WHAT THE DEAF MAN HEARD

US, 1997, 100 minutes, Colour.
Matthew Modine, Tom Skerritt, Judith Ivey, Claire Bloom, James Earl Jones, Jerry O’ Connell, Jake Weber, Bernadette Peters, Anne Bobby, Stephen Spinella, Frankie Muniz.
Directed by John Kent Harrison.

What the Deaf Man Heard is an appealing film. It comes from the Hallmark Channel and its Hall of Fame series of telemovies. These films are for the widest possible audience, humane and emphasising values. Hallmark also tried to employ top Hollywood casts. This film is a case in point with a very strong cast.

The film is set, first in1945 and then in the mid-1960s in Georgia. It centres on a young boy whose mother disappears (he does not know until he is an adult that she was murdered) and seems abandoned on a bus. The reason for his destination is revealed at the end in what, at first, seems an extraordinary coincidence. To survive he pretends that he is both deaf and mute, and continues this into his adult life.

There are complications about life in the town, his being cared for by the director of the bus terminal and the cook at the local diner. They are played by Tom Skerritt and Judith Ivey. The boy is played by a very young Frankie Muniz who grows up into Matthew Modine. There are also other complications in terms of the church, affluent families, burning records by a pop British group of the mid-60s here called the Weevils – but whose images look remarkably like the Beatles. There are also legal complications with the son of the rich family embezzling money from the church.

The film is interesting, entertaining, well acted. It was directed by John Kent Harrison who made the popular telemovie about Pope John Paul II with Jon Voight in the title role.

1. A humane film? The Hallmark Channel? Values-oriented films? Strong casts?

2. The re-creation of Georgia in the 1940s and the 1960s? The town of Barrington, the café and the bus depot, homes, the affluent, the church? The open road? The musical score?

3. The title, the focus on Sammy – and the irony of what he heard over the years?

4. The prologue, Helen and her love for Sammy, getting ready to leave, going to the bus, his question about why she was Miss rather than Mrs, the music box? His going to sleep, at the bus stop, her getting out, having a drink, dancing, unable to get back to the bus, the brutality of her murder? The driver’s opinion of her – a low opinion?

5. Sam and his arrival at Barrington, the sequences with the Tynan children – and the later irony about his relationship to Mr Tynan? The coincidence of Mr Tynan’s death at that time?

6. Norm, a good man, talking with the driver, Sam and his being mute, Norm talking to himself, his affirmation of Sam, caring for him over the years? Lucille and her kindliness? The bond between Norm and Lucille – polite over thirty-two years? Tolliver Tynan and his setting off the cherry rocket to test whether Sammy was deaf? Setting the tone of the film?

7. Norm, the background story, his marriage and the death of his family, his friendship with Lucille, work at the bus depot? His outings on Saturdays – and the revelation of his searching over the years for Sammy’s mother, the discovery of her murder, providing a headstone? His being a father figure? Sammy growing up, Norm protecting him, Lucille urging him to let him go? Wariness about the bonfire of the Weevil records? The discovery that Sammy could hear and speak, his reaction, Lucille calming him? Helping with Mr Tynan’s will? The end, the farewell? As a strong and genial character? Lucille, her age, homely wisdom, continued support of Sammy – and considering her Aunt Lucille?

8. Sammy’s voice-over, his stances? The taking on of the silence, hearing people talk, speaking more openly thinking that he was not hearing them? His listening? His being exploited by people around the town, odd jobs? Tolliver Tynan and his spurning of him? Getting him to do jobs in the church, at his home? His attraction towards Tallasse? Her going away to college? Mrs Tynan and her spurning of him? The friendship with Archibald Thacker? His sons? His knowing what was going on with the moonshine and hiding it in the baptismal font? His respect for Norm, love for Lucille? His way of life?

9. The Tynans, the aristocratic mother, her not understanding her daughter, doting on her son, refusing to take her pills, the arguments at home? Criticising her daughter playing the piano? Tolliver, his age, arrogance, his deals with Percy, the church insurance money, the deals? His confidence? Meeting the man who drank with the map about the interchange? His willingness to commit fraud, the mistaken map, the mosquito swamp? Borrowing further money – and people rejecting him, his threats? His taking on the bonfire of the Weevils records as getting a higher profile? The fire in the church, no insurance, his being taken to court? His mocking Sammy in the court? His shock when Sammy spoke? His mother collapsing and dying?

10. Tallasse, her education, confiding to Sammy without her realising it that she was adopted, playing the piano, her tense relationship with her mother, her sharing things with Sammy at the end, his explanations? The final and her being in the bus?

11. Archibald Thacker, a successful black man in the south, his wealth, home, work, distilling the moonshine, hiding it in the font, his sons and their quoting Shakespeare? The lawyer fronting his firm? His dealing with Sammy, getting more money out of Tolliver?

12. The Reverend Perry Ray Pruitt, just out of the seminary, having to stay with the Tynans, his initial sermon and making a failure of it, urging people to the font? His awkwardness, his prayer, Sammy listening in, reading the article about the Weevils, the idea of the bonfire, it getting out of hand, Sammy and his building the fire with the Thacker boys? His poor TV interview, the fire in the church, his going in to rescue people, the hero? Baptising people? And playing ball with the firemen?

13. Sammy and his hearing all the defrauding deals between Tolliver and Percy? His being sworn in the court – and saying, “I do”?

14. The explanation of the provisions of the Tynan will, Sammy being the elder son, Tolliver going to jail – and the girl in the bus? Sammy and his providing for everyone? His future?

PULSE

US, 2006, 90 minutes, Colour.
Kristen Bell, Ian Somerhalder, Christina Milian, Rick Gonzales, Jonathan Tucker.
Directed by Jim Sonzero.

Pulse is a Hollywood remake of the Japanese horror film, Kairo (2001). The screenplay has been adapted for an American setting with young students and computer hackers. The screenplay was written by Wes Craven who was initially going to direct the film.

The film is set on a campus, has young people making connections on the internet – but making connections to a world beyond this one. And the connections can’t be shut down – and they have dire effects, transforming people after killing them, making lives bewildering, a technological infection of the world. Can it be stopped? Who will stop it? What lessons can be learnt?

Not a particularly startling thriller but does have some atmosphere. It is like many of the remakes of the Japanese horror films of the late 1990s and the early 2000s.

1. The popularity of this kind of horror film? Ghost story? The relationship with modern technology? Based on an original Japanese film?

