit hard to accept him as a champion footballer, especially with Burt Reynolds alongside looking absolutely convincing. And James Cromwell and William Fichtner have proven themselves in many films as adept villains.

1. The entertainment value in the film itself? As a remake of a 70s classic? The story for the 21st century? As an Adam Sandler comedy?

2. The world of Paul Crewe, affluence, his lifestyle, the transition to prison? The detail of life in prison, the inmates, the games, the field? The musical score?

3. The title, prison and sport – the ambiguity of ‘yard’?

4. The plot, the familiarity of the stories of poor teams, their being transformed, victories? The Bad News Bears kind of story?

5. Crewe, his personality, his success as a footballer, the accusation of fixing the match, accepting the money? His girlfriend, her domination, the party, the range of guests, his forgetting, locking his girlfriend in the room, taking her car, the car pursuit – and the irony of its being filmed and her seeing it on television? His mocking her and the police?

6. Crewe going to prison, Captain Knauer and his tough methods, warning? The bashings? The warden, his political ambitions, sinister attitude, his adviser? Wanting Crewe to help him with his football team? The plan and the blackmail? Crewe unable to refuse?

7. The details of prison life, the personalities of the prisoners, the big men, the black men, the Hispanics? The tough men? The punishments, the box and isolation? The fights, the dining room?

8. Caretaker, his friendliness, quips, the racist comments which he could get away with? His friendship with Crewe, helping with the recruiting, the training? His being killed? His funeral?

9. Crewe and the various types, his ingratiating himself with them, the group of black prisoners and their admiration and finally joining him? The big man who was so soft?

10. The picture of the guards, their behaviour? Captain Knauer and his determination? Threats?

11. The training, training in the wet, the motivation?

12. The set-up for the killing of Crewe? Unger and his continually watching, snitching to the guards? The setting up of the explosion, Caretaker’s death?

13. Scarborough, his football background, in prison, his skills, helping with the coaching?

14. The build-up to the match, the warden and his determination? The play, the attack, the scores? The getting vengeance on the guards? The building into a team? The warden and his threats to Crewe, Crewe’s pulling back, Scarborough’s disgust, the group falling apart? Crewe and his memories of Caretaker, of not doing deals, of confronting the warden? The strong game, Scarborough’s scoring? Captain Knauer and his admiration for Crewe and the team playing a proper match, the warden wanting him to shoot Crewe – and his refusal?

15. The portrait of the warden, determined, political ambitions, his adviser, their tactics, the press? The media? His wanting to win at any cost, the threats to Crewe, his comeuppance?

16. The underlings winning, the crowd and their change of support, the queens and their being cheerleaders?

17. Miss Reynolds, the sex comedy? Chloris Leachman and her image of the lecherous secretary, the video taken?

18. The blend of raucous locker-room comedy, jokes, sex references? With the sports sequences? And characterisations of villains and sadistic warders?

THE BUSINESS

US, 2005, 97 minutes, Colour.
Danny Dyer, Tamer Hassan, Geoff Bell, Georgina Chapman.
Directed by Nick Love.

The business here is drug importing and dealing. It is a greedy business, a tough and rough business that destroys friendships, degrades and destroys lives. That would be the moral of the film if its central character really believed it. At times he sounds as if he does, but he has had a taste of what is optimistically called ‘the good life’ (which simply means plenty of money that gives you the power to do anything you want in a luxury context) but his final remarks at the end of the film as he drives off into a hoped-for new sunrise are cynical and give the lie to it.

Not that The Business is not well-made. Like Sexy Beast, it leaves a squalid London to bask in Spanish sun and good weather. On the southern coast near Gibraltar, English ‘businessmen’ can become filthy rich pretty quickly (and import via secret drops of drugs through nearby Morocco). Spanish authorities connive when it suits them – and are ruthless when it doesn’t. Fortunes depend on luck and connections.

Writer-director, Nick Love, knows young British adults (Goodbye Charley Bright) and knows thugs (The Football Factory). His star Danny Dyer appeared in both films and is central to The Business. Despite Dyer’s interviews with the press describing himself as caught up in drugs, promiscuity and violence after being a successful child actor, he still comes across on screen as basically a good young man, not quite as bad as the screenplay portrays him. Tamer Hassan as the more genial owner of a club and mastermind of The Business combines charm and shrewdness, except when he becomes an addict himself and his prosperity vanishes. On the other hand, Geoff Bell as a jumped-up criminal looks and sounds truly frightening (as he is as a football hooligan leader in Green Street).

There are enough headlines and newspaper stories to suggest that what we see he is quite true – but it is, ultimately, something of an ugly and cynical film despite the Spanish clean and clear air.

1. The prevalence of British crime thrillers in the 90s and the beginning of the 21st century? Portraits of criminals, action shows? The UK style, portrait of gangsters, moral perspective?

2. The setting of the 80s, the UK, the references to Margaret Thatcher, the anti-royal sentiments? The place of gangsters and crime in London?

3. The contrast with Spain, the sunny Mediterranean, Gibraltar? The Spanish coast? Beauty and affluence? Squalor?

4. The musical score, the songs?

5. The voice-over, Frankie and his life story, an earnest young man, experiencing abuse in his family, the transition to greed, the violence, to cynical perspectives on life? His involvement in crime, drugs, women? His father’s comment – to avoid these? His not avoiding them, indulgence?

6. Frankie’s life in London, his mother, the man violent towards her, Frankie bashing him? His friend, taking the bag and delivering it in Spain?

7. Charlie and his bar, the flashbacks to Charlie’s criminal background? The robberies? His lifestyle, personal loner(?), liking Frankie and deciding to help him, clothes etc? Making him as a partner? Charlie’s way of life, the increased dealing with drugs, the collage of the piles of marijuana? The influence of the mayor, his wanting them to limit it to marijuana, not to cocaine? The drops of cocaine from Morocco? Charlie and his use of cocaine, its effect? Falling out with Sammy – seeing him plant Frankie’s watch? Supplying the mayor with the young man from London? The confrontation with the mayor?

