THE WIND THAT SHAKES THE BARLEY

UK/Ireland, 2006, 124 minutes, Colour.
Cillian Murphy, Padraic Donnelly, Liam Cunningham, Orla Fitzgerald.
Directed by Ken Loach.

Ken Loach’s best film for a long time and winner of the Palme D’ Or in Cannes.

The setting is Ireland, near Cork, in the early 1920s, the period of the Black and Tans and the signing of the treaty with Britain in 1922. The film bears comparison with his 1995 award-winning Land of Freedom, his exploration of the Spanish Civil War. Sometimes that film was weighed down by discussion and rhetoric. This time there are strong verbal arguments but they are well worked into the drama and the action.

The title comes from a 19th century poem, a muted lament for the loss of peace as the wind blows over the golden crops of barley. The film itself is a powerful lament for lives lost in rebellion against the harsh, military occupation and its brutality in word and action, for brotherly conflicts and civil war, and the religious, social and political divisions that are still so potent today.

Collaborating again with writer Paul Laverty in a finely-hewn screenplay, Loach immerses us in a village near Cork and its surrounding countryside. He invites us to suffer with the people, to ask ourselves what we would do in similar life and death situations, to try to listen to voices of reason that would work for freedom through temporary compromise, to hear the passionate arguments of fighters for immediate freedom (who are the forebears of the IRA). Loach’s film is an anti-war war film.

By keeping us within the confines of a small group who symbolise what was happening all over the country, the film is able to offer universal insights while keeping the mind and the emotions focused on this group. The Black and Tans generally act abominably, with a verbally abusive and humiliating contempt of the Irish – which some viewers will find very hard to hear and take. British landowners inform on their workers and have no qualms about destroying those they see as peasants in ‘a priest-ridden backwater’.

Guerrilla warfare leads to reprisals and a violent spiral with consequent grief, especially for the women – and the old women who have lived through the famine and the oppressions of the later 19th century.

Then the cycle almost comes full circle as the new Irish Free State authorities don military uniform while their exploits literally mirror those of the occupying British. The same family suffers the same treatment at beginning and end of the film from each side.

In terms of communications these were primitive times, messengers on horseback or foot, young women and children delivering messages – although the signing of the Treaty in 1922 for the Free State is watched by the people in cinema newsreels.

At the centre of the film are two brothers, the older (Padraic Delaney) the leader of the rebels, the younger (Cillian Murphy) a recently graduated doctor. Ultimately, they will take different sides for and against the Treaty, which leads to a tragic ending. Their struggles embody the confusion and struggles of the whole people. Both actors have charismatic presence. Cillian Murphy is a rising star (during 2005, the transvestite hero of Breakfast on Pluto and villains in Batman Begins and Red Eye). There is also an arresting performance by Liam Cunningham as a union representative who voices freedom-fighting exhortations with vehemence.

Those who don’t know or who ignore history are condemned to relive it. This is part of the story of 20th century Ireland. This film could be the story of any occupied nation or a nation involved in civil struggles – with occupation forces, brutal treatment, acts of terrorism, attempts at stabilising provisional government and insurgents who want no compromise.

1. The work of Ken Loach over forty years, a strong career, acclaim and awards, an issues director, social realism, social concern, social issues personalised?

2. The writing of Paul Laverty, social concern, history, international perspective, war and anti-war, the Catholic church? A decade of collaboration with Ken Loach?

3. The title, the song, the poem? The sentiment and yearning? The Irish settings, around Cork, the village, the harsh countryside, remote, the houses? The town, the court? The prisons and cells? The score and the religious themes, the songs?

4. The re-creation of the 1920s, costumes and décor, the vehicles, the messages, weapons, the newsreel?

5. The prologue, the game, the rough and tumble, the fights, the referee, the bonds? A symbol of struggle and civil war? The attack by the Black and Tans, calling the match a meeting, ordinary lads and what they were subjected to?

6. The Black and Tans, the British presence in Ireland, the long history? Their physical brutality, verbal abuse, swearing, the contempt for the Irish, the humiliation? The line-up, the spurning of the young men, the interrogation and questions, each of them identifying himself and his work? Michael and his only saying his name in Gaelic? His being taken, tortured, his death? The men retreating back to their trucks? The later explanation that these men had suffered on the Somme – a reason for their own brutality towards the Irish? The barracks, the men’s attack, taking the weapons? The ambushes, the hand grenade? The taking of the guns? The Black and Tans arresting the Irish? The interrogation, Teddy and his nails being pulled? Vicious aspects? The train and the station, the driver refusing to take them? Bashing the man managing the station? The memories of the Black and Tans’ presence in decades afterwards?

7. The Irish, the subjugation to the British, the poverty, the famine of the 1850s? The mass migrations? The remnant in Ireland? The film’s focus on the group? The line-up outside the house? The generations of women? The interrogation, the humiliation? Michael and his Irish name, his death? Sinead and her grief? The impact of these events? The parallel at the end, the Irish coming in the uniforms, the same line-up, against the same walls? The search for arms, in uniform, shouting, the shooting and Dan’s death? The women’s reaction – having helped the men during the Troubles? The dramatic paralleling and the comment on civil war? On the oppressed becoming oppressors?

8. Ted, his leadership, the other members of the group, their forming a squad? Damien the younger brother, his education, as a doctor, the decision to go to London, the accusations of his being a coward? The incident at the train, the bashings, his looking after the wounded man, his not going to London, taking his oath of loyalty? The training in the hills, the awkwardness of the group, going up the hill, being seen, the fact that they would all be dead, the cigarette box and the shot illustrating the need for cover? Orders from the city? The raid on the barracks, the taking of the guns?

9. The British reaction, Sir John Hamilton, his informing on his farmhands? The maid getting Reilly, from the stables, milking the cows? The questioning, his giving the information? The British attacking the hideout, the man in the tree, the arrests? Imprisonment, asking for Ted Donnelly, Damien identifying himself? Ted going out, the questions, the brutality of the interrogator, the vivid drawing of the nails? Ted not giving information? The young Black and Tan soldier from Donegal, freeing the group, going with them? The three who were left behind, their being tortured and executed?

10. The reprisals on the part of the Irish? The discovery of the letter in the office, going to Sir John Hamilton’s, making him read the letter? Taking him, his own last letters? Their taking Reilly? Sir John and his spurning the group at the end, the priest-ridden backwater? Being shot? Reilly, his fear, youth, not wanting to be buried in the same grave, in the chapel, Damien putting the flowers and the cross? Not writing any letters because his mother couldn’t read? Damien deciding to do the shooting? His telling Sinead about telling the mother, the six-hour walk, the mother never wanting to see him again? The deep effect of this on Damien?

11. The picturing of the women, the old woman and her memories of the 1850s? The next generation? Sinead’s mother? Sinead and her grief for Michael, giving Damien the St Christopher medal? Love with him? The possibilities of a life? The burning down of the house, the old woman wanting to live in the barn, Sinead having her hair cut and her being wounded? Her grief and her wanting to leave?