2. The adaptation from Japan to the United States? Characters, situations, themes? The credibility of a ghost story in the United States?

3. The colour photography, unsaturated? Atmosphere – with more sunshine at the end denoting optimism? The city, the campus? The university halls, apartments? The interiors of rooms – especially with technology? The atmospheric score?

4. The title, the ghosts, life beat? Death?

5. The initial focus on Josh, his experience in the university, in the library, seeing the ghost and being taken over? His withdrawal from contact, with Mattie? The later explanation – on the video on the computer screen? His virus, his wanting to control it, wanting to see the designer? Pleading, out of control? His going to the library, consumed by the ghost? The black marks? Mattie going to see him, his sudden appearance, hanging himself? His apology to Mattie?

6. Mattie as the heroine of the film, seen with Isabell, Stone and Tim? Talking, her worry about Josh? Going to see him, frightened by his appearance, the decaying state of his apartment? His killing himself? Her going to see the psychiatrist, saying she didn’t want to talk, weeping, talking, her concern that she was responsible? That she could have done something? His reassuring her? Her receiving the message on the computer screen asking her forgiveness?

7. Isabell, her friend, sharing rooms, her relationship with Tim and Stone? Isabell and the concern about Stone, support of Mattie, going to see Stone, infected – and being destroyed?

8. Stone, computers, his personality, relationship with Mattie and Isabell? His volunteering to go to Josh’s room, the search, his being infected, his being discovered – and his being destroyed? Tim, friendship? His being infected?

9. Mattie, going to the landlady, her cleaning up the room, repainting? Her having sold the computer? Giving her the information, her going to see Dexter? Her being upset because of the messages from Josh, the computer not turned on? The clash with Dexter?

10. Dexter, personality, his car, computers, paying for the computer? Turning it on, suggesting that Mattie see what was there, his being able to download Josh’s video diary? The revelation? The attempts to destroy the hard disk? Its rebooting? The going to the car, the escape, the pursuit by the ghosts?

11. Dexter and Mattie, out of mobile phone signal reach, away from computers? The message from the radio – the possibility of saving the world without the technology?

12. The film’s theory about ghosts being able to infect viruses, come through the computers, take on a life of their own, overwhelm humans and destroy them?

13. The plausibility of this kind of theory – at least, in this kind of science fiction, ghost, horror film?

THE MAGIC FLUTE

UK, 2006, 135 minutes, Colour.
Joseph Kaiser, Amy Carson, Rene Pape, Lyubov Petrova, Benjamin Jay Davis, Silvia Moi.
Directed by Kenneth Branagh.

The Magic Flute is one of Mozart’s most popular operas. It was written for popular production and audience. A lot of significance has been read into The Magic Flute, especially sinister Masonic connections (although critics say that in many countries in Europe at the time, the Masonic brotherhood was not as sinister as was later made out).

However, these aspects are not to the fore in this lively and attractive version of Mozart. Already, in 1976, Ingmar Bergman had made a film version of The Magic Flute. This time, Kenneth Branagh brings his awareness of theatre and the staging of musicals on screen to presenting The Magic Flute. He has also decided to use an English language libretto – adapted by writer and actor, Stephen Fry. The text of The Magic Flute sounds particularly well in English.

The setting is World War One and the film opens with a long shot (compiled by clever editing) as the camera sweeps over the battlefields of World War One and life in the trenches. This setting of the trenches is important for the central character of Tamino, the hero and Papageno (who keeps the canaries to detect the presence of gas in the trenches and has an American accent). However, the film makes the transition from the trenches to the magic kingdom which is ruled over by Sarastro. The Queen of the Night asks Tamino then to rescue her daughter Pamina from Sarastro. However, things are not what they seem, villains are not necessarily villains and the Queen of the Night is not necessarily a queen on the side of light.

For film buffs, the staging of the opera, the presentation of the singers and their songs, the performances illustrate the talent of Kenneth Branagh. He had already brought to the screen versions of Shakespeare, Henry V, Much Ado About Nothing, Hamlet, Love’s Labour’s Lost (as a 1930s musical incorporating songs from Cole Porter, the Gershwins and others). At the same time he directed a version of As You Like It.

The film is exhilarating in its visuals, performances, singing, Mozart’s music – a satisfying adaptation of Mozart for the cinema screen.

1. The long appeal of The Magic Flute? Mozart’s music? The libretto? The use of imagination? The conflict between good and evil? Heroism? The comic touches? A popular opera?

2. Opera to screen: the adaptation of the libretto, the use of the score? Writing a cinematic screenplay? Deciding on the point of view for the audience on characters and incident? Editing and pace? Matching image to music? Special effects? How well handled here?

3. The transition from the time of Mozart to 1916? The 18th century sensibilities and mentality to the 20th century? War and struggle? World War One? The battles? The transition to the fantasy battles – as symbol of what was happening in the world?

4. Kenneth Branagh’s career as director, imagination, adapting Shakespeare? The skill of Stephen Fry in the contemporary English version of the libretto?

5. The opening, the long introduction, the battlefields of World War One, the trenches, activity? The seamless presentation of the opening? Life in the trenches? The battles? The transition to the kingdom of Sarastro? The castle? The experience of the Queen of the Night?

6. Tamino, as a soldier in war, active, with his fellow soldiers? With Papageno? His vision of Pamina? The flashbacks and the elegance of the black and white ballroom scenes? The encounter with the three women in their various guises? With the Queen of the Night? Her condemnation of Sarastro, the mission to rescue Pamina? The reality of Sarastro, the castle, Pamina? The change in attitude of Tamino? The vow of silence – and Papageno’s breaking it? The various tests, endurance, shared with Pamina? The final rescue and the heroism?

7. Pamina, her relationship with her mother, with Sarastro? Her seeming to be in prison, Tamino and his wanting to set her free, her falling in love, the flashbacks, the true nature of Sarastro, the tests and her endurance?

8. The Queen of the Night, the three women who acted in chorus, as commentary, as seductive, as scheming? The choice of Tamino? The background of the mission, the Queen of the Night and her evil, reappearance, frustration and defeat?

9. Sarastro, initially presented as a tyrant, his court, his character? The revelation of the truth, meeting Tamino, genial, with Papageno, imposing the vow, the tests, the final confrontation of the Queen of the Night?

10. Papageno, American, comic, his patter, his companionship of Tamino? His dreams of Papagena? His talking, breaking the vow, finally the vision of Papagena and the happy ending?