8. Sammy and Carly? Sammy’s immediate dislike of Frankie? Sammy’s lifestyle, as partner with Charlie, involved in the action, the incident with the watch and Frankie, the falling out with Charlie? Sammy and his personality, sadistic, cruel?

9. The lifestyle in Spain, golf, tennis, the affluent houses, pools?

10. Charlie’s bar, life there? The Sunday dinner, English style? Running out of lamb – and going and shooting a sheep? Charlie and his drugs, losing the bar?

11. Sammy, the background in London, drugs, prostitution? Meeting the mayor, the fork? His gaining Charlie’s bar – and not wanting to relinquish it?

12. The plan to kill the mayor, Ronnie and his associates, his being killed, his head on a pike? Charlie’s bar and his being excluded?

13. Charlie and Frankie, their collapse, the six months later, the opening sequence and it being reprised, the guns? The washing powder, the deals with the pushers? The failure? Seeing Ronnie’s wife and the other women, the memory of the thousand pounds offered, their wanting to steal it?

14. Frankie going to Cadiz, the squalor, the man with his throat slit? Frankie and his return?

15. Charlie, wanting to set up the bar for the party, Sonny agreeing? Nobody turning up?

16. Frankie and Carly, the sexual encounter, the plan, luring Sammy, the brutality of his death in the sewer, being shot by the coast guard? The double cross? Frankie and Carly – and his abandoning her?

17. The final captions about what happened to everyone – and whether crime paid or not?

18. Frankie, his character, living solely in his criminal work, lack of moral sense, relationships? His experience of a successful criminal – and going into this kind of future?

MUST LOVE DOGS

US, 2005, 98 minutes, Colour.
Diane Lane, John Cusack, Elizabeth Perkins, Christopher Plummer, Dermot Mulrooney, Stockard Channing, Ali Hillis, Ben Shenkman.
Directed by Gary David Goldberg.

If you wonder what on earth a film with a title like this could be about, then a reminder that Personals columns (and on-line dating services) have this kind of pithy indication of tastes and interests of the advertisers. When Sarah (Diane Lane) secludes herself after her husband leaves her, her sisters take over and put a notice on a we-site, including this canine requirement. As usual, there is a comic collage of all the unlikely and unsuitable types who answer such ads.

In the meantime, boat-builder Jake (John Cusack) is moping because his wife has left him. This is not a suspense thriller or mystery, so it’s a matter of watching how these two eventually come together, their attraction and their clashes. In other words, an information technology era romantic comedy.

Fortunately, Diane Lane is at her best and, though not glamorous, most attractive. John Cusack has done this kind of genially bewildered gentleman before. There is a big cast of Sarah’s Irish Catholic extended family (who reflect the current bypassing of the religious and moral heritage – ‘blame the nuns’), especially Elizabeth Perkins as her controlling older sister and Christopher Plummer, nicely patriarchal, as her father. Stockard Channing turns up as a seeming gold-digger who tailors her on-line messages to suit her imagination rather than reality.

This is one of those comedies where everyone does something stupid, comes to their senses, faces reality with a bit more honesty and tries to do something better with their lives. Its success comes mainly from the audience-friendly performance of the two stars, especially Diane Lane.

1. A 21st century romantic comedy? Style, themes, characters? Romance in a computer age?

2. The tradition of screwball romantic comedies, from the 30s? The meeting, losing, gaining – formula? The film’s variation on these themes?

3. Urban US, homes, families, schools, malls, cinemas, the river? Authentic atmosphere? The songs and the musical score?

4. The film as cute and nice? People making mistakes, people falling in love, sex, commitment?

5. The title, computer dating and messages? People busy, using the short cut of computers? People lonely, the lonely hearts columns? The range of advertising? Friends putting in the profiles? The crass touches? The false information? The variety of replies, the different types? The collage of Sarah’s dates? The man crying, the man telling her he expected younger…? Men and women caught up in this kind of dating? Truth and lies – and the example of Dolly and the fifteen-year-old boy?

6. The portrait of Sarah: forties, her husband leaving her, her not knowing why? Living alone? Careless about her appearance and about dating? Her shopping – and buying food just for herself and the plea for the butcher to sell her bargains? Her teaching, her rapport with the children? Meeting Bobby and attracted to him? The accidents? Her family, her sisters and their interfering, the whole family bringing photos for her dating? Her love for her father? The bonds within the family, the Irish Catholic background? Her self-image, low? Her feeling guilty about what happened in her marriage? Her reaction to the advertisements – to the messages, listening to them? The initial dates and their effect? The attraction towards Bobby, talking with him, his buying the dog for his son, his praising her for her being a good teacher, visiting his home and finding June there, the one-night stand, the reaction and her attack on him? The irony of her going on a meeting – and finding it was her father? The effect of all this experience on her?

7. Jake, making his boats, his love for his wife and her leaving him? Charlie and their talks, Charlie trying to fix him up? Watching Doctor Zhivago so many times? The sale of the boat and the man wanting to cut it in half and put it on his wall? Charlie fixing up the dating? Sherry and her work at the office, her being dumb – and their going to see Doctor Zhivago and her crass comments? Going on the date with Sarah, the talk, the awkwardness, the dogs? Taking her to the Armenian restaurant? Their passion, driving over the city to find condoms, not finding any – and the aftermath? His visit, helping Michael home? Returning, finding Bobby, being disillusioned?

8. The portrait of Sarah’s sisters, Carol, older, intruding, wanting the gossip, pressurising her, their putting the information on the Internet? Their own lives, families? The conversations with Sarah?

9. Sarah’s father, idolising their mother, going on the date and meeting Sarah, the party, his recitation of Yeats? Meeting Dolly, the bond with her, the other women, the chance meeting with Jake and his repeating Jake’s words to Sarah?