12. The incident at the station, Dan as the driver, the union man, the station master and his being bashed? Dan and his joining the group, sharing prison, the cell with Damien, explaining his education, Blake’s poem, the effect of learning? His later being present at the court scene, the crucial nature of this scene – the interaction, the man wanting his five hundred per cent interest from the old lady and his being an arms dealer for the rebels? The judge, the Irish court, her demanding that they obey the court? Teddy and his refusal? Dan and his upholding the nature of the court? The contrast with Dan and Teddy and their later stances after the treaty?

13. The messages, people riding on horses, walking, the boy losing the note? The treaty itself, the newsreel images, the reality – and the conditions?

14. The meaning of the treaty, the British threat of war, the compromise, subject to Britain and the king? Teddy and his agreeing to the treaty, following Michael Collins? The critique of Michael Collins being corrupted by the British? The wearing of the uniforms, working for freedom through compromise? The discussion sequence, the arguments for working through government and orderly and political change for freedom? The contrary argument? Damien and his stance for instant freedom? The origins of the IRA? Dan and his strong speech? The setting up of the two sides?

15. Rory, the hothead and the other hotheads, the holding up of the truck, shooting one of the Irish? Teddy and his decisions about the treaty?

16. The priest, giving the sermon, his strong words, his command? His explaining all who approved the treaty including the Catholic bishops and the leaders of the other churches? Damien’s answer in the church, accusing the church of siding with the rich and powerful? The demands of the priest for obedience? Ordering those who disagreed to be excommunicated and leave the church?

17. Damien and his decision? Going into action, caught with the group, arrested? Teddy and his plea to Damien to reveal where the arms were? Dan’s death? Its effect on Damien? His explaining that he could not betray – and the fact that he had shot Reilly for the betrayal?

18. The preparation for the execution, his writing his letters, the letter to Sinead? The St Christopher medal? His being taken out, tied to the post, breathing hard, Ted and his decision to give the order, Damien’s death, Ted’s grief? His going to see Sinead, explaining what had happened, her never wanting to see him again?

19. The background to the rise of the IRA? The partition of Ireland, the consequences? How well did the film give the pros and cons?

20. The anti-war tone of the film? The need for compromise and working through peaceful means or the taking up of arms? The consequences of arms, attacks, deaths, reprisals?

21. The universal message of the film – for any group learning from history, terrorists, rebels, interim governments, insurgents? The relevance of the film at the beginning of the 21st century?

PARIS JE T'AIME

France, 2006, 120 minutes, Colour.
Directed by Basil Polydades, Gurinda Chada, Gus Van Sant, Joel and Ethan Coen, Walter Salles and Daniela Thomas, Isobel Coixet, Christopher Doyle, Nobuhiro Suwa, Sylvain Chomet, Alfonso Cuaron, Olivier Assayas, Oliver Schmitz, Richard La Gravanese, Vincenzo Natale, Wes Craven, Frederic Aubertin and Gerard Depardieu, Alexander Payne.

Portmanteau films are not to everyone’s taste. No sooner have you become involved in one story, you have to pass on to the next. On the other hand, if you like cinema anecdotes, the collection in Paris Je T’ Aime has plenty to offer. 18 stories in fact. And all about Paris. And mostly about love. In different forms.

Naturally, everyone will have their favourite story as well as their favourite director. And it is fascinating to see how directors of feature films confine themselves to five minutes of storytelling. Except for one, they have written their own scripts (and that is the excellently wry Gerard Depardieu episode which was written by its star, Gena Rowlands).

My hunch is that most people will vote the Coen Brothers story the best and/or the most entertaining. It sparkles with wit about the dark and ironic side of Paris as Steve Buscemi as a befuddled tourist at the Tuilleries Metro station falls foul of a couple kissing on the platform – and a boy with a pea-shooter.

There are some delightful moments in a story by Gurinda Chada where a young man comes to the assistance of a Muslim girl; in Nobuhiro Suwa’s story where Juliet Binoche grieves her dead son and imagines him riding off with a cowboy, Willem Dafoe; in a story by Walter Salles where a Hispanic maid (Catalina Sandina Moreno), who has to put her own baby into care, has to tend her wealthy employer’s baby.

Along the way there is a very amusing story of a romance between two mime artists who meet in jail. Nick Nolte, whom we assume is having an affair with a young girl, has to baby-sit for his daughter. Elijah Wood is caught up in a Parisian vampire story. Tom Tykwer directs Natalie Portman as an aspiring actress who is helped and falls in love with a blind man. Wes Craven’s story is set in Pere Lachaise cemetery where Emily Mortimer visits Oscar Wilde’s tomb, is upset by her humourless fiance, Rufus Sewell – who is then inspired by an apparition of Wilde and wins Emily back. Gus Van Sant has a rather blatant gay flirtatious story which is earthed by an amusing twist. Fanny Ardant and Bob Hoskins get up to some shenanigans in Pigalle.

There are some delightful moments in a story by Gurinda Chada where a young man comes to the assistance of a Muslim girl; in Nobuhiro Suwa’s story where Juliet Binoche grieves her dead son and imagines him riding off with a cowboy, Willem Dafoe; in a story by Walter Salles where a Hispanic maid (Catalina Sandina Moreno), who has to put her own baby into care, has to tend her wealthy employer’s baby. A man with a poor self-image helps a woman who collapses on the street and gives him a new lease of life.

The last story, directed by Alexander Payne, brings everything to a sweet but humorous ending as a middle-aged lady from Colorado (Margo Martindale) recounts her trip to Paris in a most atrociously accented French, but falls in love with Paris and feels that Paris has fallen in love with her.

Film buffs will relish seeing how the directors transfer their style and vision to anecdotes. Stargazers will generally be delighted. This is not a major work. It is more or less a tableful of soufflés. Enjoy them all – or pick and choose.

1. The appeal of a portmanteau film? Picking and choosing amongst the items?

2. The range of directors, the directors being their own writers – except for Gena Rowlands. The differing styles? The anecdotes – and the short time span, five minutes?

3. The qualities of film-making in a five-minute story: narrative, character, performance, visual style, editing, dialogue, action, climax and mood?

4. The differing visual styles of each of the directors? Particular styles like that of the Coens, of Vincenzo Natali for the horror story?

5. The beauty of Paris, the postcard vistas, Paris night and day? The musical score?

6. The final glimpses, and the interconnection of various characters? The interconnectedness of love and life?

6. The themes of love – and the varieties of love?

MONTMARTRE
Florence Muller, Bruno Podalydes,
Directed by Bruno Podalydes

The man, his anxiety, the car, trying to park, the streets and the traffic, his self-image and his talking to himself, the passers-by, the woman not in the mirror, her collapse, his helping, putting her in the car, her touching him, turning off the music, the bond? Her character? His future?

QUAIS DE SEINE.
Lila Bechti, Cyril Descours.
Directed by Gurinder Chadha.