11. The role of the flute, magic, symbol, held aloft at the end?

12. A 21st century experience of opera, opera in cinema – and a transferral of the 18th century to the 21st century?

LITTLE MISS SUNSHINE

US, 2006, 101 minutes, Colour.
Greg Kinnear, Toni Collette, Steve Carell, Abigal Breslin, Paul Dano, Alan Arkin.
Directed by Jonathan Dayton and Valerie Faris.

On paper, this film seems unexceptional, a road movie with a (very) dysfunctional family driving from New Mexico to California so that the young daughter can participate in the Little Miss Sunshine pageant, one of those American institutions where six and seven year old girls are dressed and made up to look like provocative sex symbols and have to parade, sing and dance as if their life depended on it.

Well, this synopsis (which does not contain a half of what happens) may not appeal. But, with the smart writing, the very good performances and a satiric tone, Little Miss Sunshine turns out to be an intelligent, sometimes incisive portrait of odd America which ends in a surprisingly positive way.

Pre-credits quickly introduce and establish the six characters who seem to be in search of some kind of identity. Richard (Greg Kinnear) is a pro-winner, anti-loser who has a 9 step system for success which he hopes will be published, otherwise they are bankrupt. His wife Sheryl (Toni Collette) is divorced with a teenage son and has married Richard and they have a daughter. She is, by and large, the sensible one and the family anchor. However, her brother Frank (Steve Carell) has attempted suicide because a student he has fallen in love with has rejected him and gone off with a rival professor, expert on Proust. Dwayne (Paul Dano) is the son who wants to be a jet pilot but has read Nietszche and has taken a vow of silence. Olive (Abigail Breslin) is a bespectacled, curious young girl besotted with pageants. And Grandad (Alan Arkin) lives with the family, snorts drugs and expresses a permissive philosophy of life to all and sundry.

That’s just the beginning.

Actually, we get to know the characters quite well and learn to have some sympathy for them. Their journey has its hilarious moments (including a running running joke about pushing their bus and hopping in as it revs up). It also has its clashes and disappointments. There are some fine moments as when Grandad offers some heartfelt support to Richard when his plans collapse, when Frank tells his story to Dwayne, when Dwayne discovers he is colourblind.

The pageant is all that we expect it to be – except for everyone realising that Olive does not need to do this, except for the surprise at the dance moves that Grandad taught her, and the grand finale on stage.

The screenplay is very critical of the characters but offers them the possibility of waking up to themselves and the possibility of a better life.

1. The appeal of this black comedy? Strong satire, kinder satire? Offering some kind of emotional resolution – for the characters and the audience?

2. The settings, Americana, New Mexico and the ordinary household, the open road through the desert states, Arizona, California and the hotel and the beach?

3. The title, the pageants, the American style for children’s pageants, treating them as adults, little girls, glamour, dress, sexy, singing and dancing? The film’s critique of the pageants? A symbol of Americana? Yet the family joining in to support Olive at the end?

4. The introduction to each of the characters: Mood - Olive, watching the television about the pageants and the reactions of the beauty queens and their winning, her imitating them? Richard, his lecture on the nine steps for success, his strong emphasis on success – and finding the small group in the class and the mild applause? Dwayne and his bodybuilding exercises? Sheryl and her driving, smoking, going to the hospital, helping Frank? Frank, his story, being in the hospital, the suicide attempt? Grandad and his snorting the drugs? The overall effect of this introduction?

5. The dysfunctional family, the comparisons with other films about dysfunction? Her being the anchor of the family, preparing the meals (though takeaway)? Giving the orders in the house, having respect yet nice? Her exasperation? The discussions at the table? The pageant and the conditions about going, her making the decisions? Her reaction to Richard and his nine steps, Richard and his control, interrupting, dominating the conversation? Dwayne and his sharing the room with Frank? Dwayne and his wanting to be in the air force, fly jets, reading Nietszche, his vow of silence? Olive, her reaction to the pageant, squealing around the house? Grandpa and his blunt talk? Frank and his story, his explaining it at the table, Olive’s curiosity?

6. The revelation at the meal about Richard, his book, his phone calls? High hopes?

7. The decision about going, the plane or the bus, in the bus, the conversation in the bus, Olive listening to the music, Grandpa and his blunt talk, the breaking of the gears, the continued running joke of starting the bus and getting in? The motel, Richard and Sheryl and their fight about the book? Dwayne listening in? Frank telling him not to listen? Grandpa and his death? The police holding up the bus, the horn, discovering the pornography – and liking it? The test for Dwayne about being colour-blind, his discovery, his tantrum, not being able to fly jets? Their waiting for him, Olive going down and simply being with him, changing his mind, his coming back up? The time limit, hurrying to the pageant, driving on the one-way lanes?

8. At the pageant, the official and her officiousness, not allowing them to register? The kindly assistant and his comments – and his later applauding Olive? The style of the pageant, the children and the make-up, the clothes, their age around six and seven, being provoked to be sexy? The parents and their fussiness, all applauding? Frank hurrying to get the registration, Sheryl and Olive and the change into the costume, Richard handling the funeral directors? Frank and Dwayne and their going off to have a talk on the pier, their discussions about suffering and unhappiness, that Dwayne would be missing out on a great deal of suffering and character development if he omitted high school? The performances? Olive and audiences not knowing what to expect, the family saying that she didn’t have to go on, her father supporting her – and her always being worried about being a loser? Her decision to go on, everybody aghast at the striptease routine – though with the baggy clothes? Her father applauding her, the rest of the family joining in, going on stage, the few applauses, the reaction of the official, their being kicked out by the police?