10. Sarah, being sad, alone, feeling she had messed everything up? Her gay friends, coming over, taking her out to get the manicure? Seeing Jake, chasing him, seeing him with Sherry? The coincidence of her father meeting Jake? Going to the river, the women’s team and rowing, swimming – with the dog? The reconciliation?

11. Jake, his decision to sell the boat, wanting to row one more time?

12. The humour with the dogs, Jake’s dog, its obeying orders? Mother Teresa?

13. Dolly, type, her relationship with Sarah’s father, not knowing whether he would commit or not but attracted to him? Being very direct with Sarah? Getting her help with the boy from San Diego?

14. The two gay men, their friendship, anniversary, helping Sarah?

15. The portrait of family, the extended family, their all helping, bonds?

16. Themes of love, romance, age, loneliness, sex, commitment?

ARNIKOVNI EFFECT (GREENHOUSE EFFECT)

Russia, 2005, 93 minutes, Colour.
Elena Polyakova, Alexander Yakin.
Directed by Valery Akhadov.

Greenhouse Effect screened in the international competition at the Montreal Film Festival in 2005. It is a strange entry, much more like a soap opera and a television film or series rather than a Russian feature film. This is also surprising because the director, Valery Akhadov, born in Uzbekistan in 1945, is a veteran of Soviet and Russian cinema.

The setting is contemporary Moscow and the focus on a street boy – one of the healthiest on-screen ever, very shrewd, something of an advertisement that living on the streets in Russia couldn't be too bad. Into his life comes a young pregnant woman from the countryside – again, a rather irritating character who does not act in a commonsense way at all. She teams up with the boy, expects the world to fall at her feet, yells at her mother while telling her mother not to yell at her. She eventually, almost miraculously and without benefit of obvious passport control, finds a home in Greece.

There are various other people from the streets, the sympathetic surgeon, a boy dying of a tumour. The film is set not only amongst the street people but amongst migrant peoples to Russia. To that extent, it offers a glimpse of life in the Russian capital at the beginning of the 21st century. However, the plot belies belief as do the characters and the film is very disappointing.

1. The quality of the film – more of a television movie? Popular entertainment?

2. The Moscow settings, the railway stations, the factories, homes? The streets? The tourist touch? The musical score?

3. The title – not a reference to conservation but to the greenhouse where the young boy, Mute, takes refuge?

4. The plausibility of the plot, the well-fed young boy and his survival? The girl coming to the city pregnant and her being able to survive – despite improbabilities? The realism or fantasy of the ending with her arrival in Greece, the inhabitants of the house having died, her taking possession and living there?

5. The story of Mute, his stealing, surviving in the greenhouse? His making up back-stories about his being Egyptian, his learning Greek? His friend in the hospital, going to visit him – and the pathos of his death? His angers? His meeting Rita, helping her, trying to find the address? Her sharing in his adventures? Going to the hospital, the anger with the surgeon? The surgeon helping him? The rendezvous at the run-down car, bringing his ashes? Rita and her going to Greece, his hoping to go? The credibility of this kind of street boy?

6. Rita, young and inexperienced, vague, arriving at the station, her luggage being stolen? Trying to get help from the mute? His gradually helping her, her staying with him, their searching for the house? Her tantrums? Phone call to her mother and yelling at her (while telling her mother not to yell at her)? Her pregnancy? The ability to get to Greece – without papers? Settling in Greece?

7. The life at the station, the various people, the shopkeepers, the owners of the restaurant, their giving jobs to the mute and to Rita? The greenhouse?

8. The young man, his illness, in hospital, the operation, his death?

9. The surgeon, his consideration, coping with the mute and his grief, arranging for the cremation, giving the ashes – and Rita and the mute scattering them?

10. The cheery picture of life in the streets in Moscow? Compared with reality?

GOD IS CLOSE

Iran, 2007, 86 minutes, Colour.
Babak Hammidian.
Directed by Javad Noroozbigi.

God is Close is the first feature film from its writer-director who is best known in Iran as a painter and graphic artist. He began making short films and this is his first feature.

The story is simple, about a simple man. He lives in a country village, his brother has been killed in the Iran- raq war, his mother cares for him. He is rather simple, innocent.

Inheriting his brother’s bike, he ferries people around the city and especially the new teacher going to the school. At first sight he is smitten by her, growing more infatuated, giving her rides back and forth from the school. When she is absent and when she marries, he is heartbroken and pines away, becoming very ill.

The film is very strong in Islamic spirituality. The opening credits have images from paintings – which later an imam explains in song. The film also has a shrine, people at prayer, wise reflections on the reality of God, God’s presence, the afterlife – but God’s presence in our vocation in this world.

The film is well acted – although the musical score tends to be of the style popular in American dramas, eliciting emotional response. A quiet, simple and reflective film.

1.The title, religious overtones? Islamic spirituality? Traditions? Images? The Koran? Interpretation? Spirituality in daily life?

2.The village, its markets and streets, the countryside, school, the mosque and the shrine, homes? The musical score – and emotions?

3.The framework, Reza and his illness, unkempt, taken to the shrine? His recovery? The aftermath?

4.The flashbacks and the explanation of his condition? A simple man, his age, his brother’s death, the Iraq- Iran war, having his brother’s bike, buying the box for women to ride on the bike, buying all the apples from the young girl despite their being bad? His love for his mother, her care for him? Taking the man to the school, speeding on the road, falls? The kids in the playground? The teacher coming off the bus, his immediate attraction, infatuation? His driving her? The river, his recovering her shoe? Delivering her, waiting, attending to her day by day? The effect on him, emotional? Their being lost in the fog? Her absence, going into her class, supervision, the boys playing up, going to the toilet? Hearing of her marriage, her plan? His getting worse, pining away, not doing anything? The years passing, his illness, his being taken to the shrine? His dream, his mother going into the light? His searching for Lila? His recovery, not doing anything, just sitting at the shrine, her visit, her confiding in him, listening? His reflections with the guardian of the shrine about where God is, what he should do? The uncertain ending?

