THIS SAVAGE LAND

US, 1969, 97 minutes, Colour.
Barry Sullivan, George C. Scott, John Drew Barrymore, Glenn Corbett, Brenda Scott, Andrew Prine, Kelly Corcoran, Kathryn Hayes.

Directed by Vincent Mc Eveety.

This Savage Land is a mixture of Disney-like settling of the west with some savage sequences from the bushwhackers, the squads of riders from the defeated southern states who wanted to prevent northerners coming in to settle in such states as Kansas.

Vincent Mc Eveety directed many of the Disney films of the 1970s including The Castaway Cowboy and Million Dollar Duck. His family-friendly style is evident in this film - sentiment, lots of close-ups, rather bland, romance. However, with George C. Scott as the leader of the bushwhackers, the film is very strong in his scenes. His next film was to be his Oscar-winning Patton.

Barry Sullivan was a veteran of many films in the 40s and 50s, working in television and films like this in the 1960s. Andrew Prine also appeared in a number of films like this at the time, often with John Wayne. His wife of the time, Brenda Scott, appears as his sister. Kathryn Hayes is a very strong heroine for this kind of story.

1. Interesting western of the 60s? The 60s style? The combination of sentiment with rugged action?

2. The title, indication of themes, the post-civil war period, the settlers moving from Ohio to Kansas? The bushwhackers? The attacks on towns like Lawrence, Kansas? The settings, the town, the country? The musical score?

3. The portrait of the Pride family, moving from Springfield? Ben and his work in the civil war? The extended family, the wagons, their being set on by the bushwhackers? The confrontation, the stampede through the town? The background of Lawrence and its building
itself up after the civil war?

4. Ben, bringing his father and mother to the west, his three children? Widower? The chase through the town? His knocking Elizabeth into the mud, the meeting, the attraction? Settling on the land, the family tone, the attack of the bushwhackers, the threats, the burning of the wagon, the stealing of the goods? Their being told to move out? The decision to stay, the building of the house? Ben, strong? Leadership qualities? Love for his children? Tim, the support for his father? Midge and her preoccupation with her dead mother? Kip, the piglet, the little boy? Grandma and Grandpa? The attack of the bushwhackers, Grandpa being burnt?

5. Ben going to the town, wanting the doctor, meeting Elizabeth, her coming, helping Grandpa, telling the story to Kip? The arrival of the cavalry? Her bond with the sergeant? Going back? Ben and his attraction? Midge and her wariness? Kip and his liking Elizabeth? The rest of the family liking her?

6. Peaceful town, Ben meeting Elizabeth's father? The sudden attack of the bushwhackers, the leadership of Judd Barker? Stacey and his brutality, the shooting of the doctor? Grandma and her trying to save her husband, her being run down by the horses? The grief? Elizabeth and Ben on the hill, coming back to the town, Elizabeth wanting to be alone? Her decision to leave?

7. Ben, his coming to the stagecoach, proposing to Elizabeth, her accepting? Midge and her previous dislike, her criticisms of Elizabeth? The other members of the family glad that she came back? The celebration?

8. Grandpa, his unwillingness to accept the death of Grandma, Tim being able to move him, to plant the roses?

9. Barker coming to the house, his wounded men, taking Elizabeth and Midge? Ben and his reaction, being held back? The later decision to follow? Chance and his arrival for the wedding, discovering his father's death, going out to the farm, joining forces? Their pursuing the group, Chance's plan and Tim following, their being captured after the wagon went into the water, the capture of Ben, their being taken to the camp?

10. Judd Barker, his character, the south, his determination to stop northerners coming? His decree that there was to be no killing? Yet taking the goods, burning the wagons? His ambiguous attitudes? Stacey and his being out of control, shooting Elizabeth's father? His wanting Elizabeth to help Dave, the care of the sick, the fever, taking out the bullets? Her treating Judd Barker for his infected arm? His stoicism and the pain? His reaction to Stacey in the camp, the truth about Elizabeth's father, Stacey and his confrontation, Judd Barker shooting him? His allowing the group to go?

11. The settling of the home, a happy future?

12. A picture of the times, of the settlers, of the atmosphere after the civil war, of the bushwhackers and their imposing law and order on their own terms? Lawlessness?

THE CIMARRON KID

US, 1952, 84 minutes, Colour.
Audie Murphy, Beverly Tyler, James Best, Yvette Duguay, John Hudson, Leif Erikson, Noah Beery Jnr, Hugh O' Brian.
Directed by Budd Boetticher.

The Cimarron Kid was the first of the many westerns that Audie Murphy made at Universal Studios, especially during the 1950s. While he had appeared in a few films briefly, he had a breakthrough in John Huston's The Red Badge of Courage. Cimarron Kid was his next film. He went on to make numerous westerns but also made a film of his heroism in To Hell and Back (he was the most decorated American soldier of World War Two, turning twenty-one when the war ended). He also appeared in more substantial films like Joseph L. Mankiewicz's version of Graham Greene's The Quiet American and John Huston's The Unforgiven with Burt Lancaster and Audrey Hepburn.

Budd Boetticher, after a colourful career including bullfighting with his film The Bullfighter and the Lady, had begun to make small-budget films at Universal. In the later 50s, he partnered with Randolph Scott and Harry Brown as producer for a series of substantial westerns - which are still very much admired.

1. The popularity of this kind of small-budget, short-running western at Universal Studios? As supports for major features? How well do they stand up now? Straightforward western storytelling?

2. The production values, the locations for the west, for Texas? The trains and the robberies? The cities and the shoot-outs? The musical score?