The youngsters sitting and watching the girls, the crass talk? Francois not joining in? The young girl, her listening? Her going away, falling, the boys laughing? Francois and his helping her? Her veil coming off, her hair, his trying to put it back on, taking the photo on his mobile phone? The discussion about beauty, beauty and identity? Her comment on the crassness of the boys’ remarks? Going to the mosque, his decision to follow, waiting, their coming out, her grandfather, the introduction, the thanks, the invitation to come along?

LE MARAIS
Marianne Faithfull, Elias Mc Connell, Gaspard Ulliel.
Directed by Gus Van Sant.

The young male at the factory, the visitors arriving, the discussion about the job, the other young man taking off his jacket, the talk, the other man listening, sitting at the table? The self-revelation, giving the phone number? The old lady and the boy leaving? The other man confiding that he had not understood anything? The phone number and his running after the boy? The blatant flirting love story?

TUILERIES
Steve Buscemi, Julie Bataille, Axel Kiener.
Directed by Joel and Ethan Coen.

The reputation of the Coens, the action confined to the railway station, the tourist and his close-up looking down the tunnel, Steve Buscemi and his performance, comic? The guide books, the humour, the vulgar translations of phrases? The little boy and his grandmother and his firing the peashooter? The couple embracing on the other side, the warning about eye contact, the girl looking at him, the train coming after they had a fight, the girl coming to his side, the peashooter still attacking, the young man coming to the platform, bashing the tourist? The people watching, the final peashooter shot? The dark side of romantic Paris?

LOIN DU SIXTEEN
Catalina Sandino Moreno.
Directed by Walter Salles and Daniela Thomas.

The Hispanic girl, with her baby, rushing in the traffic to work, putting the baby in care, singing to it? Arriving late to work, having to look after the employer’s baby, spending more time singing to that baby than to her own? The social comment about migrants, wealth, service? The effect on family life?

PORT DU CHOISY
Li Xin, Barbet Schroeder.
Directed by Christopher Doyle.

M’sieur Henny, his arrival, traveller for women’s goods? The Asian atmosphere? His asking people the way to the shop? The surreal aspect of the Asian women, the breaking glass, dragging him in, the models? His failure, waiting in the café, his return? The women and the images of western stars, makeup and hairstyles? His transforming them? The musical number?

BASTILLE
Miranda Richardson, Sergio Castellito, Leonor Watling.
Directed by Isobel Coixet.

The man and his mid-life crisis, in the restaurant, his talking to himself, the planning to reveal to his wife that he was leaving her for his mistress? The flashbacks and the eighteen months with the flight attendant? His comment about his wife’s red coat, her arrival, his comments about how irritating she was, not getting dessert and eating his? The plan – but her bursting into tears, the diagnosis from the doctor, the leukaemia, fatal? His changing his attitude? His mistress fainting at the news? His tenderness and care looking after his wife, in love with her again? The years passing, his discovering another woman wearing a red coat?

PLACE DE VICTOIRES
Juliet Binoche, Willem Dafoe, Hyppolyte Girardot.
Directed by Nobu Hiro Suwa.

The mother, her grief at the death of her son, with her daughter and the consolation, the anxiety of her husband? Her little boy liking cowboys? The apparition, the cowboy on the horse? Her son appearing, the cowboy taking him off? Her being consoled? Her past comment about suffering and God’s mercilessness? Her belief in God – and this moment of grace?

TOUR EIFFEL
Yolande Moreau, Paul Putner.
Directed by Sylvain Chomet.

The mimic story, the little boy and his enormous satchel, big glasses, telling the story of his parents meeting in prison? The mime, his skills, sadness and joy, imitating people, his transportation around the city? The disturbance, the arrest? Meeting the mime in the cell? Falling in love? The fellow prisoner and his wanting to get out of the cell? The happy ending with the boy?

PARC MONCEAU
Nick Nolte, Ludivine Sagnier.
Directed by Alfonso Cuaron.

Nick Nolte and his walking with the young woman, at night, down the street, the tone of their talk, audience assuming they were having an affair, the younger woman with the older man, the ambiguity of the language, Gaspar as the other man, controlling the young woman’s life? Their arguing about his absences in America, her wanting him to speak French? Their meeting the friend, his smoking the cigarettes – and the irony that they were going to the movies and he had to babysit his grandchild?

QUARTIER DES ENFANTS ROUGES
Maggie Gyllenhaal, Lionel Dray.
Directed by Olivier Assayas.

The American in Paris, actress, her contact, the man on the bike, Ken and Liz, the drugs, the sales, on the film set, his wanting to visit, her being in makeup, time – and her getting more drugs, the new contact?

PLACE DES FETES
Aissa Maiga, Seydou Boro.
Directed by Oliver Schmitz.

The man in the street, the African, his being wounded and dying, the African nurse coming to his aid, his memories, the car park, her parking the car, the boss wanting to give him the sack, his being ousted from where he lived, in the street, happy, the violent attack, his being stabbed, the nurse trying to get the coffees, the sadness of his death – and the coffees arriving?

PIGALLE
Fanny Ardent, Bob Hoskins.
Directed by Richard la Gravenese.

Bob, in Pigalle, going to the brothel, the madam and her comments, the prostitute and the charges, the question about watching? The irony of the relationship between Bob and the woman? Talking about their past, the record that they fell in love with? That they were married, back out on the street, the argument, memories of how happy their marriage was, his providing the musicians on the street, their going into their house – and the advertisement that they were actors – and that these were the last days of their performance?

CARTIER DE LA MADELINE
Elijah Wood, Olga Kurylenko.
Directed by Vincenzo Natali.

The young man, the horror style of the film, the appearance of the vampire, the victims, his trying to rescue the victim, her attacking him, his not being bitten, he biting her, the kiss, the mutual fangs? The artificial style (like Sin City with the redness of the blood)?

PERE-LACHAISE
Emily Mortimer, Rufus Sewell.
Directed by Wes Craven.

Pere Lachaise cemetery, she eager to see the tombs, he serious and practical, the pre-planned honeymoon? The lack of humour, her criticism, the clash? Oscar Wilde’s grave, her delight? Her admiration for Oscar Wilde? The young man hitting his head, Oscar Wilde appearing on the opposite grave, his inspiration? The man quoting the girl’s favourite quotations? Laughing, going to the hotel, the happy ending?

FAUBOURG SAINT-DENIS
Natalie Portman, Melchior Beslon.
Directed by Tom Tykwer.

The young blind man, typing, the phone call, the words of ‘Breaking Up’, his memories, coming across the actress rehearsing her lines and his not realising it, her kindly response, his getting her to the audition on time, the seasons passing, their sharing the spring and the summer, the autumn? The bonds between the two? The phone call and her wanting to break off the relationship, the irony that she was rehearsing more lines and wanting his comment?

QUARTIER LATIN
Gena Rowlands, Ben Gazzara, Gerard Depardieu.
Directed by Frederic Auburtin and Gerard Depardieu.