5.The teacher, her arrival, her rides, the lost shoe, lost in the fog? The relationship with Reza, put off by him at first? Her absence, the visuals of the marriage? Her husband not wanting her to teach? The discussions with the principal? Her eventual return, the welcome? Her going to the shrine, meeting Reza, confiding everything in him, the divorce, her husband’s remarriage? Her talking with him at the end – what future?

6.The variety of characters in the village: the keeper of the shrine, his care for Reza, their discussions about religion and spirituality? The imam and his explanation of the images, reading the Koran? The principal of the school, the teachers?

7.Reza and his family, his mother, his brother killed in the war?

8.A film of religious reflection?

PERSIAN CARPET

Iran, 2007, 120 minutes, Colour.

1.Directed by Behruz Afkhami.

2.3D CARPET
Directed by Rahkshan Bani- Etemad

3.THE ELOQUENT CARPET
Directed by Bahram Beizai.

4.UNTYING THE KNOT
Directed by Jafar Panahi.

5.THE LAND CARPET
Directed by Kamal Tabrizi.

6.FIRE AND WOOF
Directed by Seifollah Daad.

7.Directed by Hojtiba Raee.

8.THE MAGIC CARPET
Directed by Nor- Ol- Dir Zarrukelk.

9.THE CARPET, THE HORSE AND THE TORK MEN
Directed by Khosro Sinai.

10.CARPET IS LIFE
Directed by Bahman Farmanara.

11.IS THERE A PLACE TO APPROACH
Directed by Abbas Kierostami.

12.A HAND THAT CREATED ONE, PRESENTED TO A FRIEND
Directed by Majid Majidi.

13.MEMORY, MEMORY
Directed by Reza Mir Karimi.

14.THE CARPET AND THE ANGEL
Directed by Dariush Mehrjui

15.A COPY IS NOT AS GOOD AS THE GENUINE
Directed by Mohammed Reza Homormand.
Persian Carpet is a portmanteau film intended to display the richness of Iranian culture as symbolised in its carpet tradition, its art and myths, as well as its high standing in the international world of cinema.

Producer Reza Mir Karimi (Under the Moonlight, Here, a Shining Light) commissioned fourteen of Iran’s major directors to contribute their piece of cinema carpet, an eight minutes visual essay, narrative, story, contemplation, on the theme of carpet. He also contributed a story himself.

As might be expected, they are of differing quality, some (especially at first) are rather instructional on the making of carpets, the hard work and industry as well as the creative imagination. Various legends are brought forward (including a story of Genghis Khan’s destructive behaviour). As stories are told and particular carpets contemplated, we have a vision of beauty and art, an ancient history of culture, down to earth stories as well as surreal stories and a final plea against globalisation: closing the weaving centres in Esfahan because it can all be done just as well by cheap labour in China!

Of the international name directors, Kierostami has a single take, camera roving over a carpet, a feat within the range of all the directors. Jafar Panahi also has a single take but is able to tell a story in his eight minutes: a weaver and her soldier brother try to persuade a busy and canny buyer to take her carpets. Darius Mehrjui tells a (too?) surreal story about a woman going into an apartment. Reza Mir Kirimi is inventive in showing a family arriving at the grandparents’ house and the role of carpet – in a home movie style. The most humanly satisfying is the story told by Majid Majidi about an old man who arrives in the city to give his friend the gift of a carpet, waits outside the house while his friend is out, sits and meditates, is given some food by a neighbour and gives us time to contemplate beauty, friendship and generosity.

1. The village, the range of colour, the swirling collage of colour, pattens, the tribal designs, the manufacture of carpets, the examples?

2. Esfahan, the computer, the seven years’ work, the discussion with the blurred-faced based man? The reality of the mosques, facades? What seems impossible to the brain is possible to the imagination? The people of Esfahan, the critique of the man on the video, watching the video? Seeing the beauty of the carpet?

3. The carpet, fifty or more story panels, the colourful nature, the trees, multicoloured threads and the weaver?

4. The single take, the narrative, the young soldier with his sister, the camera following them, trying to persuade the owner to buy the carpet, the measuring of the carpet, the anxiety of the sister?

5. The land carpet, the threads and the dyes, real-life interwoven with the carpet designs? Water and patterns? The musical score?

6. Genghis Khan, the comment on his burning the carpets? The choir, the hymn? The man watching the weaver, the Downs man weaving, the photo, the photo falling down, the burning of the carpets with Genghis Khan on them? The classical western music?

7. The girl, the car in the mountains, the photographer, the girl running with the carpet throughout the hillside village?

8. The animation, the little prince, the carpet magic, the fox, the rose? The little prince’s imagination, weaving the carpet? The world as a carpet? The jaunty musical score?

9. The children, the chanting, the horses, the goats and the herdsman, the cradle? The range of generations of faces in the carpets? The carpets as mirrors? The costumes, the dancers, the riders?

10. The carpet and life, the life is short, art is forever? The survey of the painting, the still life with the carpets on the floor, the elegant man sitting and watching? The child and the fruit? The collage of still lifes? The corpse and the sheet? The mandolin-style music?

11. The single take and the camera roving over the carpet? The eye and beauty? Poetry and songs of love, the willows? The musical score?

12. The old man, his eyes, on the side of the road? In the city and the visas of the city? Trying to get a lift, asking directions, going to the alley? The beauty of the trees? The children running, buying the toys? The old man helping to fix the tyre? The knock on the door, his presence, the lady giving him information, her hospitality, his waiting? The close-ups of the trees with the leaves, the wind? Unwrapping the carpet? Praying on it, being given food, his washing, combing his hair? Dozing? The cool water and the light and the weed and the images of wool and weaving? The food, talking about his weaving as his work and hobby in old age? Washing the plates? The birds pecking the crumbs?

13. The home movie style, the commentary by the photographer, the little girl and the close-up, the hand-held camera, the filming? The arrival of the family, going to the door? Grandma’s house? The father ringing the bell, the family greetings, the shoes off the carpet because it was for prayer, the old uncle’s arrival? The vistas of carpets on the floor, in the kitchen?