9. The character of each – type, story, flaw, change?
- Richard: the lecture, his theory about winning and losing, the few in the class, the hopes for the book, the continued phone calls, going to Scottsdale to confront the agent and his being disappointed? Bankruptcy? Control, discussion about food, the situation in the diner with Olive and the ice cream, the family combining against him? And Olive later asking Miss America whether she ate ice cream or not? His reaction to Frank’s suicide? Driving the bus, the problem with the gears and Sheryl driving, going to the garage? The clash with Sheryl? His father’s death? The horn, the police and his fear, the pornography? The arrival, driving desperately to the pageant? His supporting Olive, handling the situation? The funeral directors and the body? His memories of his father affirming him in the bus? The experience, supporting his family, the destruction of his hopes – and the possibility of a more sensible life?
- Sheryl: sensible, her love for Frank, sister? Taking him home? The meal, organising, Frank telling his suicide story and letting Olive ask the questions, the issue of the pageant, the decision to go, her exasperation, her interactions with each? Her continued looks – especially while driving, listening to everyone talk? The motel, her disappointment about the book? Grandpa’s death? The police, Dwayne and his tantrum, trying to persuade him to come back, his saying that he hated her, her being a divorcee? His coming back, the pageant, supporting Olive?
- Grandpa, snorting the drugs, his blunt talk about sex and promiscuity, talking to Dwayne in the bus, his blunt comments about homosexuality? Yet his love for Olive, teaching her the moves – and everyone surprised when they were striptease? His talk in the car, rehearsing with Olive, his strong affirmation of Richard with his disappointment? His death, in the hospital, the comedy of everybody getting his body out the window and into the bus?
- Frank, the suicide attempt, his being an expert in Proust, his falling in love, sacked, the professional jealousies, the book by the other author, the other author taking his lover? With Sheryl? Sharing a room with Dwayne, telling his story at the table? The decision to go with the family? Silent, receptive, Grandpa wanting him to buy the pornography? His meeting the boyfriend in the shop, seeing the author in the car, reading the paper about the success of the book? Helping in the hospital with Grandpa? Going to the pageant, talking to Dwayne on the pier, the bond between the two?
- Dwayne, doing the exercises, wanting to fly jets, reading Nietszche, the vow of silence, writing his messages down? Saying that he hated everyone? His being present with the family, going on the trip? His urging Olive to hug his mother in the hospital with her grief? The colour-blindness, his outburst, the destruction of all his hopes, talking again? The bond with Frank? His supporting Olive?
- Olive, her age, curious, squealing and caught up in the world of the pageants, listening to the music, rehearsing, with Grandpa, his death? Her hugging her mother? Her hugging Dwayne and helping him back into the bus? The pageant, getting ready, the possibility of not going on, the family urging her and not worrying about whether she was a loser or not? Her performance?

10. The officious pageant official, demanding on time, the performances, her anger with the family and ousting them?

11. The police, holding up the bus – and the surprise about the pornography?

12. The hospital, the doctor and his yelling for the grief counsellor, the grief counsellor and her standing on dignity?

13. The final performance, the family joining in with Olive, everybody joining in, each member of the family reconciling and realising their foibles? The happy ending?

BELLE TOUJOURS

Portugal/France, 2006, 73 minutes, Colour.
Michel Piccoli, Bulle Ogier.
Directed by Manoel de Oliveira.

Belle Toujours is the fortieth film from Portuguese director Manoel de Oliveira. He directed it at the age of ninety-seven. (Five other projects are listed in his CV after Belle Toujours.)

He began directing films in 1931 and had what can now be seen as an almost eighty years career. His films are often very difficult, old style, with dialogue and touches of surrealism. However, at the age of ninety-five, he made Un Filme Falada (A Talking Picture) which was a serious observation on the development of Europe and the European Union, Europe as a centre of culture and historical heritage, terrorism in the beginning of the 21st century.

However, with this film he looks back to Bunuel’s Belle du Jour with Catherine Deneuve and Michel Piccoli, 1966. The story takes up the characters forty years afterwards, Michel Piccoli once again as the man about town who encounters Severine, this time played by Bulle Ogier rather than Catherine Deneuve. They agree to meet, have a meal together, he then takes her back through their past and the years afterwards. The film is very strong on dialogue, has excellent performances, is an interesting postscript to Bunuel’s film.

1. The work of Oliveira over the decades? This film made when he was in his mid-nineties? The assured touch? Cinema style? Themes?

2. The Paris settings: the initial concert, the streets of Paris by night, by day? The panoramic views of Les Invalides and the Eiffel Tower? The first Arrondissement? The hotel? The bar? The musical score – classical music? Light classical?

3. The focus on Mr Husson at the concert, listening to the performance, seeing Severine, looking at her, trying to attract her attention? His trying to get out early, her escape, in the car, his waiting? Audiences wondering about the relationship between the two? His walking the streets, going into the bar, seeing her leave? His discussion with the bartender, getting the name and address? The two prostitutes in the corner looking at him, his ignoring them? His having the double whiskies? The friendship with the barman? His return the next day, the barman recognising him and getting his favourite drink? The two women, their continued comments, trying to listen to what he said? His buying them drinks? Their comments on him and his sexuality? His talking to the barman, the issue of people making confessions to those whom they don’t know? The barman and his personality, attractive to the women, friendly with the drinks? Listening to the story? Severine’s story and his amazement – and his comments that the prostitutes lived ordinary lives in comparison? That they were angels in comparison? Mr Husson and his ease in telling the story to the bartender?

4. Going to the hotel, paying off the concierge, just missing Severine, her trying to escape, telling the concierge not to tell Mr Husson where she was? His doing it, following, getting away in the car?

5. The chance meeting at the corner, the shop, audiences observing them talking, Severine going away, Husson buying the box?

6. The hotel, the preparation for the meal, his waiting impatiently? The waiters? Severin’s late arrival, the champagne? The initial talking, the memories of the past? Audiences realising that she was the woman of the story, the masochistic woman who wanted to experiment with sexuality with her husband’s best friend, the daring? While loving her husband? The unease at the meal?

7. The meal itself, the fact that de Oliveira could direct a long sequence of the protagonists eating three courses without any conversation? The close-ups, the medium shots, the waiters, the various courses, the relish in eating them, the drink? Hussan and his continued double whiskies?

8. The conversation after the meal, Hussan and his reminiscences, his memories of the past? The contrast with Severine, her change, saying she was not the same woman? Her love for her husband? Her looking back over her behaviour, seeing her guilt and responsibility? Discovering a conscience, a deeper religious sense, thinking of finishing her days in a convent? His rather cynical reaction? Her main desire was to know whether he had ever told her husband the truth? His build-up to the confession, giving her the gift, a memory of the past, her rejecting it? His giving the option about what was truth and what was lies – and her rushing from the room? Her never knowing?

9. Mr Hussan, his leaving the room, tipping the waiters with the money from her purse? The waiters clearing up everything and leaving?