The bar, the woman arriving, meeting her former husband, going in for drinks, the waiter suggesting the drink? The discussions about the divorce, memories of the marriage, their being good grandparents? His asking her about her relationship to the cyclist, her responses? He with Vicki, and her being under thirty? The revelation that she was pregnant? His wanting to have an elaborate marriage? His speaking about adoption – and offering to adopt the cyclist? Her wry remarks about her adopting Vicki? The criticisms about her caustic mouth, his infidelities? Her decision to leave?

FOURTEENTH ARRONDISSEMENT
Margo Martindale.
Directed by Alexander Payne.

Carol, the middle-aged woman from Colorado? Her jetlag, in the hotel, doing the tourist things, the galleries, asking about restaurants, sitting alone in the restaurant, sitting alone in the park – and her looking at people, loving Paris, feeling that it loved her back? The amusement in the dialogue all being in French – and her monologue with the atrocious American accent?

SUMMER PALACE

China, 2006, 140 minutes, Colour.
Lei Hao, Xiadong Guo.
Directed by Lou Ye.

Despite so many good features of Summer Palace, it is, in the end, deeply unsatisfying. This may be a male point of view as the central focus is on a female character who is not only a puzzle to the men in her lives, especially those who fall in love with her, but she remains an enigma to herself. The film is based on her diary where she confides the passions, the confusion, the poetry and the wilful destructiveness that control her life and prevent her from living up to the ideal she craves and settling, however temporarily, for less than she might have.

There is so much material in the plot that, as it hurries over some episodes and dwells lengthily on others, it resembles a miniseries edited for the cinema. And what the director has chosen to include and what he has chosen to pass over is not necessarily what the audience wants – or needs, to understand the characters and their motivation a little better. The action ranges from 1987 to 2003.

But there is much well worth seeing. China has been changing over the last two decades, especially in the aftermath of the Cultural Revolution and its cultural repression. By the late 1980s, students were living and demanding a ‘freer’ lifestyle, closer to that of the west. The demonstrations in Tiananmen Square in 1989 have become symbols of this desire for change. The characters here are caught up in the movement - and footage from the time is inserted. However, there are no spelt out reasons for this revolutionary student movement. It is presented as a fact (although the deaths in June are not featured).

The collage of the changes of the 1980s and 1990s in Berlin and Russia forms an interesting backdrop to the characters’ lives.

So, this is an opportunity to share the experiences of a director who lived through these events with friends like those depicted. Utopia was not achieved. A number of young people moved to Europe. Some remained in China and virtually drifted, not fulfilling their potential.

Yu Hung is the central character, portrayed by Lei Hao in a very complex performance: an enigma. Her first passionate encounter with a local boy is sensitively portrayed for its effect on her (we are not used to Chinese films being so explicit and frank in sexual scenes). When she arrives as a student in Beijing (and the Summer Palace is situated next to the university: something of a Utopian symbol?), she falls wildly in love with a young man who is passionate about her. But, spurred on by some imaginary ideal, she spoils the relationship. Rescued from Beijing by her first love, she moves away from home, picking up with a married man, with another young man smitten by her, by…

Other characters move to Germany with varying degrees of happiness and success.

There is much to admire but a lot of frustration in what sometimes seem arbitrary shifts of time, place and attention to characters (of course, life is like that).

1. The director’s own experience? China in the 1980s and 1990s? The re-creation of the period? Its being personalised by these stories?

2. The location photography: the provinces and the Korean border, the country towns, the atmosphere of the 80s? Beijing, the city, the university, the late 1980s? The collage of transitions in Berlin, Moscow? China in the 1990s, progress and prosperity? The cities and the provinces? The comparisons with Germany, Berlin? The glimpses of China at the beginning of the 21st century?

3. The musical score, atmosphere? The range of songs, Chinese, American? Classical music?

4. The title, the Summer Palace next to the university? A dream and utopian symbol?

5. The length of the film, like a compressed miniseries? Characters and developments omitted? Long inclusions and their relevance? Sufficient information about characters for their motivation and behaviour? Or not?

6. The structure of the film: the two halves, Tiananmen Square as the centre, the before with the anti-old and the change moving to the new world – but disrupted lives?

7. The prologue, the young girl, working for her father, the quotation from her diary about love, not being rational? The young man, delivering the letter? The bond between them? The long sexual encounter? The effect on her?

8. Her going to Beijing, the train, arrival, the world of Beijing in the late 80s after the provinces? Her room at the university, sharing, her bonds with the fellow students? The young woman who took her under her wing? Her boyfriend? Yong Hu and her seeing Wei, her diary entry, falling in love? His charm? The relationship? Her disappointment in finding him with the girl, having a meal? Implied relationship or not? Her taunt about having a relationship with the professor? Her inability to cope?

9. The collage of university life, the study, the lectures, the athletics? Songs, clubs? Dancing? A changing world?

10. The affair, the explicit sequences? The passion of the young man? His love for Yong Hu? Her love for him, yet her moods, ups and downs, the discussion about the break? Wei’s relationship with her girlfriend? Their discussions? Her talk about ideals? Utopian? Confusion?

11. Life on the campus, the students all going to Tiananmen Square, the demonstrations? The inserted footage from the newsreels of the time? Not mentioning the deaths?

12. The young man coming from the province, searching for her, rescuing her and taking her home?

13. The impact of the collage of events internationally at the end of the 80s, the fall of the Berlin Wall, the collapse of communism, the rise of Yeltsin? As this related to China and its changes?

14. Yong Hu, the passing of the 90s? 1997, the changes in Hong Kong? Her work, the affair with the married man, the affair with her fellow worker? Her memories of Wei? The issue of marrying? Being wilful, still being confused, her ideals?

15. The contrast with the group who went to Berlin? The visas, their life in Berlin, settling down? Study and work? Ti Li and her boyfriend? Their life together? The momentary affair with Wei? Their going up to the roof, her backing to the wall, throwing herself over? The effect on the two young men? On Wei, his feelings of guilt? The friendship of the other man, not accusing him, their discussion about her death, driving him to the airport? His disappearing from view?

16. Wei and his return to China, his work, girlfriend? Settling in the provincial city? Building a life? Meeting the student from university, the meal and sharing information? His asking about Yong Hu? Sending the email? The meeting at the service station, the impact of the meeting, his sending her to buy the beer – her coming back, his driving away and leaving her?

17. The final information about what happened to each of the main characters? Yong Hu and her continuing to drift? A puzzle to all her friends? People falling in love with her? Her uncertainties about herself, her life, relationships? The impact of the accident and the care by the young man? Her decision to marry? Yet her leaving him? Living at the service station – drifting?

18. A portrait of people, this group as being an image of China in these decades of transition and change? Did the film end with hope or not?

HAMACA PARAGUAYA

Paraguay, 2006, 78 minutes, Colour.
Georgina Genes, Ramon del Rio.
Directed by Paz Encina.