3. The title, the focus on Bill Doolin, his coming out of jail, the support of the marshal, his being on the train, a new leaf, the Dalton gang robbing, his being accused and his having to flee? His deciding to join the Daltons? His personality, experience, being framed, the pressure by Swanson? The support of the marshal?

4. His joining the Daltons, the personalities of the Dalton gang, Bitter Creek, Dynamite Dick, the young Daltons? Red Buck and his being part of the gang, the Daltons not liking him, his assertion, his wanting to be leader, the final confrontation, the leadership of Bill? Their robberies, the plan for Coffeyville, the detail, the two banks, the first bank and its success, the second bank and the safe not being able to be opened, the manager calling the alarm, the shoot-out and the death of so many of the Dalton gang?

5. Bill, his wanting to lead a straight life, getting caught up in the gangs? His meeting with Pat Roberts, the attraction towards Carrie? His friendship with Bitter Creek and Dynamite Dick, and with Cimarron Rose? Their robberies, success? Swanson in pursuit? The various set-ups, Bill and his escapes? The build-up to the final robbery, Webber and his background, the set-up, the death of Bitter Creek, Dynamite Dick and his betrayal, Bill sending him out, his being shot by Swanson? Bill's escape?

6. The members of the gang, their personalities? Cimarron Rose as a strong personality, love for her husband? Support, getting the information, going into town, the details about the trains? Her posing in Dallas to get information about George Webber? Her sending the telegram? Grief at the death of her husband? Being reunited with Bill and the Roberts family?

7. Roberts, his background, the visit from the sheriff, from Swanson? His shielding the gang? The marshal and his attitude towards Bill, speaking loudly, offering him the chance to give himself up? The later pursuit, working with Swanson, the final set-up? Carrie and her betraying him to the authorities, the decision that this was the only thing to do?

8. Bill, being seen in the town, the cover with the buying of the engagement ring, Pat and his covering for them? Bill's return, their decision to give him up, Pat bequeathing his farm to them
when Bill got out of jail? The final kiss and farewell?

9. Red Buck, Hugh O' Brian with the red beer and hair, severe, his confrontations, the final shooting?

10. The background of law and order, marshals, powerful landowners and their manipulation of the law, the outlaw gangs and the way that they were treated? The popular ingredients of a western?

WHO KILLED ATLANTA'S CHILDREN? (AN ECHO OF MURDER)

US, 2000, 105 minutes, Colour.
James Belushi, Gregory Hines, Sean Mc Cann, Shawn Doyle, Kenneth Welsh.
Directed by Charles Robert Carner.

Who Killed Atlanta's children is a treatment of a real case of the 1980s, the child murders of Atlanta. This film is structured as an investigation, two reporters (in the All the President's Men tradition), who are opposites working at Spin magazine, go to Atlanta in order to uncover the story. There is a plea from the mothers of the victims that they continue their investigation, see the involvement of the Ku Klux Klan, a conspiracy, cover-ups by various officials of the police and the FBI.

Gregory Hines is the more sober member of the team, editing the articles by his partner played by Jim Belushi, the maverick style. Their interactions generate some spark during the investigation. The case was famous because a man was arrested and charged and imprisoned with some of the murders.

However, as the investigation continues, it appears that there is a wider conspiracy. It is noted that these murders prompted an extensive use of serial killer profiling as well as forensic fibre analysis. However, when the film was made about 1999-2000, the case had not been reopened and the charged man was still in prison. However, several years later, the case was reopened.

The film was written and directed by Charles Robert Carner whose films include The Fixer, Vanishing Point, Red Water, The Christmas Rush and the Judas film with Jonathan Schaech as Judas.

1. An interesting drama? Newspaper reporter investigation? Murder mystery? Campaign for the innocence of a prisoner? How well did these elements come together?

2. Audience knowledge of the events, in Atlanta, the murder of black children? The repercussions for the city? The mothers and families? The lack of investigation? The possible conspiracies?

3. The New York background of the investigators? Atlanta itself, the neighbourhoods, police precincts, the FBI? The homes of the parents? Jails? The musical score?

4. The title? The alternate title - and the flashbacks?

5. The structure of the film: the murders, the introduction to the investigators, their work? Their own personal lives? Marriages and children? The visit to Atlanta, the progress of the
investigation, ups and downs, the various tracks? The flashbacks?

6. The murders themselves? Visualising them, the children, victims, the brutality? The families, the mothers, their meeting together, pleas to the police, the reaction to the man imprisoned? their not believing the investigation? The pressures on the investigators? Being in court at the end, some final satisfaction?

7. Laughlin and Larson, their work at Spin magazine, Laughlin writing the articles, Larson as the editor? The editing of Laughlin's special article? The phone calls and the information about Atlanta? The pressure to go? The backgrounds of their families, Larson and his divorce, Laughlin and his family, the children, the pressure from his wife? Their absences and the consequences?

8. Their going to Atlanta, the different styles, Larson conservative, Laughlin as maverick? Their interactions, clashes, politically incorrect arguments? Their working together, Laughlin finally writing the article, the pressures on Larson, the quashing of the article? The reconsideration, the backing of enforcement agencies? The articles and the consequences for exposure? Their personalities, success in their work, limitations, drawbacks?

9. Melton, his being a witness, the contact, the dangers, the interviews?

10. The FBI agent, the cover-ups, the shredding of evidence? The links with the Ku Klux Klan? His smoothness, the investigations, his being interrogated? His behaviour in the court,
Kunstler and his pressurising him, his contradictions in testimony, the press conference, his disgrace?