14. The soul tree, the placing of the carpet, the close-ups of the key and other objects on the carpet, the mobile phone, eating and creating a mess, the doves and the crumbs, the cat approaching the doves, the woman asleep, the carpet magically rising? An allegory?

15. The quotation from John Singer Sargent about Italian art and the Renaissance and one Persian carpet? The narrative? The dyeing of the wool, the investor interested in a workshop in China with seven or eight hundred workers? His being in the mosque, watching the birds? The old man refusing? The pragmatic: a carpet is a carpet, wherever it is made, economies and cost as being important? The man wanting to get his plane, being invited to come in and eat? Observing the vistas? The final focus on the shoes? And the emphasis that the carpet in its authenticity was important?

16. The overall impact of this carpet of films? The narratives, contemplation, affirmation, Persian traditions, art, religion, folklore,myths? The beauty and the everlasting art from this part of the world?

MARY HIGGINS CLARK'S LUCKY DAY

Canada/UK, 2002, 96 minutes, Colour.
Amanda Donohoe, Gregor Toerzs, Tony lo Bianco, Gino Marrocco, Elizabeth Clark.
Directed by Penelope Buitnhuis.

Lucky Day is another television film version of a novel by Mary Higgins Clark. There have been quite a number in this series and they are always entertaining in a PG kind of way. There is usually a plucky heroine and a rather sinister man, often husband, in the background.

This film takes place over a couple of days in New York City, Amanda Donohoe playing Nora Barkin, an aspiring actress, married to an accountant played by Gregor Toerzs. Their good friend, an old delivery man who works at the office, Gino Marrocco, wins the lottery but is killed.

The writing veers suspicions by the audience onto the husband, the possibility of his having an affair, murdering the man and robbing him. Tony Lo Bianco is a police detective investigating. However, there is a twist at the end - and a very happy ending, not only the reconciliation in the marriage but the couple getting the lottery millions. Direction is by Penelope Buitnhuis who has had a career in television and small-budget feature films.

1. The popularity of Mary Higgins Clark's novels? Mysteries? Accessible to all audiences? The film versions?

2. The New York settings, the streets, apartments, offices? Police precincts? Gambling shops? Musical score?

3. The credibility of the plot? The lucky day, the lottery ticket, the murder, the plot against Bill Regan? The cover-up?

4. Nora, her relationship with Jack, the five years of marriage, the tensions, her audition, her career as an actress, his ambitions to write a novel, his work as an accountant? The tensions at home? Raising audience suspicions? Jack as a character, believable that he could be having an affair, his going to do research, his reactions against Nora, the danger from the electricity in the bathroom, his being found with Selina? The irony of audiences and Nora misjudging him?

5. Nora, her friendship with Bill, chatting with him, at work, his lucky day, her lucky day? The audition, the humiliation by the director? Her friendship with Crissy? At home, preparing the meal for Jack, Bill ringing, his not turning up, Jack turning up late and wet? Her fears, Bill not at work, going to his apartment, his not coming home? Bill being family with Nora and Jack? Her going to the police, Marinello not listening, his assistant's scepticism? Advising her to retrace Bill's steps, her going to the various offices for deliveries, her pretence about the cap? Her finally going to the betting shop, the police on patrol, her ruining the sting? Her being arrested? Her going to the office and finding Jack had been there, Moore and his information? Penny at the desk? Her growing suspicion of Jack, of seeing him in the shop with Selina? Discussions with Crissy? Her going back, not telling the police, talking with Moore? The build-up to the confrontation? Finding Jack and Selina together? Moore's arrival? The revelation of the truth? The shoot-out in the stairwell? The reconciliation with Jack? Her speech at Bill's funeral? The news about the money - the over-happy ending?

6. Bill, whistling, lucky day, the lottery ticket, chatting with Nora, his disappearance, the finding of the body, the murder?

7. Marinello, his not listening to Nora, giving her advice? His being called in about the sting going wrong? His curiosity aroused? The discovery of the body, his decision to have an autopsy? The discovery that Bill was murdered? His assistant, scepticism, praise of him? The final shoot-out and the rescue? His coming to give the good news about the money at the funeral?

8. Moore, seen incidentally, seeming innocent, his lies - the plan, the murder of Bill, Selina and her cashing the ticket, the money going to the Caymans? Their leaving? The confrontation and the shoot-out, his death?

9. Crissy, friend at the auditions, discussions with Nora, warning her about the dangers? Helping her in the investigation, seeing Jack and Selina together?

10. Popular ingredients for a murder mystery - with a satisfying twist? And the happy ending?

MAN PUSH CART


US, 2005, 87 minutes, Colour.
Ahmad Razvi, Leticia Dolera, Charles Daniel Sandoval.
Directed by Ramin Bahrani.

This is a small, quietly moving film that has received some acclaim, including an award from Interfilm, the Protestant association for film and festival juries.

Filmed on the streets of New York, it is a brief glimpse into the sad and wearying life of a Pakistani immigrant, Ahmad (Ahmad Razvi), who makes his living with a push cart (starting at 3.00am), selling tea, coffee and bagels to the passing custom. We learn that he had been a successful singer at home but had come to the US for love of his wife. She has died and the in-laws have taken custody of the young son. They refuse to give him up.

Some brighter moments occur in Ahmad’s life. He is befriended by a wealthy migrant from Lahore who recognises him as the singer, gets him to help renovate his apartment and would like to promote his musical career. A Spanish girl works in a nearby pushcart and they become friends. But, it seems, for these migrants, life was not meant to be easy and vexations and tragedies dog Ahmad.

The director immerses us in the narrow world of the streets and pushcarts. It quietly reveals the hardships that migrants experience in the land of the American dream. He also creates a small group of characters who reveal to us human grief and despair.