For serious and art cinema audiences, this is a cinema essay.

The setting is June 14th, 1935, during the Chaco war in Paraguay. An old couple venture out of the jungle into a clearing and set up a hammock. They wait and they talk. The director uses long takes, middle distance shots for most of the film – there are some close-ups, but few of them. The soundtrack is voiced over conversation between the two, the old woman doing most of the talking. They commune, they wait, they wonder about their son coming back from the war or if he is already dead.

It is hot. They wait for rain. While there is continual thunder, the storm does not break until the very end of the film when, with black screen, we hear the pouring rain.

The film is spoken in the Guarani language which means that the film is something of an ethnographical portrait and an anthropological study of people and attitudes in the jungle of the 1930s.

1. The impact of the film? An art film? A cinema essay? Ethnographical essay? Philosophical essay?

2. A Paraguayan production, the skills?

3. The setting, June 14th, 1935? The atmosphere of war in Paraguay? The old couple and their son having gone to war? Waiting for the rain to come? Waiting for the wind to come, for the heat to go? The dog incessantly barking – with a few stops? Eternal waiting?

4. The visual impact, the fixed camera, the medium shot – and long takes? The few close-ups of the man and the woman? The voice-over dialogue? The woman mainly talking? The use of Guarini(*?) language?

5. The sound engineering, the thunder, the black screen towards the end, the sound of the storm, the rain finally falling? The musical score in this context? Atmosphere?

6. The situation, the war, the comments? The displacement? Jungle, the heat, hoping for a storm? Where to put the hammock? Their sitting on the hammock, moving for food? Survival?

7. The approaching dark? The man and the woman, their story, the quality of their relationships, the optimism of the man, the hard-headed reality of the woman? Thinking their son was dead or not? The quality of the talk? The bonds between the two? What they revealed of each other?

8. The final impact – and the result for an audience patient enough to sit through and experience this particular day and its waiting?

THE DA VINCI CODE

US, 2006, 152 minutes, Colour.
Tom Hanks, Audrey Tautou, Ian Mc Kellen, Jean Reno, Paul Bettany, Alfred Molina, Jurgen Prochnow.
Directed by Ron Howard.

The first thing to say about the movie version of The Da Vinci Code is that it is certainly superior to the book. What we have is something like ‘a Gnostic potboiler’.

It is impossible to review the film simply as a film because the book (more than 40,000,000 sold and counting) and the reaction pro and con has become a worldwide phenomenon. Opus Dei, who are targeted in the novel, have led the way in inviting people to read the book and see the film, even enjoy them, but realise that they are, at least, misleading concerning the Gospel story of Jesus and about Mary Magdalene, that they are based on selected ‘suspicious’, on the margins sources, and that it is all a fiction.

It is a ‘what if…?’ tale rather than a ‘what was’ story.

Actually, writers and film-makers do this all the time – think films about Joan of Arc or Francis of Assisi, which interpret the saint’s life through contemporary eyes and rearrange history and imagine scenes accordingly. They do not, however, play with documents like the quoted Gospel of Philip that was written at least two hundred years after Jesus. But, there is enough material available, pamphlets, books and DVDs on these topics and there are websites galore with answers to difficulties with Dan Brown’s work.

One thing that needs to be said is that the screenwriter, Akiva Goldsman, and the producers have been much more careful to downplay controversy than Dan Brown did. All the way through the film, there are statements about opinions being only opinions, that there are other possibilities to consider. This is especially the case about the discussion on the humanity and divinity of Jesus, Constantine and the Council of Nicaea. The discussion between Tom Hanks and Ian Mc Kellen illustrates this well. As regards Opus Dei and the present Vatican, the screenplay makes clear that neither is responsible for the murderous activities of Silas – rather, the bishop from Opus Dei is part of a hidden and secret group in the Church which wants to renew faith and practice strictly and oust ‘cafeteria Catholicism’. If any group were to feel targeted this time, it might be the followers of Archbishop Lefebvre.

Does it work as a drama? For those who have read the book and liked it, I think it will work quite well. It follows the plot outline closely even if it modifies some of the claims. For those who have read the book and thought it poorly written, their view will be reinforced. A number of those at early previews who had not read the book said they were baffled by some of the plot jumps and developments. (At the first Cannes press screening, there were outbreaks of laughter when the claims about the Grail and Mary Magdalene were finally voiced. The sceptical and secularists in the audience thought this rather ludicrous.)

Tom Hanks is a fair Robert Langdon (and has to do fewer physical gymnastics than in the book). But it is one of his stolid performances and he makes a lot of solemn utterances very po-faced. Audrey Tautou has to be tough and charming as Sophie. It is Ian Mc Kellen who is obviously enjoying himself immensely as Sir Leigh Teabing. He gets most of the fallacious lines about Jesus, Mary Magdalene, the church, cover-ups and the role of the Priory of Sion. One hopes that audiences will not think there is any truth in them because they hear them on screen – from a villainous character who can’t be trusted in the story itself.

Right at the beginning Robert Langdon reminds us that when we look at a painting we see what we want to see and don’t see what we don’t want to see. Exactly.

1. The reputation of the book? The phenomenon of world response to it? Acclamation for its hypotheses? Critique from Christians? The preparation for the phenomenon of the film? Living up to expectations?

2. The comparisons with the book? The screenplay as better writing than the novel? Imagining characters, strength of performance? Use of locations? Art and sculpture detail? The location photography? The differences: the explicit flashbacks and their style? The explanations and alternatives to the hypotheses? The attempt not to be as misleading as the book?

3. The film as what if? Rather than what was?

4. The sources used for the story: gnostic gospels, legends about the Knights Templar, legends about Leonardo da Vinci, his paintings and Mary Magdalen? The Sacred Feminine? The Priory of Sion – as a fiction? The value of the sources?

5. The portrayal of the Catholic church – the truth, the cover-up alleged, the personnel, as organised? As religious? The flashbacks and the picture of the Knights Templar, their history, the reaction of the popes, their condemnation and persecution? How critical was the film of the Catholic church – implications of the cover-up about Mary Magdalen? Audiences believing this or not?

6. Opus Dei as a target of the book? Its reality, the making of a fiction about Opue Dei and its practices? Its tradition of secrecy? The film and its much less criticism of Opus Dei? The criticism of the bishop and Silas? The bishop’s interview and the modification of remarks about its penitential practices?

7. How plausible was the story as a piece of fiction? As a drama? As a thriller?

8. The importance of codes, conspiracy theories? Codes and anagrams? Popularity? The difficulty for readers not familiar with the background? Filmgoers thinking that the theories and the detective work were rather esoteric in theme? Being baffled? The credulity of audiences who believed the theories?

9. The strength of the cast, their performances? The musical score and its mood? Overtones of ‘sacred music’? The use of French language with subtitles, Latin with subtitles?