11. The picture of the police, the investigations, their limitations, the evidence, finding Williams, the court case, his being found guilty, his going to jail? Laughlin and Larson visiting him in jail?

12. The background of the Ku Klux Klan, the activities in Georgia in the 70s and 80s, the conspiracies, the gangs, recruiting black men? The redneck whites? The brutality against the children?

13. The FBI, the investigations, the agents, the links with the Ku Klux Klan? The expose?

14. The closing of the trial, Williams still in jail - and the later reopening? The open-ended interpretation of what happened?

CHRISTMAS RUSH (BREAKAWAY)

US, 2002, 100 minutes, Colour.
Dean Cain, Erika Eleniak, Eric Roberts.
Directed by Charles Robert Carner.

Christmas Rush is a clone of Die Hard. It is really Die Hard in a suburban shopping mall - in Chicago on Christmas Eve.

The film achieves what it sets out to do, copying the various conventions of the genre of the robbery enclosed in a public building. Dean Cain has a stronger role than usual as the lieutenant, on leave because of departmental jealousies, who encounters the robber whom he knows from the past. Erika Eleniak is his wife, who works in the mall, and who with some others becomes a hostage - as well as collaborating with her husband to foil the criminals. Eric Roberts is the chief criminal.

There is a subplot about children, illness and music, motivation for the robbery. There are some relentlessly bad characters - including a double-crossing partner for Dean Cain. There is the expected action – and everything put together and to rights at the end for a happy Christmas.

The film was written and directed by Charles Robert Carner who directed such telemovies as Vanishing Point, The Fixer, Red Water as well as the film, Judas.

1. The popularity of this kind of telemovie? The genre of the big robbery, the siege, hostages, heroic police? The Die Hard tradition?

2. The Christmas setting, the Christmas mood, decorations, the malls? The realism of the use of the shopping mall, the shops, behind the scenes? The background of homes, schools, concerts? Musical score?

3. The play of Christmas Rush in the title? The alternate title, Breakaway?

4. The focus on Morgan, as a policeman, seeing him in action, the set-up at the beginning, the shoot-out? The deaths? The reaction of the authorities? His suspension? At home? His being irritable? His relationship with his children? Love for his wife? His exasperation and her being hurt? His wanting to make things right – going to the mall with the flowers?

5. Cat Morgan, at home, the children, her understanding of her husband, going to the concert, the music? Meeting Scalzetti, his child and the illness, the music? Morgan and Scalzetti and their past? The warning about not going back to robberies?

6. Scalzetti, as father, his concern about his child, the illness, the need for money for the operation, the transplant? His deciding to do another robbery? The plan, his description, rounding up
the members of the team?

7. The members of the team, the brothers, their effectiveness, ineffectiveness? Their greed? Following Scalzetti? In the mall, the violence, Morgan getting the best of them, the deaths? The phone communication? Scalzetti and his frustrations? Getting the money, moving it? The confrontations with Morgan, taking the hostages, Scalzetti taking a violent stance? The build-up the shoot-outs, the threats to Cat? The arrival of Rich, his not having got the rest of the police, the double
cross, his greed? The inevitable confrontations, shoot-outs, deaths? Scalzetti's death - and asking Morgan to look after his son?

8. Morgan, using his wits, seeing Scalzetti, realising what was happening? The confrontation with various members of the team, the shoot-outs? His wife being hostage, their communication, the dangers? Her using the gun? His reaction to Rich's betrayal? The temptation to take the money, his integrity?

9. The action sequences, interest, excitement? The plausibility of the plot? Expecting to get away with so much money? The motivations? The ending, Christmas, the celebration, the family together?

RED WATER

US, 2003, 100 minutes, Colour.
Lou Diamond Philips, Kristy Swanson, Coolio, Jaimz Woolvett, Rob Boltin, Langley Kirkwood.
Directed by Charles Robert Carner.

Red Water is a derivative from Jaws. This time a bull shark has gone into a Louisiana river and gone upstream into a lake - devouring quite a number of characters on its way.

Where the film is a bit different is that it focuses on two subplots, one a Virgin Island gangster employs divers to go into the lake to recover money that was thrown overboard five years earlier. The other concerns oil exploration in the lake, in a wilderness, and the researchers and their personal clashes. This all combines with a final confrontation with the shark.

The film is routine telemovie material, some touches of the cliché. Lou Diamond Philips is tight-lipped as the hero, captain of a boat who takes tourists and passengers upriver, feeling full of guilt because as an oil researcher some people were killed on his watch. Kristy Swanson plays another researcher, ex-wife of Philips. The criminals are Coolio, the rap singer, Jaimz Woolvett and Langley Kirkwood. Rob Boltin appears as a sympathetic Cajun man.

The film was made completely in South Africa standing in for Louisiana.

The film was directed by Charles Robert Carner, writer and director for television movies including Vanishing Point, The Fixer, Echo of Murder as well as the biblical film, Judas.

1. An entertaining thriller? Derivative of Jaws? The influence of Jaws - theme, visual treatment, confrontation with sharks? Heroism?

2. The South African settings standing in for Louisiana? The rivers and lakes? The landscapes? The wilderness areas? The musical score?

3. The title, exploitation of the Jaws theme?

4. The focus on the shark, the relationship with the search for oil and the disruption of the environment? The attacks by the shark, the swimmers at the resort, the old grandfather, the ecology guide? The further depredations? The visualising of the shark, the underwater scenes? The attacks on people? The drilling crew? The searches for the money? The final confrontation and death of the shark? The reward?