1. A modest film? Small budget? New York locations and world?

2. The focus on Pakistan, its background, the migrants to the United States? The contrast between life in Pakistan and life in New York City? Hopes and the American dream?

3. The location photography, the night sequences, the streets of New York, the cart and the customers? The various carts? The contrast with poor apartments and affluent apartments? The clubs? The realistic atmosphere? The musical score, the Pakistani music, the tradition, the songs?

4. The title of the film, the focus on Ahmad, our seeing him push the cart so often? Life with the cart, the early morning rise, pushing it to its destination from the warehouse, the range of customers, his courtesy towards the customers, their manner of buying the food, tea, coffee, bagels? The effect of this on Ahmad and his hopes?

5. Ahmad's life story, in Pakistan, his success as a rock star, people knowing his CDs? His marriage, love for his wife, moving to New York? His son? His wife's death, the anniversary, the
family praying and keeping the anniversary? His visit to his in-laws, their keeping his son, refusing to let the son go? His quiet desperation? His raising the money, paying for the lease of the cart? The disappearance of the cart and its effect on him? Helping out his friend with the other cart? The conversations with the customers?

6. Noami, from Barcelona, her being in the other cart, his buying the cigarettes, the friendship, their talk, sharing life stories? His advising Mohammed to invite her out? The relationship,
falling in love? Her own boyfriend in Barcelona, her disappointment in Ahmad's behaviour, giving up the job as selling the tickets at the club? The intimate talks, her return home?

7. Mohammed, his asking Ahmad about his background, his inviting him out, giving him the job of renovating his home, friendly with him, the beers, the talk, playing the music, staying over? Lending him the five hundred dollars for cart? Talking to the music people, the parties, Noami's presence? His getting Ahmad the job, selling the tickets - and Ahmad walking out? Its being too late - his having to pick up his cart at 3.00am? Mohammed's negative reaction, the music people and their
reaction? Ahmad and his desperation after the disappearance of his cart, asking Mohammed for money, Mohammed angry with him, anger about his not finishing the work, urging him out? Ahmad's reaction?

8. Ahmad and his friends, the old man with the cart, helping him out? The man from whom he bought the lease - and his refusal to help?

9. A portrait of loneliness in New York City? The migrant and the different culture? Adapting to the new culture, manner, ways of speaking? Hoping for a future in America? The loneliness of the widower, away from his son? The possibility of meeting other people, other women? Friendships - and their being precarious? Moodiness and the breaking of friendships?

10. Critical acclaim for this film, a film of values and insight into human nature?

ACCEPTED

US, 2006, 90 minutes, Colour.
Justin Long, Jonah Hill, Adam Herschman, Blake Lively, Columbus Short, Maria Thayer, Lewis Black.
Directed by Steve Pink.

A pleasantly anarchic little comedy.

There seems to be an American high school comedy every month. Many of them are of the leering variety. Many of them are simply inane. Not that this one doesn’t have a moment or two of leering – and it is not the most intelligent comedy to reach the screen.

However, the films that really are its forebears are not so much the campus comedies but films like Dead Poets Society, The Emperor’s Club or Mona Lisa Smile. It is actually about education and what it ought to be – in a more creative than formal and traditional sense. That probably makes it sound more profound than it really is. But, it does make a comic case for more spontaneity, creativity, relevance and student participation in studies.

Justin Long (Jeepers Creepers, Dodgeball, The Break Up) fails to get into any college. Pressured by his parents, he concocts a harebrained scheme with some student friends to fabricate a technological college with its own website which deceives parents. However, the site also has an admittance and acceptance icon – which attracts about three hundred students who were also not accepted elsewhere. What to do? With the help of an ex-professor rebel and ingenuity and luck, they succeed.

Yes, it is more than a touch adolescent but you would have to be a bit of a stick in the mud to disagree with the basic thrust of the film.

1. Teenage comedy? In the high school tradition - but not so gross-out? In the tradition of Dead Poets Society, The Emperors Club, Mona Lisa Smile and films about the nature of education?

2. The city settings, the homes, the schools, the universities and colleges? The realistic atmosphere? For this kind of comedy? Musical score? Songs?

3. The title, the importance of acceptance to college for students, for parents, for future careers? The irony of Bartleby and the others not being accepted? The parallels with the students who were accepted - and traditional colleges, initiations and other aspects? The setting up of the alternate education system - and its being accepted?

4. The humour, the fantasy aspects of the plot, Bartleby and the others building up an alternate education system? The board and its acceptance of the experiment? The portrait of teenagers, parents, hopes and ambitions?

5. The tradition of the high school comedy – the nerdy characters, the glamorous characters, the authorities and teachers? The parents? The leering jokes, the gross-out jokes - but this being a PG13 film and its being moderate?

6. Bartleby, the opening, doing the fake cards and the photography? His quick thinking and getting the students as a glee club and his power of persuasion over the teacher? At home, his precocious sister? The various letters and his not being accepted? Trying to tell the parents at the table? His decision to forge the letter for acceptance, to invent the institution, getting Sherman to set up the website? His parents' joy, giving him the cheque?

7. Bartleby and Sherman, their friendship? Sherman and his size, his wealth? His being accepted? The parties at his home - the discussions between the parents, especially about acceptance? Sherman and his being a whiz?

8. Glenn, Rory and the others who were not accepted? The decision to find a place? Bartleby and his finding the empty institution? Getting the lease, taking it over? The hard work in cleaning the place up, making it presentable? The title at the front?

9. The arrival of all the other students, on line, being accepted? Bartleby and his trying to work something out, the desperation of the others? Sherman and his trying to help? The decision to keep going, the money coming in, the renovations, the pool? The board with everybody writing what they wanted to do? The various students arriving - the man who wanted to move things by his mind, the ex-GI rock 'n roller, the girls and fashion and beauty.?

10. The contrast with the college, Monica and her boyfriend, life at the college, Bartleby going to the party, taking the blazer, insinuating himself, finding Sherman? Relying on Sherman for help? Sherman and his wanting to be accepted, being humiliated by the other members of the fraternity, his dressing up, being mocked? The hazing and initiation?