10. The religious dimension of de Oliveira’s screenplay? The tribute to Luis Bunuel and Jean Claude Carriere, the play on names of Belle du Jour? Belle du Jour forty years later? Sexuality, experimentation, perversion? Change of heart, growing older, love and fidelity? Severine’s widowhood? Her learning the meaning of what she had done, her not wanting to have hurt her husband? De Oliveira’s particularly Catholic perspective on the post-Belle du Jour story?

NUE PROPRIETE (PRIVATE PROPERTY)

Belgium/France/Luxembourg, 2006, 95 minutes, Colour.
Isabelle Huppert, Jeremie Renier, Yannick Renier, Kris Cuppens.
Directed by Joachim Lafosse.

Nue Propriete is a small film which has quite a dramatic impact. Part of the strength of the film is the central performance of Isabelle Huppert, an actress who always looks the same in her films but is able to incarnate an enormously wide range of characters.

Here she plays an angry divorced woman, angry with the husband who has walked out on her and has married his second wife and has a new family. She still lives in the old house, resentful of his absence. But she also lives with her two sons who act in a very immature way: one stays at home and works with his hands around the place, the other a student. (They are played by real-life brothers Jeremie Renier and Yannick Renier – Jeremie Renier being the young man in the Dardennes brothers’ The Child.)

The film is in some ways claustrophobic, much of the action taking place in the family house, the interactions of the mother with her sons, the playfulness between the two brothers, the gradual jealousies and an outbreak of violence. The film also focuses on girlfriends – and a dramatic climax with one brother in his anger accidentally injuring his brother – quite severely. This accident does bring the family together, although there is no possibility that they will be reunited. The main hope is that there will be some kind of understanding and rebuilding of relationships.

Well written and well acted, the film also won a Signis commendation at the Venice film festival in 2006.

1. A slice of life? A glimpse of people, homes, lives, decisions, mistakes, failure – and possibilities?

2. The French dramatic style, the focus on families, the interiors of homes, breaking relationships, the emphasis on meals, tensions, sexual relationships, crises? How well were they used in this film?

3. The focus of locations on the family home, the grounds, the surroundings, the interiors? The few other locations, the other homes, the streets? The musical score – and the final music during the credits of Mahler and the Resurrection Symphony?

4. The title, the focus on property, ownership, claims, money, permissions and permits, agreements, disagreements, support, rights, divisions?

5. The family history: Pasquale and Luc and their marriage, Luc inadequate as a husband, angry, leaving, a loving father, not coping, remarrying after the divorce, his new wife, the baby? His love for his sons, dealing with his former wife, his being an absent father, his visits, Pasquale and her eruptions at his visits at the home? The angers, life, dependencies, needs, coping or not?

6. The portrait of Pasquale, the opening, the mirror, fifty euros for the three slips, her admiring herself, her age, wistfulness? Her sons coming out – and their teasing her? The easy relationship with the twins? The frequent jokes? The many meals, the enjoyment of eating, her cooking the meals, the ease, the growing tensions? Her reaction to Luc’s visit, angers with him, saying that he needed psychiatric treatment? Her job, lack of money, spending the money she got from Luc? Her dream of opening a bed and breakfast, the boys ridiculing the idea? The sexual relationship with Jan, her lying to the boys about his borrowing the lawnmower? The relationship, the secrecy, going for a meal to his family and the enjoyment? Inviting him home, the meal and his cooking it, serving it, his bringing up the issues with the boys, creating the tension, his bad timing? His leaving, saying that he had no right to intervene? Pasquale and the man coming for legal advice and the valuing of the house? Her relationship with her sons, Thierry more like his father, Francois like his mother? The talk, watching the television, her angers? Their treating her like their child, asking where she was going? The demands? The sharing of the car, her forgetting to pick up Thierry? The final tension, the clash with Thierry, her deciding to leave? Packing, Francois not telling Thierry where she was going? The visit to the friend, the delight in the baby? The passing of time, her decision not to sell the house? The accident, hurrying into the house, to the hospital? Going home, meeting Jan? Literally picking up the broken pieces together with Luc?

7. Luc, his life, leaving, his age, Pasquale’s anger, his granting the divorce, supplying the money, not putting it in her account, giving money to the boys? His visits, advice to his boys? His wife, the baby? Pasquale’s visit to his house, his wiping his hands of the situation? Going to the hospital, caring for Francois? Picking up the pieces with Pasquale?

8. Jan, Flemish, the Walloons looking down on the Flemish? His relationship with Pasquale, the sexuality, the cooking, the ideas and plans for the bed and breakfast? The meal with his family? His coming to the house, cooking and serving, the intervention, his bad timing, leaving, Pasquale’s visit, his coming at the end? What future with her?

9. The twins, the different appearance, Francois being the older, the discussions about conception and being born? Doing things together, their bonds, playing table tennis, on the bike in the mud, shooting the rats in the pond, in the bath and washing each other’s hair, the similarities? Thierry like his father, erupting? Francois more gentle, like his mother? Their characters, Thierry studying, Francois and his maintenance work around the house? The beginnings of tension about their mother, the television, the fights, Thierry taking the bike and Francois demanding it back? Pulling each other out of the car and their mother driving off? Their teasing their mother, the meals?

10. The growing tension, Thierry and his anger, his relationship with Anne, his demands on her? The idea of selling the house, his demands about money, ownership, ridiculing his mother’s ideas? His father giving him the money? The fight with Francois over the bike? Meeting with Anne, bringing her home, the visit, his sexual inadequacy? His cleaning the house, the next morning, Anne laughing, the Superman story told by Francois? The build-up to the fight, his injuring Francois? Francois, more genial character, calmer? More kind to his mother? The build-up to the bike clash, the fight, his injury?

11. Thierry and his fright after the accident, unable to face people, hiding? The audience watching Thierry in close-up and seeing the father, the ambulance and the mother arrive?

12. Supporting cast – Luc’s wife and the baby, Anne and her relationship with Thierry?

13. The ending, audiences not knowing what happened to Francois? Luc and Pasquale picking up the pieces in the kitchen? The long drive away from the house? Mahler and the Resurrection Symphony?

MABEI SHANG DE FATING (COURTHOUSE ON THE HORSEBACK)

China, 2006, 105 minutes, Colour.
Directed by Liu Jie.

Courthouse on the Horseback is a fascinating Chinese film, filmed in the remote north-eastern areas of the country, in the mountains. He portrays the people of the area and their local customs, their strict rituals, especially for marriages. It also portrays a judge, travelling with her assistant, going through the mountains to the village to preside over the cases that need hearing. There is a touch of comedy underlying the seriousness of this portrayal of ordinary people, their ways of life, the problems of the young man assisting the judge, his poor judgments, his wanting to make reparation, his own concern about his wedding.