5. The story of the oil exploration, its being in a wilderness centre? The personnel, their work, the equipment, the dangers? Hank and his management? The raising of the temperature leading to the final explosion? Kelli and her relationship with Gene, hiring John, going to the site? His expertise, helping with the explosion? Their confrontation with the criminals? The ending of the oil exploration?

6. The background of the criminals, the Virgin Islands, the criminal and his employing the divers? Brett and his background? Ice and his going along to supervise? Jerry and his getting out of jail? Their equipment, the diving? The background of the money hidden while Jerry was in jail? The personalities of Ice and his tough man act? Brett and his athleticism? Jerry and his two-timing? The diving, the search? The confrontation with the oil people, with Gene, Gene being shot at, his eventually dying? The taking over of John's boat? The oil rig? The dangers, the shark, the forcing of John and the others to dive for the money? Emery and his not being able to swim? Kelli standing in? Jerry and his double cross? The injuries to Brett, Kelli saving him, his approach to her? His death? Ice and his finally getting the money - and his being taken by the shark? Jerry and his death? Poetic justice and comeuppance?

7. John, his background, his lack of money, the severity of the woman at the bank? His friendship with the captain? The background of the deaths on his watch, his feelings of guilt, pulling out of the oil business? His separation from Kelli? His explaining the background of his marriage and separation? The talks with her, the dance, his deciding to take the expedition? Clashes with Gene? His reliance on Emery, the Cajun background, stopping with the community, the celebration? On the rig, his help with the explosion? The deaths of the men? The confrontation with the shark? With the criminals? His being injured, the guns, the dangers to Kelli? Rescuing Hank? Emery and his not being able to swim, rescuing him? The final confrontation? The background of the police, the reward, the rescue?

8. The background characters, the tourists, the ecology tours, the police?

9. The action adventure, staging of action sequences? The expected conventions of this kind of genre? Popular entertainment?

CLERKS II

US, 2006, 97 minutes, Colour.

Brian O' Halloran, Jeff Anderson, Rosario Dawson, Jason Mewes, Kevin Smith, Trevor Fehrman, Jennifer Schwalbach, Jason Lee, Wanda Sykes, Ben Affleck.
Directed by Kevin Smith.

Kevin Smith’s films are probably an acquired taste. This is one for his fans – others had better find another movie.

In 1995, Smith, then in his early 20s, made a black and white comedy about two ‘slackers’ who spent the day at their convenience store counters discussing life (in the vein of cheeky and somewhat crass schoolboys), sexuality and relationships and contemporary US culture as manifested in comics and Star Wars. Outside the store stood a stoned slacker who could not comprehend the reality of work, Jay, and his pudgy friend, Silent Bob, played by Smith himself, who barely said a word, just looked reactively expressive. It was a hit and cult movie – leading to some short films with these characters, an animated television series as well Jay and Silent Bob turning up in Scream 3, Dogma and their own Jay and Silent Bob Strike Back.

With Smith married and a father, many expected him to settle down and grow up. His cinema attempt to do this, Jersey Girl, was rounded on by critics. (In the credits of this film, Jersey Girl is thanked for taking the attack so quietly!). So, he has gone back to his clerks and Jay and Silent Bob. It’s much the same kind of talk – and an attempt to be a bit more daring with a donkey and bestiality gag – but you can see (and hear) that his clerks, Dante and Randal, are now in their mid-30s, as are Jay and Silent Bob. In many ways, with its conversation about growing up, marrying, settling down, romantic love and commitment, friendship and doing in life what one enjoys and finds right, Clerks II is Kevin Smith’s Apologia Pro Vita Sua for this stage of his own life.

Which means that there is more in Clerks II than what sometimes meets the eye and ear. For those not on this wavelength, it may seem a rather tiresome adolescent talkfest with some slapstick and some sentimental moves towards a happy ending. But, Smith is much more shrewd than that. Clerks II is more than a sequel. It is a New Jersey slacker, pre-midlife crisis movie.

Brian O’ Halloran as Dante is dismayed when he finds that the Quickstop store has been burnt to the ground. It is Jeff Anderson’s Randal’s carelessness and fault. When they get a job in a fast food outlet, we spend a crucial day with them. Dante is planning to marry Emma (Smith’s wife, Jennifer Schwalbeck) but is attached without quite realising to his boss, Becky (a nicely attunded performance by Rosario Dawson). Randal is oblivious to good sense and good taste (the donkey gag as well as a blatant denial of a racial epithet) but realises how much he values Dante’s friendship. There is confusion and chaos before some breakthroughs.

Kevin Smith always brings something of his Catholicism into his films (apart from God always getting the first thanks credit) but it is always in a post-modern style (Smith was born in 1970 and is not your old-style Catholic). Friends Ben Affleck and Jason Lee turn up in cameos – and there is a very funny sequence where Randal mocks the Lord of the Rings trilogy.

There is no reason not to have Clerks III in a couple of years.

1. The popularity of the original film? Slackers in the 1990s? Lifestyle in New Jersey? The verbal humour?

2. The work of Kevin Smith, his age, now in his mid-thirties, identifying with the characters, his experience, the New Jersey background? His creating the character of Silent Bob?

3. The New Jersey suburbs, the Quick- Stop store, the fast-food outlet, the streets, the fun fair? The musical score, the range of songs - and the fun fair and 'Raindrops Keep Falling On My Head'?

4. The transition from slackers in their twenties to men in their mid-thirties? The curve of their life, their enjoying their work, the video store, the movies, the chat about cult movies, the limited number of friends, the attitudes towards women, casual sex, aims in life, settling down? Pranks?