10. The impact of the locations, Paris at night, the Louvre, the Pompidou Centre, the streets, the banks? The French countryside? The chateau of Sir Leigh Teabing? The sunlight in London, the London streets, Westminster Abbey, the Temple Church? Interiors? The contrast with Scotland, its beauty, ruggedness? Rosslyn Chapel? The vividness of the detail in the artwork?

11. The visual style of the flashbacks? Desaturated colour? Like paintings? Like sketches? The impressionism? Or expressionism? Sensible, the Mary Magdalen flashbacks, the papal flashbacks, the Knights Templar and the battles, the siege of Jerusalem? The flashbacks for the early life of Sophie, Robert, Silas?

12. Saunier and his being pursued in the Louvre, Silas, the threats, the secret, his killing Saunier? The torture, the pentacle on his chest, the blood? Saunier leaving a message to protect the Priory of Sion? The implication of Robert Langdon? The message for Sophie – after his phone call in the afternoon? Langdon and the intercutting of his lecture with the death of Saunier? Sophie and her deception about coming to the Louvre? The message, the PS and the references to ‘petit Sophie’? Her being asked to consult Langdon? Langdon and his thinking Saunier thought he was a lightweight – until the final explanation by Sophie that he was called a flatfoot because his own father was a policeman and a great man? The numbers, the clues, the anagrams? The investigation at the various Leonardo pictures? Finding the fleur-de-lis? This setting the tone for the treasure hunt and the interpretation of the code?

13. The hunt, the clues, the anagrams? The safe and the risk about the wrong numbers? Succeeding in opening the safe? Discovering the rose box? Its code – and the danger of spilling the liquid and spoiling the papyrus? The paintings, the focus on Mary Magdalen, the sangreal, the two ways in which it can be broken: san greal or sang real? The secret literally sub rosa? The map? The Church of San Sulpice, the Rose Line, Silas digging, finding the thwarting message, Job 38 – ‘Come and go no further’? The search in the Temple church? The realisation that they should go to Westminster Abbey? Alexander Pope and the relationships with Newton? Langdon and his ability for photographic regard of numbers etc? His working out the anagrams? The visualising of this? The planets – and his realising that the orb was Newton’s apple? Going to Rosslyn Chapel, the gargoyles? The final tomb? The gathering of the faithful to preserve the Priory of Sion? Langdon and his realising the further clues, not the stars in the chapel at Rosslyn, but rather his return to Paris, the pyramid, the Sacred Feminine, the codes, the camera descending through the tomb of Mary Magdalen? How credible did they make the code and the cracking of the code?

14. Fasche and the meaning of his name: Templar Cross? His skill at investigation, police work, his associate getting Langdon from the book-signing, putting the homing device in his pocket? Fasche’s contact with the bishop, the bishop telling him about the confession by Langdon, his pursuit, concealing the part of the message with Langdon’s name? Convinced that he was the criminal? The false pursuit of the vehicle after Langdon and Sophie threw out the device? The bank and the interrogation of Andre? His discussions with the official, his work with Opus Dei, the official telling him about the United Kingdom? The plane, London, Remy’s death? The arrest of Sir Leigh Teabing? The shoot-out, Silas dead, his police work in tracking him down, the encounter with the bishop, the bishop revealing that he was masterminding the attacks? Fasche and his disillusionment? His letting Robert and Sophie go free when he arrested Sir Leigh?

15. Robert Langdon, Tom Hanks’ presence on-screen, rather serious and stolid, po-faced with all the information he was delivering? His lecture, his comment about people seeing what they want to see and not seeing what they didn’t want to see? A picture worth a thousand words – which words? The students and the ambiguities of the Poseidon imagery, Osiris, the Nativity? His skills, Saunier’s contact with him? Sophie learning to rely on him, her using the phone to warn him? Their examining the body, tracking down the clues with the paintings, Sophie and the briefing? Their escape?

16. The pursuit through the Paris streets, the movie feature of the car chase – and Sophie driving the car backwards? The false ticket for Brussels? Their going to the bank, meeting Andre, the elaborate means of preserving the chests? The numbers and opening it? Andre saving them, his dialogue with the police and trying to sell them his Rolex? The escape into the country, his seriousness about the police, the guard on duty warning him? The threatening them with the gun, their escape? Andre being arrested and interrogated by Fasche?

17. The portrait of the bishop, his name literally meaning red herring! His belonging to Opus Dei, a law unto himself, the sinister group to which he belonged, his travel, the interview on the plane – and his explanation about the limits of penance – after the audiences had seen Silas whipping himself and taking the device off his leg? The explanations? The special group, their wanting to preserve the church – their condemnation of cafeteria Catholicism, wanting to purify the church? Authorising the murders, their hostility towards the Priory of Sion, not wanting to reveal the alleged truth about Mary Magdalen? The contact with the teacher, the money? The bishop and his relationship with Silas, saving him from a brutal childhood, Silas saving him in the church when the robbers attacked? His being a father figure to Silas? The sinister influence, the phone calls, the Latin? The visit to San Sulpice and his authorising the killing? Going to the United Kingdom – meeting Silas, Silas accidentally shooting him? His not being killed? The discussion with Fasche and his disillusionment? The point being made that the bizarre actions were those of people who belong to Opus Dei but not of Opus Dei itself?

18. Silas’s story, his bizarre albino presence and look, seeing him pursuing Saunier, his accent, his violence? Trying to get the information? His going to San Sulpice, the encounter with the nun, her phoning and warning, his killing her? The Job quotation and his frustration? His going to Sir Leigh Teabing’s house, the attack, Sir Leigh attacking him? His being bound and gagged, his animosity towards Sophie? Taking him on the plane, taking him to the headquarters of Opus Dei? His belief that he was doing the right thing? The bishop as his father figure? The killing, his whipping himself, asking God’s pardon? The shoot-out with the police, his killing the bishop? His memories of the bishop and his childhood, brutality, helped, saving the bishop? His death?

19. Remy, as Sir Leigh’s servant, the finger of suspicion pointed to him? The plane, his acting the part of the teacher, his being poisoned? The revelation of Sir Leigh as the villain?

20. Ian Mc Kellen’s performance as Sir Leigh Teabing, serious, comic, whimsical? The expert on the Grail and the Priory of Sion? The jokes about lemon and tea? His welcoming Robert and Sophie? His courtesy? His long explanations and enthusiasm about the Mary Magdalen theory, about the marriage, her pregnancy, going to France? Jesus and Mary Magdalen married? Mary Magdalen to be the founder of the church? The cover-up? Her lineage, the Merovingian kings? The Knights Templar and their guardianship of her tomb? The secrecy? The establishment of the Priory of Sion? Leonardo da Vinci, the Sacred Feminine, no chalices at the Last Supper, John as Mary Magdalen, the superimposition of the closeness, the V shape – and the discussions about masculine and feminine symbols throughout history? The theories? The intrusion, the escape to the plane after the attack on Silas? His being bound and gagged? To Zurich, changing direction to London? Sir Leigh and his treatment of the police, getting the people into the back of his car, the doctor’s appointment? His killing Remy? Confronting Sophie and Robert in the Temple Church? Ready to kill them? Robert and his bluff, interpreting the message – and destroying the container? The police and the arrest – and his final whimsical words?