The film illustrates the variety of stories that emerge from China at the beginning of the 21st century as well as the styles of the industry and its development.

1. A picture of rural China? At the beginning of the 21st century? Its isolation in the mountains of the north-west? The lives of the ethnic groups? The administration of justice by the travelling judges? The old law and traditions? The need for modernisation? The inroads of contemporary 21st century life?

2. The beauty of the mountain landscapes, the treks up the hills, the valleys, the villages? The natural beauty? Yet its isolation and remoteness? The musical score?

3. The title, the opening and the judge going on retirement? The plan to travel into the mountains? Judge Feng, Judge Yang, Ah-Luo? Their hiring the horse, the difficulties of bartering, Ah-Luo? giving extra money and being rebuked because it would escalate over the coming visits?

4. The introduction to the group, the old judge, crusty, his own importance? The importance of the emblem of the state and his preserving it at all costs? The woman, older and experienced? The young man, his suit and tie, beginning his work as a functionary? Travelling in order to meet his bride and for the marriage ceremony? Their work together, the administration of justice, the complainants, the defendants? The decisions? Going from village to village? The disappearance of the horse, the documents, the emblem of the state? The judge and his anxiety, calling out to all the people, asking who stole the horse? The swamps, the villagers putting the doors on the water, rescuing the emblem, cleaning it?

5. The court cases, the divorce case and the woman inhabiting the house, her screaming and tantrums, an impossible case, the husband finally deciding not to divorce her? The two sisters and their argument over the pot, their not speaking? Impossible to reconcile? The judge breaking the pot, giving them the money to divide between themselves? The kinds of basic cases in the countryside?

6. The hospitality of the people, welcoming the law, the solemn administration of the law – yet outside and very primitive?

7. Going to the village for the wedding, dealing with the court case first? The issue of the goats and their being slaughtered, who owned the goats? Their being used for the wedding feast?

8. The judge and his decisions, the charter for the village? The anger of the chief?

9. The wedding, the bride in her finery, the young man and his looking forward to the ceremony? The court cases first? The gifts for the chief, the judge buying the pig? The chief proclaiming this as a sense of honour? His anger and interrupting the wedding because of the judgement against him?

10. The young man, his going off with the bride? The judge and his assistant and finding him?

11. The end of the work, the young man and his future as a judge? His wife? The older woman and her support of the judge, wishing him well, telling him to keep alert on the road?

12. The judge, with the horse, his memories, the wedding and his drinking, the speeches? His life, the young man challenging him about his own wife and child? His straying off the mountainside – his death?

13. An aspect of contemporary China – people, ethnic traditions, the law? Changes for the 21st century?

DO YOU HAVE ANOTHER APPLE?

Iran, 2006, 90 minutes, Colour.
Directed by Bayram Fazli.

Have You Another Apple is an enigmatic title for a complex Iranian film. It is a rather different Iranian film. This was the intention of the writer-director, previous director of photography who serves in this role for his own film.

The introduction to the film highlights that it is in a timeless and indeterminable place, a blend of the past and the present, tribal warriors. The film indicates that the Dasdaran, the Sickle- Bearers, are controlling the countryside, ranging around and attacking villages, demanding taxes and produce.

It is an elaborate fable, filmed in north-western Iran in the area occupied by Kurds and Turks. It is a story of an occupied people, people who suffered from war. The rulers are called the Wielders of the Sickles. They ride horses. They also ride motorbikes. To this extent, the film could be set anywhere in desert countries and at any time. It is an allegory for oppressed people.

The hero of the film is considered a lazy man, whipped by his mother. However, he has an ability to run – although he is always hungry. The film then focuses on a number of people being buried alive, the possibility that they will be beheaded if a young man does not arrive before sunset, the challenge of running from one encampment to the village. He encounters these oppressed people, many who are simply asleep to escape the Sickle Wielders, others who spend all their time begging, others who are continually fighting. The tyrants are able to oppress them. He is drawn into their plight, continually trying to help, escaping from the Sickle Wielders.

The film then goes back in time to show the background of the young man, his teaming up with a woman, a refugee from the ravages of a war-torn village. In their travels, they come across very different villages where people behave in different manners, some violent, some ignoring the realities of the war, all then becoming targets of the Sickle-Bearers?. Eventually he is put to the test, especially with the woman that he has been attracted to, the old men of a village and the children who are all being buried to their necks – and can be freed only if he runs from one place to the other and frees them. The film then moves to the challenge to the young man, his ability to exercise his strength, to defeat the enemy – and the challenge of running all day in order to save the buried people.

The film is visually striking, the story challenging, the philosophical issues underlying the film worth reflecting on. A different kind of film from Iran.

1. Interest in the film? For Iranian audiences? For worldwide audiences? The film as a fable? An allegory? References to contemporary Iran and the Middle East?

2. The structure of the film: the information about the sickle-wielders as rulers, despots, cruel? The children being buried in the sand, the old people? The leader, his comments, the woman and their waiting for their rescuer at sunset? The flashbacks, the establishing of the characters, the situations, the treatment by the sickle-wielders? The final running of the hero, the rescue?

3. The locations, the desert, the villages, the artificial style, the barrenness? The landscapes and the horse-riding, the motorcycle-riding? The sunrise, the sunsets? The musical score?

4. The sickle-wielders, their appearance, their cruelty, harassing the villages, the villagers pretending to be asleep, being spared? Their ruthlessness with the bald man? With the women and children? Their massacring the group who fled into the desert? The leader, the men and their being tricked by the hero? The man on the motorcycle, the confrontation with the hero? The finale, the leader and his word, establishing the hero as the official leader of the group? For cultivating the land, for not paying so much tribute?

5. The hero, his being chased by his mother, being whipped, his father shooting? Their abandoning him? His struggle through the countryside, coming to the village where everyone was sleeping, his hunger, prodding them, pretending to be asleep with the sickle-wielders? His betraying himself with the girl and the old man? Their being taken prisoner? His running away, escaping through the village? His continued activities? His perpetually wanting to eat? In the village where everybody was fighting one another, his shooting, the food, his being acclaimed as hero? Arrested again? His meeting up with the woman? With the old people and the children? Going through the desert, taking the motorbike? The difficulty with the hostages and the guns? The final escape – yet captured again, the leader and his letting the woman and the children go? His having roused the old men to defend the village? His final running all day in order to save the people?