5. The structure of the film, Dante arriving to see the Quick-Stop? burnt down? Randal and his arrival? He being to blame? The day at the fast food outlet? Their work, interactions, Elias coming to work, the customers, the crisis about love, pregnancy, the future?

6. Dante and Randal as characters, known from the previous film, short films made by Kevin Smith, the animated television series?

7. The age transition, the crisis for each of them, echoing Kevin Smith's own experience - and the film as a kind of apologia for his life? Their work, dead-end jobs, future or not? The issue of marriage, romance? Children? Growth, maturing, challenges?

8. Kevin Smith as Silent Bob, character, silent, relying on his expressions, raising of his eyebrows, blank looks, affirmation - and his finally talking at the end? Jay and his being in prison, drugs, incessant talking, crass attitude towards sex, the graffiti on the wall, the drug clients and the deals, the place of women in their lives, the money, the deal for Dante and Randal, his comments on their friendship and the ironic gay slights, his life standing against the wall?

9. Dante, familiar from the first film, the burning down of the Quick- Stop, his disbelief and dismay, Randal absentmindedly entering? Randal's fault? Dante and his new life, his relationship with Becky, bonding at the store, the past sexual experience, his fiancée, his love for her, her expectations, her parents, going to Florida? His beginning to conform, his hopes? Becky and the critique of romantic love? The personal effect on him, his handling of issues with both women?

10. Randal's day, at work, with Dante, their friendship, with Bob and Jay outside, with Elias and the interactions, ridiculing him? Discussions with Becky and her exasperation? His interactions with Emma? His attitude towards Dante's engagement? Talk, the visit of the man who liked The Lord of the Rings, his mimicry of The Lord of the Rings and praise for Star Wars? The gawking Guy and his visit, Lance Dowds and his criticism, his being hurt? Going with Dante to the dodgem cars? The different customers, the black customers, his offensiveness in talking about 'porch monkeys', unable to see its offensiveness? On the T-shirt? His dilemma about Dante and the pregnancy, Jay overhearing it, Becky knowing and her reaction? His arranging for the sex show, the donkey? The man's arrival, the prurient curiosity? The importance of his outpouring to Dante about his feelings, the friendship, being lost without him?

11. Elias, his Christian background, Lord of the Rings, his devotion to the Transformers, his involvement in the work, with Becky, the drinking, the sex performance, his own behaviour?

12. Emma, her background, the visits to the shop, expectations, love for Dante, seeing him with Becky, the cake and her anger?

13. Becky, relaxed, her work as manager, relating to the staff, her speech about not believing in romantic love and commitment, the irony of her pregnancy, telling Dante, her being upset when the others knew, driving away, her return - and finding the donkey show?

14. The guest stars, Ben Affleck and his awkwardness, Jason Lee and his taunting of Dante and Randal, the man who loved The Lord of the Rings and Randal's reaction? The black customers and the insult about the porch monkey? The ordinary customers?

15. The crisis, the donkey man, the performance, the gag about bestiality, the behaviour of the man, the arrival of the various customers, their bemused watching, Becky? The police and the fire brigade? The arrests? In the cell? The consequences, the donkey man and his reaction, the discussions between Dante and Randal, the truth? Elias and his being bemused?

16. Dante, the collapse, his love for Becky, Becky's speech, the possibilities, buying the Quick- Stop, redecorating it, reopening, with Jay and Silent Bob outside? A future?

17. The humour, adolescent, adult, verbal, slapstick, the range of topics, bad taste, sexuality? Kevin Smith and his religious background, the insertion of reflections on religion? Values?

18. The final credits - with God thanked first andforemost?

KEANE

US, 2004, 100 minutes, Colour.
Damien Lewis, Abigail Breslin, Amy Ryan.
Directed by Lodge Kerrigan.

Quite a powerful film but one which many audiences might find too demanding, not for the subject but for the intensity of the style and the close-up portrait of a disturbed man.

All of the camera work is handheld and stays close to its subject who is in every sequence, seen very often in close-up, sometimes extreme close-up so that we share his anxieties, his doubts, the turmoil of his memories and feelings.

The man is played by British actor Damian Lewis, here convincingly American. We see him talking to himself, desperate, at New York’s Port Authority. He is looking for his abducted daughter. He wanders the streets, sleeps outdoors, takes a room in a seedy hotel, buys clothes for his daughter, looks for drugs, tries for work. He also encounters a mother who is staying in the hotel with her little daughter and helps them with money. The mother trusts her daughter to him while she tries to contact her husband who is working in another city. What will the man do? How will he treat the little girl? What effect will all this have on him.

For 90 minutes we stay with Keane – his name is William Keane – and share his intensity. Dramatically and psychologically, the film, the screenplay, Damian Lewis’ performance are a tour-de-force of cinema communicating something of what mental illness must mean to the person suffering and the effect on those in the ambit of the sufferer.

On the whole, the treatment is realistic rather than sensational which makes it all more effective. The little girl is played by the very talented Abigail Breslin (Signs, Raising Helen) who a year later was so convincing in Little Miss Sunshine.

1. The impact of the film, portrait of a suffering man, portrait of suffering, insights into human nature?

2. The work of the independent film-maker? His script, cast, low budget? The locations, authentic, the aesthetic of the hand-held camera for realism? Framing, close-ups? The blend of portrait, action, tension? The overall effect? The musical score?