21. Robert and his claustrophobia, the story of the well? Sophie and her healing hands on his temple? To London, in the bus, the interpretation of signs? The Temple Church? It being the wrong place? The confrontation with Sir Leigh, his interpreting the code? The planets? Going to Westminster Abbey, the orbs? Sir Isaac Newton? Going to Scotland, the church? The visuals of the church, the Masonic and Templar tradition? The people gathering, the veneration of Sophie? The discovery of the tomb site? The build-up the revelation that Sophie herself was the Grail, the descendant of Mary Magdalen and the Merovingian kings?

22. Sophie and her childhood, the flashbacks, the accidental deaths of her parents, her grandfather looking after her? Her searching for information, the alienation from her grandfather? Joining the police, cryptology? Puzzles? Her sceptical attitudes, questions, her ask (asked? Not clear) about belief in God? Her listening, accepting? Sharing the dangers? The final revelation?

23. The final talk between Robert and Sophie, their separation – and her joke about walking on water and water into wine?

24. Robert, his realisation of where Mary Magdalen was buried? The return to Paris, the Pompidou Centre? The triangles, the stars? The camera going to Mary Magdalen’s tomb?

25. How did this all combine as a gnostic potboiler?

VERY ANNIE MARY

UK, 2001, 95 minutes, Colour.
Jonathan Pryce, Rachel Griffiths, Matthew Rhys, Johann Griffyd.
Directed by Susan Sugarman.

Annie Mary lives with her baker father in a small town in a beautiful Welsh valley. At first appearance she appears extremely gawky, even mentally handicapped. What emerges is that she is emotionally handicapped. Everybody in the town knows that she won the Eistedfodd singing competition (with Pavarotti as one of the judges) when she was fifteen. But, that was the week her mother took ill and eventually died. Annie Mary was never able to take up her scholarship in Milan

What happened was that Annie Mary lost her singing voice. Her dominating father continually undermines her self-esteem by thoughtless and heartless put-down comments. Does he blame her for her mother's death? Yet, he depends on her rather terrible cooking, on her support when he sings in chapel. When he has a stroke, he becomes even more irritably dependent.

This makes the film sound more serious than it actually is. The village is a close-knit community and is full of eccentrics, so there are quite a lot of short, funny sequences as well. A young girl, Bethan Bevan, Annie Mary's best friend, is ill in bed, dying. The mayor's annual charity fund-raiser is designed to get enough money for Bethan to have a trip to Disneyland. Everybody is doing their bit with great gusto. Annie Mary eventually joins a group going to Cardiff to try to win 1000 pounds in a variety competition. They are doing a take on YMCA and the Village People (and finish up as the Three Tenors with a difference.)

Not all of the film works consistently. Annie Mary seems sometimes too fey and sometimes too wise. But, the important thing is that, despite her mistakes in taking over the bakery from her father and a huge error of judgment after the competition in Cardiff, we follow Annie Mary's difficulties and hope that, as Bethan Bevan urges her, she will find her voice again and rediscover her self-esteem.

Rachel Griffiths gives Annie Mary an odd charm as well as making her sometimes irritating, sometimes pitiable. Jonathan Pryce is her father, a baker with operatic skills, but too harsh on his daughter.

1. A quirky comedy? The Welsh setting and tone? The blend of the serious and comic?

2. The landscapes of Wales, the mountains and the valley, the village? Beauty? Quaintness? Authentic atmosphere?

3. The importance of music, as a theme? The opera excerpts, John Pugh and his advertising his bakery with opera? The musicals, the hymns, the Welsh songs? The Village People? Annie Get Your Gun? The final opera and Annie Mary singing?

4. The title, singling out Annie Mary? Her being the focus of the film? The eccentricities of Rachel Griffiths’ performance? Her appearance, her hair, clothes? Seemingly impaired? Emotionally stunted? The first meeting her, with her father? The story, her singing voice, her mother’s support – and the flashbacks of her mother? The competition, all the competitors, her winning and Pavarotti being a judge? Her mother going to hospital, dying? The father’s response? Did he blame Annie Mary for her mother’s death? Her reaction to her father’s selfishness, the gift of the cabbage for her birthday and that they would enjoy the meal? Her work, the bakery, confined? Dowdy clothing? Wearing her grandmother’s dress to the socials? Her father rebuking her? Playing the organ for him, assisting him with his singing? Her friendship with Bethan Bevan, Bethan’s illness, her visits, the prospect of the trip to Disneyland? Raising the money? Her romantic infatuation with Colin, her imagination, discussion with him, his being a Baptist missionary? The man at the cemetery and their encounters? Her friendship with Hob and Nob? The women of the village? As customers, their singing, her helping them out, training them with the Village People songs? The minister and his friendship with her father – and her rebuking him when he didn’t come to visit her father after his stroke? Hob and Nob and the rehearsals from (*of?) ‘You Can’t Get a Man with a Gun’? Her own voice, not singing well? The discussions with Bethan – and the going to Cardiff for the eisteddfod? The group as The Village People and finding the other group? The alternate act, the balloon, her flying over the audience – everyone laughing? Their winning? Her rashness in placing the bet, the Grand National and losing everything? The disgrace in the bus, everyone against her, Hob and Nob refusing to serve her? Her father and his stroke, her caring for him, carrying him? The widow and her attentions, wanting to buy out the share of the bakery, her reaction? Her telling her father off? Her visits to the cemetery, memories of her mother? Looking at the house and wanting to buy it? Her going to see Bethan Bevan, apologising for losing the money? Bethan forgiving her? Bethan’s death, her having sung to Bethan properly, singing at the funeral? The final joy in the hall and everybody joining in? A life for Annie Mary – and especially seeing the new house?

5. John Pugh, the strength of Jonathan Pryce’s performance, the initial singing, the mask, Pavarotti? The baker, his skills, selling the bread? His meanness in not allowing Annie Mary to give away a loaf to the woman without the money? His selfishness, her birthday? Appearing in public, his singing ‘Kathleen’? His forbidding Annie Mary to sing? The attentions of the widow? The suddenness of the stroke, Annie Mary carrying him, caring for him? The widow – and the sexual attraction? Annie Mary’s confrontation, her father supporting her? The funeral?

6. Bethan Bevan, her illness, talking to Annie Mary, sharing with her? The hopes for the visit to Disneyland? Being in remission? Her reaction to the gambled money? Telling Annie Mary that she heard she was funny? The forgiveness? Annie Mary singing? Her death? The parents and their appreciation of Annie Mary’s singing?

7. Hob and Nob, their shop, their relationship? Their manner? Gossip, singing from Annie Get Your Gun? Their turning against Annie Mary? Their joining in joyfully at the end? The gay couple in a village?