11. The success of Bartleby's institution, getting Uncle Ben, Uncle Ben's background, his unorthodox views on the economy, the students all listening? The skateboarding, Rory and the meditation, the ADD boy and his settling down.?

12. The party, the fraternity's lack of success? Their coming to the party, Monica and her meeting with Bartleby, their memories, his giving her the camera, her coming to the alternate institution?

13. Family Day, the plan to ruin the institution? The reaction of the parents? The visit of the principal of the college, his animosity?

14. Sherman, his seeming to reject Bartleby, Monica and her going away? Sherman and his idea for the application for recognition?

15. The hearing, Bartleby's speech, Uncle Ben's speech? The members of the board, their listening? The college representatives and their spurning Bartleby? The students in support - and the speeches about skateboarding enabling people to understand engineering and physics, the wild cook friend and his cuisine.?

16. Bartleby's appeal, the head of the board and his having wanted to play trombone, the discussion, allowing the recognition for a year?

17. The happy ending, acceptance - and the theme about people recognising their needs, creating their courses, ways of learning, the contrast with the formalities of traditional education and its straitjacketing people? A worthy cause in a pleasantly anarchic film?

THE DEPARTED

US, 2006, 151 minutes, Colour.
Leonardo di Caprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson, Alec Baldwin, Kevin Corrigan, David O' Hara.
Directed by Martin Scorsese.

In years to come, this will probably be considered one of the best films of 2006. (Several months after this review, The Departed won the Oscar for Best Film, Best Director and Best Adapted Screenplay.)

After the production upsets of Gangs of New York and the not-always-gripping The Aviator, Martin Scorsese is back in top form. Yes, it is something of a variation on his favourite themes of gangsters, corruption and police, but it is a vivid and lively variation, excellent on all counts.

The starting point is the Hong Kong police thriller with the deadly play on words title, Infernal Affairs. William Monahan has adapted this powerful and popular film (rather than a simple re-make) and set it in Boston. The city itself comes alive with the different settings: police precincts, affluent apartments, mob hangouts and the streets themselves. Yes, there are mean streets in Boston too.

This version of Infernal Affairs is easier to follow than the original. A prologue establishes Frank Costello as a gangster chief over twenty years: protection rackets, moving into drug deals and then trading high tech military equipment. He is kind to the neighbourhood lads, one in particular, Colin Sullivan, who is indebted to him so that when he graduates as a police officer, he is Costello’s informant in the service.

In the meantime, Bill Costigan, who has had a tough upbringing in South Boston is persuaded to go undercover, deep cover, to target Costello. The screenplay dramatises the close parallels between the two men, their false identities, the contacts, the dangers. It creates fine dramatic tension, especially since the screenplay is so well written. It is also more character driven than action driven which gives the portraits of the two men greater depth.

Martin Scorsese is one of the best director craftsmen in the United States and has surrounded himself with strong talent in photography, production design and editing for many films. He has assembled them again.

But no review would be complete without an acknowledgement of the marvellous performances he has drawn from all his cast. As we watch Jack Nicholson as the charmingly vicious and sleazy Frank Costello, we appreciate why he has won such acclaim and awards. It is a masterly characterisation, a personification of evil, often with a smiling face, which gradually overreaches itself and unravel.

Leonardo di Caprio is Bill. Matt Damon is Colin. They have proven themselves for over ten years as two of the best American actors of their times. Di Caprio has the more straightforward role as the good man acting violent yet he too is subtle in communicating the anguish, the fears, the loss of identity of the man who is asked to live a lie and betrayal for the sake of a greater good.

Matt Damon has to act charming, respectable and efficient as a cover for growing ambition, treachery and Shakespeare’s dictum that one can smile and still be a villain. His too is a subtle performance, an intelligent interpretation of duplicity.

There is an alarmingly fine cameo from Mark Wahlberg as an extremely rough mouthed officer who plays bad cop in interviews with potential undercover police while Martin Sheen brings his authoritative but genial persona as the head of the department. Alec Baldwin is also very strong as the officer in charge of action, frustrated because of the leaks from his squad.

The world of gangsters is a world that none of us would like to be close to. It is a tough, immoral, cruel and exploitative world. It has to be combated by dedicated men who can withstand temptation to corruption and who have to wage war on the gangsters on gangster terms. The Departed is a powerful reminder of this world.

The writer drew on his Catholic background for the title, The Departed, the faithful departed. However, he said this film is a portrait of the world of the faithless departed.

1. The acclaim for the film? Scorsese's work? His tradition of police and gangster films? A gangster film of the 21st century?

2. The use of the city of Boston, South Boston, the locations, precincts, upmarket apartments, downmarket areas, buildings, streets? An authentic atmosphere? The image of the dome for the House of Justice - with the Rat at the end? The musical score, the range of songs?

3. The title, the Catholic tradition of the faithful departed as the dead? The screenwriter's comment on the faithless departed? The Catholic tradition in Boston? Irish and Italians? The two funeral sequences?

4. The film as an adaptation of a Hong Kong film? Undercover police work, traitors, bosses, the police, the FBI? Making the film and its story particularly American?

5. The opening, the twenty years earlier, the video footage, life in Boston, Frank Costello and his comments, his rule, seeing him larger than life? His language, not politically correct, observations on niggers? Sardonic, supremely self-confident? Walking around, demanding protection money, his attraction towards the girl and taking her in, seeing Colin as a twelve-year-old, looking after him, the gifts, the money, offering him a job? The transition to Colin twenty years later?

6. The 21st century gangster groups, the Mafia in Providence, the Irish in Boston, the comments about the Knights of Columbus? The Catholic background, the Catholic mobs? The tone,
protection money, leading to drug deals, leading to the robbing of Hi-Tech? Frank Costello and his ruthlessness, the scene of him shooting people, the couple falling the wrong way, the various corpses, his laugh, the comment that he should see a psychiatrist? The psychopath – charming but amoral?