3. The style of photography, colour, naturalism?

4. Damien Lewis's performance, in every sequence? The introduction to him and his character, credible? Audience sympathy, puzzle and questions? Talking to himself, the Port Authority, the buses, the search, at the ticket counter, the touch of madness, the photo, the story about his abducted daughter, the search?

5. The development of his character, going out of the Port Authority, eating at the diner, sleeping out on the road, going to the hotel, paying, described as disabled, sleeping in his room, looking
for work, not finding it, buying the children's clothes, asking the woman the size, the drug deal, taking the drugs and its effect, his drinking the beers, the encounter with the woman, the sex in the toilet, casual, unprotected? The phone call and no answer? Audiences trying to assess his mental state?

6. His hearing Lyn and her daughter, giving them the hundred dollars, Lyn's reaction, his not having any expectations, not staying? The later visit, talking to Lyn, her life story? Her offering him the meal? The kiss, his going away? Her needs? His needs? Her having to see her husband, asking him to collect Kira from school, the parallel with his own daughter, going to the school, being late, taking her out, the various visits, the enjoyment, the meal, bringing her back, putting her to sleep? A certain audience tension as to what he would do? Care for the girl?

7. Lyn, her background, trying to make ends meet, her husband going north to get a job, trying to get him on the phone, her asking Keane to look after Kira? The phone call, her going to meet her husband? Her not getting back - and it seeming that she had abandoned her daughter?

8. Kira, her age, vitality, doing her homework, relating to Keane, longing for her father, asking whether he was going to be her mother's new boyfriend, at school, her chatting with Keane, the outing, her enjoying it, ice cream, going to sleep?

9. The plan, Keane taking Kira, going to the Port Authority, buying the ticket, saying they were waiting for her mother, at the bus station, the effect, her going to look at the dolls, buy
something, his change of heart, the decision to go back? The end of the film at that moment? Audiences anticipating his decision and behaviour?

10. A portrait of the mentally disturbed? The issue of whether his daughter had really been abducted or he had imagined it? The portrait of Keane, audience empathy - and the open end?

MIDWIVES

US, 2002, 92 minutes, Colour.
Sissy Spacek, Peter Coyote, Terry Kinney, Alison Pill, Susanna Hoffman, Piper Laurie.
Directed by Glenn Jordan.

Midwives is an interesting film about a middle-aged woman who has given her life as a midwife in a small provincial town. She is admired by everyone. Her husband is a respected architect. She has a fourteen-year-old daughter. When one of her clients dies in childbirth, the family trapped by snow and ice in the family home and the mother collapsing, the midwife decides to use a knife and a C-section to save the child. She is later prosecuted for negligence with a post-mortem indicating that the mother was alive during the C-section.

The film paints a portrait of the midwife and her family. With Sissy Spacek as the midwife, the film has a strong central character. Alison Pill (The King) is her daughter who plays a crucial role in the court case. Terry Kinney is supportive as her husband. Peter Coyote is the lawyer. Piper Laurie is a noisy neighbour.

The film focuses on the preparation for the court case, the elaboration of the trial. The witnesses give interesting information which is cross-examined by the defence and its shortcomings noted.

The film ends, as might be expected, with the vindication of the midwife. However, her daughter had taken two pages from her diary which were submitted in evidence, reflections by the midwife that she was not so sure the next day as she was when she began the procedure.

This raises moral issues of truth and integrity – a lesson which the midwife wants to instil in her daughter. The film is similar in its plot with the Lee Remick film, Jessie.

The film was directed by Glenn Jordan who had a long career in television with such films as Les Miserables and The Family Man and The Women’s Room in the 1970s. He had some success with films for cinemas like Only When I Laugh, The Buddy System and Mass Appeal. However, during the 80s and 90s he made a great number of significant telemovies including The Boys, Sarah Plain and Tall, Barbarians at the Gate, A Streetcar Named Desire.

1. The impact of this kind of telemovie? For the home audience? Portrait of a good woman? Crises? Trials and court cases? The overall impact?

2. The town, the winter setting for Sybil and her work? The ensuing months, the preparation for the trial? Homes, courtrooms? Authentic atmosphere? Musical score?

3. The title, the focus on birth, difficulties? The midwife and home birth? The medical profession and their observation of the skills of midwives – and the criticisms? The comments by some of the witnesses in the trial? The human support that the midwife gives? The challenge to midwives by this kind of trial?

4. The voice-over by Connie, the fourteen-year-old girl, her observations of her mother, the situation? Listening in to the adult conversations? Her support for her mother, her wariness of the lawyer, the bonding with her father? At school and the children’s taunts? Sensible for her age, the frank and mature discussions with her mother? Reading her mother’s diary – and the moral decision to take out the two pages where her mother expressed doubt? Reinserting them? Sybil’s response to this, Connie’s adult views on what had happened and why she did it? Her choice of a medical career and her working with pregnancy and birth?

5. Sybil, a good woman, love for her husband, for her daughter? Being very busy – and the husband feeling it? Trying to get time with her daughter, driving her to sport, concern about her boyfriends? Her dedication to her work, with Charlotte and her husband? The difficulty of the birth, getting the car, it subsiding in the snow sludge? Being trapped in the house? The decision to induce the birth, Charlotte’s collapse, Sybil judging that she had died? The decision then to save the child, getting the knife? This being quoted against her? Anne and her support – and the later testimony against her, the husband’s testimony against her? Her surprise at her being charged? The result of the autopsy? The decision to get the lawyer, the discussions with him? Her knees being photographed for evidence of the snow and the difficulties? Her strong-mindedness, writing in her diary? Her conduct in the court? Her being found not guilty? Her pondering, seeing that Connie had taken the pages out of the diary? Her discussions with her? Her continuing to help as a midwife – but giving it up? Her losing her confidence?