6. The woman, in the village with the sleepers, her anger at the hero? Not meeting him again? Saving the children? Relying on him to save the day?

7. The sleeping people, an image of the populations? The group fighting each other? The allegory for people, revolution, ruling and despots?

8. The colourful nature of the film, as a fable, as a political allegory? On the behaviour of human nature?

THE DEVIL WEARS PRADA

US, 2006, 110 minutes, Colour.
Meryl Streep, Anne Hathaway, Stanley Tucci, Emily Blunt, Simon Baker, Adrian Grenier.
Directed by David Frankel.

The Devil Wears Prada is a lightly ironic title that suggests there is something a little demonic about the fashion industry. This is an entertainment that is not meant to be taken too seriously. But we do need to note that the devil is in the title – and that should mean there is a moral in there somewhere. And there is.

Statistics tell us that most people enjoy living in the present, in the detail of the here and now. There are some people who live in their minds, intuitive types who may not be noticing what is going on around them – not only absent-minded but, we might say, absent-sensed! The Devil Wears Prada is definitely for those who are very sense-observant, who enjoy colour, design, costumes and décor. The intuitive types will just have to concentrate on the themes.

This is the fashion world. More specifically, it is the world of the fashion magazine which publicises design but also dictates to designers, decreeing what is in and what is out.

Let it be said from the outset, the film offers a huge and wide-ranging array of designer clothes that should satisfy the fashion-conscious. Why some of them are so acceptable and fashionable can be a mystery to the untrained eye!

The plot is a familiar one, the story of the dragon boss-lady who makes people’s lives a misery (and who never takes any responsibility for the ulcers, strokes, anorexia that her somewhat sadistic style of command produces in the stressed underlings). Into the boss’s life comes the amateur who can offer naïve criticism but who proves to be a whiz at managing and becomes indispensable. This is not giving the plot away. This familiar story gives its own plot developments away so that we are anticipating what is inevitably going to happen to boss and apprentice.

This time we follow the trail of the new graduate who wants to be a journalist, goes to an interview with the editor of Runway magazine and, despite not being able to spell Gabanna, is hired. She is played by the pretty and charming Anne Hathaway (The Princess Diaries, Brokeback Mountain) – with characters often inexplicably referring to her as fat! If she is fat, what is fat?!

Miranda Priestly, the editor whose every whim and command must be met – instantly – is played in a wonderful tour-de-force by Meryl Streep. She sweeps into rooms, throwing coat and bag onto a desk for an assistant to hang up, spills out orders that no one in their right mind could remember let alone achieve. But her frightened staff do. It is a pleasure to watch Meryl Streep most times, but this is a wonderful acerbic performance where her speeches always end softly on an upward inflection, ‘That’s all!’.

Stanley Tucci is a great character actor. Here he is a fashion snob but one who mellows to kindness. British Emily Blunt is the assistant determined to keep her job. Simon Baker is the charming New York socialite who charms our heroine before she sees through his superficiality. Adrien Grenier is her chef boyfriend who wouldn’t know an Armani from a Prada.

Oh, and the moral. Miranda Priestley is the devil character. She really takes on the diabolical role of offering temptations to people, offering them the world for their soul. Needless to say, our heroine is fascinated by the devil, drawn into this worldly maelstrom of busyness, arrogance and ‘the good life’ and who must see through it all and find her true self. This being a movie, of course she does.

1. An entertaining confection? An entry into the world of fashion? Fashion magazines? An affluent world? A world of power?

2. The New York City locations, the different neighbourhoods, the skyscrapers, the slick and the sleek world? The contrast with the ordinary world of Andy and Nate? Apartments, cafes? The contrast with the world of Paris, its glamour, the fashion world, the touristic Paris? The musical score, the songs – the breezy touch?

3. The world of fashion, popular with audiences, the visual impact, style, beauty? The range of clothes shown in the film? The way they were worn, by Meryl Streep, Anne Hathaway? The models? Audience response, the catwalk, photo shoots?

4. Miranda Priestly and her philosophy of fashion, the long explanation to Andrea, Andrea and her lack of interest, lack of knowledge, being able to spell the name of designers she had never heard of? Miranda explaining cerulean and its choice, its influence in fashion, design, the process down to the ordinary shops – where Andrea shopped? Decisions and power about what people wear, whether they are aware of it or not?

5. Runway magazine, Miranda as editor, her power, dictatorial, the rapidity of her decisions, her staff in fear of her – the opening and her arriving early, everybody rushing to get things ready to meet her demands? Meetings of the board and their opinions, acceptance or rejection? Her own sense of design, decisions about fashions? The design for Holt – and her rejection? The costs of photo shoots, the manager of the company and his wanting to change the editor? The sponsors, advertising? The plans behind Miranda’s back?

6. Meryl Streep’s presence as Miranda? The image, reality? Her quick-wittedness, decisions, expectations, intolerance, her hard dealings with her assistants, instilling fear, accusing them of stupidity? Her Starbucks coffee, her meals, changing it on a whim? The demands for her phone calls, immediacy? Expecting everybody to understand and wear fashion? Her sadistic streak, the incessant phoning, ordering people about? Her manner – and ending interviews with, “That’s all”? Throwing her coats and bags on the desk – and the collage of this? The ritual for bringing the book to her house?

7. Miranda and Emily, Emily and British, being continually worried, interviewing assistants, putting them in their place? The job that anybody would kill for…? The immediate reactions to Andrea, her snobbery, her friends and their laughing? Her own mistakes, getting caught out,, missing the identity of the guest at the party, not going to Paris, on the phone and hearing the bad news, the car crash, in hospital, her spurning of Andrea? The end, Andy ringing to offer her the clothes and her condescending acceptance? Her praise behind the scenes of saying the new assistant had big shoes to fill?

8. Miranda and Andy, Miranda’s look at her, talk, the interview, Andy’s naivety, the challenge, laughing at things, Miranda taking opportunities to lecture her? Miranda using her, changing her? Calling her Emily, finally calling her Andrea? Her changing the coat-throwing to Emily’s desk? The book, going to the house, Andy and her overhearing the dispute between Miranda and Stephen, meeting the twins, their leading her into mischief? Having to collect skirts, doing all the messages, waking up early in the morning? The socials, the reception? Miranda and her always posing, yet being seductive, the demands about the Harry Potter manuscript and Andy one-upping her with the copies and the twins having them on the train? Andy and her deciding not to go under, the discussions with Nigel, his urging her to fight back, his initial snobbery, talking with him, urging her to change, redoing her fashions? Herself becoming a fashion plate?