7. The structure of the film and the parallel between Colin and Bill, their backgrounds, the structure of the film and the training, Dignam and the two interviews, their different backgrounds,
ambitions - or not? Their taking up their jobs? Their appearances on the surface, not what they seemed, violent and non-violent? Lies and deception, betrayal? The effect of the life on each, promotion versus pills? The two relationships with Madolyn, the interactions, trust? Their discovering each other, survival, the meeting, the violent confrontation, the using of Madolyn for messages, deaths?

8. Jack Nicholson as Frank Costello, his age, the thrill of being in power, the Nicholson moments of Mania, his remarks, the Rat's, with Mr French, relying on him, his other underlings, the variety of jobs, the deal with the Chinese and the Hi-Tech? (and their later arrest)? His outbursts of violence, sexual behaviour? Seeing him at the opera - and the women and the drugs? The processes and the deals? The interviews with Bill, smashing his arm to test him? Believing him, using him, being a father figure? With French and the others? His different ways of contacting Colin, the phone calls, Colin and the warnings? Costello's way of life, the pressures, the police after him, beginning to unravel, some signs of madness? His testing Bill? Meeting Colin in the porno theatre? The final set-up, the betrayal, Colin's warning, the phone call and his hearing the phone ringing in the warehouse, the confrontation with Colin, Colin's despising of him, his comments about his impotence and father -figure, shooting him?

9. Queenan and Dignam, the roles of the good cop, bad cop, the interviews of candidates for undercover work, Dignam and his language and Queenan's comment about his style, the attitude towards each of them? Queenan wanting to employ Bill? Dignam and his rough style, testing them? Their working with Ellerby, the aims, the contacts and the meetings, keeping their undercover men confidential? The issue of the betrayal? Queenan and his meeting with Bill, Dignam and his continuing his role yet supporting Bill? The contacts, Queenan having Bill at his house, the meal? Queenan and his death? Dignam and his anger, leaving? Queenan as the good man, paternal, the phone contacts, his welcoming Bill at home, on the train, the tail, Washington Street, the discussion on the roof, his death? Dignam's resignation and anger?

10. Matt Damon's portrait of Colin, in his training, graduation, at work, his gift from Frank at the graduation? The promotions, the reactions of the other members of the squad? His partner and cynicism? On the job, the squad, Costello's aims, the phone warnings, the meetings? His relationship with Madolyn, the discussion in the elevator, taking her out, the meal, smooth, the lies, the phone calls and his passing them off? His being promoted to search for the traitor in the squad? The information about Costello's men - and the envelope with the misspelling of 'citizen'? His dealings with Ellerby and Ellerby praising him? The meeting with Costello in the porn theatre, his exit, Bill following him, his waiting and stabbing the Chinese by mistake? The surveillance camera and his checking on the film? The break with Madolyn after her moving in, his comments on her photos? Madolyn as pregnant, his reaction? The night of the raid, his contacting Costello, the confrontation at the warehouse, his comments against Costello, shooting him? His meeting Bill in the office, the citizen envelope, his realising the truth, deleting Bill's file from the computer? Praising him, the agreement to meet, Bill's death? His going home, coming home with the shopping - and his being shot by Dignam?

11. Leonardo di Caprio's portrait of Bill, at the academy, his friendship with Brown, the interview with Queenan and Dignam? The insults, his standing his ground, the truth about himself and his parents, his father's role, the double life? Queenan as an alternate father figure? The plan, the assault and his going to prison, his prison term, getting out, the protection issue, his defending the man in the shop, bashing the protection racketeers? Costello meeting him in the bar, testing him? His aim in working with Costello, following him, meeting the gang, Mr French and his seeing Bill's violence? His being present at the different jobs, the selling of the processors to the Chinese? His talking with Frank, the effect on his life, the pressures, taking more pills? The interviews with Madolyn, their discussions, his being cheeky, desperate for the pills, her giving them to him? A growing relationship, out with her, the trust, getting closer, the sexual encounter? Costello and his speech about rats, testing Bill? Bill and his meetings with Queenan and Dignam, at his home, on the train, eluding the tail, on the roof, his escape, the shoot-out, Queenan's death? The gangster dying and recognising him as the rat because of the wrong address? The information about the destination for the final set-up? His going out the back door? His coming in, talking with Colin, being recognised and praised? His seeing the citizen envelope and memories of correcting the spelling? His file being deleted? The visit to Madolyn, the tapes, her playing them? His plan, the gun, the meeting on the roof, his suddenly being shot? An intelligent man, his motives for doing his undercover work? His desperately wanting to regain his identity?

12. Alby, his management of the squad, seeing himself as efficient and effective, praising Colin? The pursuit of Costello? The briefings, the betrayals, the failure of the video surveillance at the deal with the Chinese? With Colin and trusting him?

13. The various members of the police staff and squad, Colin's partner, suspicions, the meetings, the investigations, the failures of the raids on Costello? Queenan, his keeping his squad secret? The shoot-out, the finale, the congratulations for Bill - and the honours at his funeral?

14. Madolyn, her psychology work, her work of service for the state, her being charmed by Colin, going out with him, the relationship, the months, moving in, her pregnancy? Her professional life, seeing Bill, the wariness, giving him the pills, their meeting, his trusting her? The visit, the sexual relationship? The break with Colin? Bill entrusting the envelope to her? Her listening to the tapes? Her walking past Colin at the funeral?

15. The Mob killers, Mr French, his character, his loyalty to Costello, his final crash and death? Fitzy, Dellahunty, their loyalties, Fitzy in custody, his being interviewed by Colin
pretending to be the lawyer?

16. The religious background, Boston, the church, the glimpses of priests and nuns, the aspects of sexual abuse in Boston and the references? The funerals? The issues of theology, faith and belief?

17. The strength of the dialogue, the wit, the crudity, insight? The film as character driven rather than action driven?

18. The final image of the dome and the rat?