6. The portrait of Sybil’s husband, his work, feeling neglected, yet supportive, his understanding his daughter, wary of her boyfriend? His sensible talks to her about how Sybil was feeling during the trial? A good man?

7. Stephen Hastings, a good lawyer, listening to the situation, giving sound advice, being present with Sybil? Attracted to her? His work in the court case, the cross-examinations, bringing out the weaknesses of arguments? His victory – but not staying around?

8. The trial, the witnesses, Anne and her outburst about Sybil? Her inadequacy? Acer, the memory of his wife, his grief, his changing his testimony? The various doctors, opinions, the doctor against midwives? Whether Charlotte was dead or not, the evidence about her blood?

9. Acer, as a man of God, love for his wife, his grief, Sybil saving a son for him?

10. The friends and neighbours, their concern, their support? Cheryl Visco and her loud style, support? The celebration after the trial?

11. The film and its support of intelligent amateurs, those who bring a human face to medical issues? The dilemma about training and experience? The role of the law – and the viciousness of prosecution? Vindication?

TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY

US, 2006, 108 minutes, Colour.
Will Ferrell, John C. Riley, Gary Cole, Jane Lynch, Michael Clarke Duncan, David Koechner, Leslie Bibb, Amy Adams.
Directed by Adam Mc Kay.

For the first twenty minutes, it seemed as though this was going to be a long haul – a very long haul. Much as I have enjoyed Will Ferrell in Anchorman and Elf, there is always an Old School and some of his cameos. There are some jokes but…

After a while, I found that it was amusing in a heavy-handed kind of way. Ricky Bobby has been inspired by a brief and rare visit from his rather deadbeat father (Gary Cole) who gives him an exhortation about being a winner. Since he loves ‘going fast’, the Talladega track seems to be the obvious place to be. When he gets a chance to drive, there is no looking back. He becomes a racing celebrity, an icon on television (and some satirical commercials) and is a paragon of vanity and arrogance.

Then comes his nemesis in quite a funny parody of everything French by Sascha Baron Cohen as a rival driver. After that it uses the old formula where the proud man falls and has to learn a lesson. Although, this being a Will Ferrell comedy, the way to humility is full of oddball humour. Lesson learned and a happy ending.

There is strong support from John C. Reilly as his worshipping but dumb friend (even when marrying Ricky Bobby’s wife) and Jane Lynch as his mother who takes his obnoxious two sons in hand and teachers them manners, highway litter cleaning and singing in the church choir.

Loudly American in its style (and in under two months it took 140 million dollars at the US box-office), it has its crass moments (which are generally funnier than the usual crass crass) but, on the whole, it is amusing and has its moral lesson about self-centredness.

1. The popularity of Will Ferrel comedies? His screen presence, style? Satiric? Knockabout?

2. Americans and their love for cars, speed, racing? The champions? Winners and losers – and Ricky Bobby’s father’s philosophy about winners and losers?

3. Ricky Bobby as driven, ambitious, ruthless, the difficulties – and his having to learn a moral lesson? All this in knockabout comedy style?

4. The North Carolina settings, the town, the school, the house, affluence? The track?

5. The races, the track, the stunts, the teams, the crashes, the rescues?

6. The musical score and the songs?

7. The title, the tone, the heightened story because of the ballad?

8. Ricky Bobby as young, his parents, in the car, the rush of his being born, career day in school, his father turning up, the dull speech from the previous parent, Ricky Bobby’s father and his style, offending, winners and losers?

9. Ricky Bobby as an adult, on the team, working hard with the team, Lucius and his control over the group, the moody driver, opting out and eating, Ricky Bobby volunteering, going in, the drive, the win?

10. His career, the initial poor television interview and his stumbling, his changing style as he won, more outgoing, boastful? Cal as his friend? From school? The team? Carly and her flirting, marrying him, the two kids? At home, cheeky, spurning their grandfather? The long grace and the comic touches – and his devotion to Baby Jesus? His boasting during his grace? Cal and his continued support?

11. The headlines, celebrity, the range of advertising and commercials, the jokes? Money, expectations, his presumption? Yet his not allowing Cal to win? Ricky and his support from Mr Dennit Senior? The clashes with Larry Dennit? The rivalry?

12. The arrival of Jean Girrard, Sascha Baron Cohen and his comic style, impersonation of the French, the accent, the vocabulary, the French manner, his having a husband, the homosexual jokes? Defiance, interviews? His winning? The clash between the two, Ricky and his mockery of Jean, Jean breaking his arm? Ricky Bobby and his failure in the face of Jean Girrard’s success? Larry Dennit and his joy?

13. The character of the Dennits, Larry Dennit and his meanness, promoting Jean Girrard, his wife and her continually drinking, meeting the sponsors, the issues of money – and his dismay at Ricky Bobby’s final success?

14. Ricky Bobby and failure, his imagining himself being on fire, rushing around madly, stripping off, his collapse? Cal and his reaction? Ricky Bobby and delivering pizza? His wife going to Cal, the planning for the wedding, Cal moving into the house? In the hospital, Lucius and Cal and their trying to persuade him that he was not paralysed, his stabbing his leg? His father ordering the pizza, his delivering it to him, the possibilities of their discussion and a future together?

15. His life collapsing, going to his mother, taking the children, her being stern with them, teaching them manners, cleaning up litter on the highway, taking them to the church choir?