9. The consequences for her friends, her relationship with Nate, his being a cook, at home, easy clothes, ordinary, mocking Miranda? Her friends and their meals, discussions? Her ordinary day – and her getting ready for work and the interview (and the contrast with the models and their meagre meals, their clothes, taxis)? Lily and the discussions, the gifts and their delight in them? At Lily’s exhibition – and Lily seeing her kissing Christian? The other friends, the breaking of the friendship, the changes, her being late for Nate birthday party? The cake with the candle? His being upset? The news about her going to Paris? Their breaking up?

10. Christian, his charm, turning up everywhere, flirting, at the reception and offering her the drink? The discussions about literature, sending over the stories? At the fashion show? At Lily’s exhibition? The issue of meeting the editor and Andy not meeting him because she wanted to get back to her friends? Christian in Paris, the night together? His revealing the plan about Jacqueline taking over the magazine from Miranda? His sitting at the table – and Miranda one-upping everyone and his dismay?

11. Andy, the work, the pressure, the effect on Nate, the exhibitions, actually making a decision about Paris – with Miranda insisting that it was hers? The divorce discussion, Miranda and her sadness, the twins, not caring what others thought about her, the press and public relations, wanting Andy to do her job? Andy supplying her with information about the change, and Miranda’s vanity?

12. Miranda and the politics of the editorship, the flashbacks and her dealing with Irv, with Jacqueline? The speech, the praise of Holt, the announcement? Andy and its effect the effect on Miranda, on Nigel?

13. Nigel, his confiding in Andy, his joy, the change in him from snob, to artwork, to talking straight to Andy, to delight in fashioning her? His accepting Miranda’s decision?

14. Andy, her return, the decision to leave Miranda, Miranda saying she was like her, going to the newspaper, the interview, the facts from Miranda, saying she was a disappointment but they would be stupid not to hire her? Andy seeing Miranda in the street, waving, Miranda getting into the car, the slight smile?

15. Nate and the future, his going to Boston? Andy, the relationship with her parents, friends? Fulfilling her dream as a journalist?

16. The title, Miranda as the Devil, the worldly temptation, giving up everything to worship fashion? Andy and the possibility of redemption?

THE HOUND OF THE BASKERVILLES

UK, 2002, 100 minutes, Colour.
Richard Roxburgh, Ian Hart, Richard E. Grant, Matt Day, John Nettles, Geraldine James, Neve Mackintosh, Ron Cook.
Directed by David Attwood.

The Internet Movie Data Base lists seventeen versions of Arthur Conan Doyle’s The Hound of the Baskervilles, the most popular of the Sherlock Holmes stories. Many were made in the silent era. There are several German versions. There is also a Russian miniseries from the 1980s.

Different actors have excelled as Holmes including Basil Rathbone, Peter Cushing and, even, Stewart Granger. Tom Baker, television’s Doctor Who, also appeared in a version of The Hound of the Baskervilles. Peter Cook and Dudley Moore did a 1978 parody of the story.

This film is quite straightforward in its presentation. Richard Roxburgh seems a rather young Sherlock Holmes. There is a great difference in the presentation of Doctor John Watson. He is not the bumbling fool like Nigel Bruce to Basil Rathbone’s Holmes. This is a man who can stand on his own feet, is often very critical of Holmes feeling that he does not trust him? He is much more involved in the action – although the screenplay follows Conan Doyle’s story fairly exactly. Richard E. Grant is very good as the villain, Jack Stapleton. Australian actor Matt Day (who had worked with Richard Roxburgh in Doing Time for Patsy Cline) is Sir Henry Baskerville – with a Canadian accent.

Audiences are familiar with the story – and part of the interest is in looking how a new generation treats the familiar story and characters.

1.The popularity of Sherlock Holmes and Doctor Watson? Of The Hound of the Baskervilles? The relative merits of this version?

2.The 19th century setting, London, Sherlock Holmes’s home? The streets of London? The moors, the country mansions? So much of the film told at night? Darkness and light?

3.The familiar story, characters, the hound itself and its terrifying the people? The motivations?

4.Richard Roxburgh as Sherlock Holmes, arrogant, younger? Doctor Watson’s description of him? His self-assurance? His dealing with the situation in London, sending Watson to Dartmoor? His arrival (and not using disguises as in other films)? The interactions with Sir Henry Baskerville, trying to protect him? The interactions with Jack Stapleton, his wife? The help of Doctor Mortimer, Mortimer not telling the truth about the bequest? Mrs Mortimer and her séances? Barrymore, the convict on the moors, Mrs Barrymore? and her story? The set-up for trapping Stapleton, the hound, the pursuit, Holmes himself in the quicksand, Stapleton willing to let him die? Rescued by Watson? The issues of trust?

5.Doctor Watson, competent, working with Holmes, being used by Holmes? His being genial, with Sir Henry? The meetings with the Stapletons, with Doctor Mortimer? His leaving Sir Henry alone, the attack on Sir Henry? Holmes’s arrival, their arguments? The final set-up, his rescuing Holmes from Stapleton?

6.Stapleton, charming, his sister? The reality of his wife? The resemblance to the paintings? The truth about his getting the hound, starving it, setting it on the moors? Pretending to be an archaeologist? The death of the lord? The heart attack? The attempt on Sir Henry’s life? Sir Henry attracted by Stapleton’s sister? Her refusal to cooperate, his harsh manner towards her? The set-ups, the Christmas Dinner? The walking on the moors? The hound, his wanting to be a rival to Sherlock Holmes? The quicksand, his death? The rescue of his wife?

7.The Mortimers, information about health, death? Mrs Mortimer? and the séance?

8.The Barrymores, their service to the Baskervilles, Barrymore’s story about a relationship? Mrs Barrymore covering for her brother, the convict out on the moors? His escape, the quicksand and his getting out? His being killed by the hound?

9.Inspector Lestrade, the relationship with Holmes, his coming to the country, Christmas, witnessing the Stapletons, the final confrontation?

10.The hound itself, the visuals, the savagery? An icon of Sherlock Holmes’s stories? Of horror?