16. His father meeting his mother, the meal, the discussions, their being ousted? His father training Ricky, telling him that the drugs were under the car and that the police were chasing him, his recovering his ability for speeding?

17. The discussions with Jean Girrard, Girrard and his willingness to bow out if he were beaten by Ricky Bobby?

18. The final race, Cal and his support, Ricky and his motivations, the team and their being supportive? Dennit and his ordering the crashes? The final race between Jean and Ricky, the crashes, their running to the end? The disqualification, Cal coming in – and his joy of winning?

19. Ricky Bobby, the experience, humiliation, his support from Susan, her being in love with him – and the family going to the restaurant for the meal together? Ricky Bobby learning his lesson?

20. The satirical dialogue, the wisecracks, the knockabout comedy? All combining for a very successful comedy?

CHAMPAGNE FOR CAESAR

US, 1950, 100 minutes, Black and white.
Ronald Colman, Celeste Holm, Vincent Price, Barbara Britten, Art Linklater, voice of Mel Blanc.
Directed by Richard B. Whorf.

Champagne for Caesar is very much a film of 1950. However, the entertaining screenplay and the performances ensure that it is still very entertaining.

Ronald Colman, in one of his final roles, is an unemployed genius. Interested in a television quiz, he goes on and decides to win all the money and the soap company which sponsors the show. The owner of the company is played with great eccentricity and mannerism by Vincent Price. Art Linklater, the radio and television host, later to become author, anti-drug campaigner and humanitarian, is the compere. (Linklater was still living at the beginning of the 21st century in his 90s with his wife whom he married in 1935.)

Colman is superb as presenting the unflappable Englishman. He had many excellent roles in the 1930s including the classic Tale of Two Cities. He won an Oscar in 1947 for A Double Life. Celeste Holm is the villain who falls for him – she also won an Oscar in 1947, best supporting actress for Gentleman’s Agreement. She was also nominated in following years for Come to the Stable and All About Eve. She had appeared in such films as High Society but concentrated on television as did Barbara Britten who plays Ronald Colman’s sister.

The film shows the popularity of quizzes in the American entertainment world. It also shows the beginnings of commercial television and the popularity of radio as well as poking fun at sponsors and advertising.

Caesar of the title is a parrot who is able to talk – but also is a recovering alcoholic (voiced by Mel Blanc who was to voice many characters in cartoons in Hollywood).

1. An entertaining comedy? Of 1950? Of media, television and radio, the popularity of quizzes, audiences, sponsorships? Its relevance in later decades?

2. The black and white photography, Los Angeles, the city and homes, the studios? Offices of big companies? The musical score?

3. The plausibility of the plot – the unemployed genius, his answering quiz questions, his plan to win the soap company? Later quiz champions – on such programs as Jeopardy?

4. The opening, the tongue-in-cheek looking at Frosty, her sunbaking, the men looking at her – and her then becoming a minor character in the film, sympathetic?

5. Beauregard Bottomley as her neighbour, his imperturbable reading, his reading everything, knowing everything? The confirmed bachelor? Living with his sister Gwenn? Their going to watch the science program in the shop window, stopping to watch the quiz program? His thinking that the quiz was the destruction of knowledge and education? His decision to go on the show, his winning? His decision to continue – and the growing popularity, being a celebrity, in the papers and magazines, people wanting his autograph? The build-up to the forty-million-dollar question? His going to the employment agency, genial, going to the soap office, the eerie atmosphere, voices but no people, people appearing and disappearing? His going to Burnbridge Waters’ office? His reaction to Waters? His answering him back, Waters dismissing him? His motivation for wanting to take the factory over?

6. Burnbridge Waters, Vincent Price’s idiosyncratic performance? His voice? Sitting in contemplation and not in contact with the world? His suddenly coming to? The first meeting with Bottomley, not employing him? The show, his fears with Bottomley’s success? The board meetings and his high-handed treatment of his staff? The plans and plots with Happy Hogan? His desperation? Meeting Bottomley and taking him around the factory? His getting ideas? His scheming? His calling in Flame O’ Neill? Wanting to upset Bottomley? The questions, his being in the studio and watching? Flame getting the question about relativity? Einstein himself ringing in to confirm that the answer was correct? The final deal with Bottomley?

7. Happy Hogan, the genial announcer, his meeting with Gwenn, not noticing her, polite? Waters forcing him to find out more about Bottomley’s real life? His falling in love with Gwenn, their going out together, Bottomley’s suspicions? The build-up to the sessions, the final question? His wanting to marry Gwenn whether Bottomley had money or not?

8. Flame O’ Neill, hard-hearted, the set-up, coming in as Bottomley’s nurse, her performance, sleeping on the couch, laughing? Upsetting him? Flirting, twittering, not coming on the date, setting him up with the explanations? Getting the question out of him? His falling in love with her, going out, her terrible driving? At the studio? Her change of heart? Her wanting to marry him even if he had no money? The happy ending – and his having the car and all the wealth?

9. Gwenn, commonsensed, the piano lessons, Gerald and his visits and comments? Her attraction towards Happy Hogan, his not noticing her, Bottomley and his disregard, undermining her relationship with Happy Hogan? Her suspicions of Flame, her turning the tables on Bottomley? The final show, his losing? The issue of the money? Weddings?

10. Gerald, the neighbour, helpful? Frosty and her helping out?

11. The visualising of the show? The audiences, the cult of celebrity? The sponsorship? The issues of popularity of the soap, the popularity of the program and the interrelation between the two?

12. A bright comedy, performances, witty dialogue, satirical approach?