8. The ladies, coming to the shop to buy bread, rehearsing their songs, the Village People, going to Cardiff, the performance? Tough aspects of their life?

9. The minister, church, chapel, interest in money, John singing? His not visiting when John was sick?

10. The mayor, his town, the charity, the raising money for Bethan Bevan?

11. The visit to Cardiff, the enjoyment, the performance?

12. The humane touches – and the blend of the serious and comic?

SOMETHING WILD

US, 1987, 114 minutes, Colour.
Jeff Daniels, Melanie Griffith, Ray Liotta.
Directed by Jonathan Demme.

Something Wild has become something of a cult classic. What begins as a farcical road movie becomes a serious pursuit.

The film was directed by Jonathan Demme who began work under the influence of Roger Corman in such films as Caged Heat and Crazy Momma. He made Fighting Mad and Citizens’ Band. However, by the late 1970s he had become more respectable with the Roy Scheider thriller, The Last Embrace and Mary Steenburgen winning an Oscar for best supporting actress in Melvin and Howard, based on a story of Howard Hughes (played by Jason Robards). Goldie Hawn and Kurt Russell and Christine Lahti starred in Swing Shift and he made a musical documentary, Stop Making Sense. However, he became more substantial in reputation with Married to the Mob in 1988, and then won the Oscar for best director in Silence of the Lambs in 1991. After that he made some significant films including Philadelphia, Beloved, the documentary, The Agronomist and the remake of The Manchurian Candidate.

The film stars Melanie Griffith who had appeared as a teenager in a number of films including Night Moves, The Drowning Pool and Smile. She also appeared in Body Double and Fear City. However, with Something Wild, she emerged as a reputable actress and appeared in The Milagro Bean Field War and Stormy Monday as well as getting Oscar nomination for Working Girl. For the next fifteen years she was a star who appeared above the title. Jeff Daniels had just emerged as a potential star with performances in The Purple Rose of Cairo and Terms of Endearment. The villain of the film, Ray Liotta, was also emerging as a character actor – often more suited to sinister roles as was seen in Goodfellas.

Melanie Griffith is an eccentric young woman who abducts Jeff Daniels who is in a collapsing marriage. They pose as husband and wife, visit her mother, go to the high school reunion – only to meet up with her ex-husband and the chase becomes far more serious.

The film is an interesting character study – as well as a variation on the American road movie.

1. A film of the 80s, the men and women of the period, the yuppies, the temptress? The comment on business, money and success, temptation? The touches of madness and wildness?

2. Jonathan Demme and his career, his particular interest in music? The selection for the musical background, the songs? The impact of the final credits scene and the performance of ‘Wild Thing’?

3. The New York cityscapes, during the credits, the ride up and down the Hudson River? A vivid picture of New York? The streets? The countryside, Pennsylvania? Homes and motels? Service stations? Mom and Dad’s restaurant? A sense of the real – but with this kind of plot, credible or not? Symbolic or not?

4. The opening situation, Lulu and her accosting Charlie, his not paying his bill? Lulu creating the pressure on him? The lift in the car, her reckless driving, abducting him? His lying about his family? Her not telling Charlie about her husband? The 1980s man, upwardly mobile in New York City? The woman – and the touch of madness? Their wild journey, the challenge to him, the discussions about being a rebel? The sexual encounter in the motel? Charlie and his talking about his wife and family – ringing his children? Later telling the truth? The motel and the handcuffs – and his continuing to wear the handcuffs?

5. Lulu, Melanie Griffith’s screen presence, style? The black wig, transforming to her usual blonde self? Accosting Charlie at random, her motivation, her treatment of him, driving? Buying the scotch, her skill in robbing the store? Going to the restaurant, the meal, not paying – and making Charlie run for it? The journey, their talk, her erratic behaviour, crashing the car? Buying another? Her being in control, he not?

6. The visit to her mother, the nice mother, her calling herself Peaches? The discussions, the meal, Charlie helping with the washing up, the mother seeing through her daughter, warning him? Lulu becoming Audrey?

7. Going to the class reunion, the ten years, arrival, talking to people at the desk, reminiscences, Audrey lying about her marriage and her children? The dances? Charlie enjoying himself? Larry and his wife, Larry and his condoning the behaviour? Larry’s wife and her being prim? The reaction, Charlie and the pretence? Irene coming on in a sultry manner?

8. The darkening of the screen, the beginning of the second half – the darker half? The change of mood with Ray’s appearance, Ray and his glint, aggressiveness, the touch of madness? With Irene? The revelation that he was married to Audrey? His being in prison, his explanations of his crime? Short wick, his angers? His pressuring them to go out for the drink, going to the shop, bashing the attendant, robbing it? Trying to implicate Charlie? Shooting the CCTV camera? The clash with Charlie, the fight? The motel, tying Charlie up? Assaulting Audrey? Audrey not in control? Charlie getting the better of Ray, going? Charlie and his following, his change of clothes and everything about him?

9. The restaurant, his going in to challenge Ray, the discussion, the acknowledgment of the police, trapping Ray, taking Audrey with him?

10. Ray, his angers, pursuit, finding Charlie’s address? Smashing the window, bashing Charlie, Charlie and his being tied up, his getting free, the knife? Ray’s death – surprised? The arrival of the police? The questioning of Audrey and taking her away?

11. The resolution? Charlie and his leaving his job, the farewell to Larry? His going back to the restaurant – again being accosted for not paying? Audrey there as herself? A future?

12. The final singing of ‘Wild Thing’ as a summing up of what had gone on?

METROPOLITAN

US, 1990, 98 minutes, Colour.
Directed by Walt Stillman.

Metropolitan was written and directed by Whit Stillman. He worked in an illustrating agency and wrote this screenplay in his spare time during the 1980s. He married a Spanish wife and spent some time in Spain, working as a sales agent for some popular Spanish films. He was able to make Metropolitan as well as Barcelona, based on his experiences in Spain. His other feature film was The Last Days of Disco, based on his experiences of the clubs in New York City, especially 54. Apart from two episodes of Homicide, Life in the City, these are the only films that he has made.

The film is one of conversation and elegance. Friends during the various seasons of the year, meet in a Manhattan apartment for drinks, partying and conversation. They are from the upper class, they discuss their place in society, they play bridge, they discuss socialist themes, especially from the work of Fourier. There are four central characters, Nick who is particularly cynical, Charlie who is rather philosophical. Sally enjoys parties, Audrey makes the Jane Austen connection – and the film is considered a contemporary variation on Jane Austen’s Mansfield Park. The catalyst for change is Tom, from a more ordinary way of life who is critical of theirs. However, he falls in love with Audrey.

The film is a variation on the kinds of films that Woody Allen made – but without the sardonic wit and the plot contrivances. While there is irony in this film, it is a much more ‘civilised’ film.

1. A piece of Americana? A Manhattan film? The upper class? The wealthy? Young people? Their ideologies? The ideologies of young people of the 1980s?

2. The director and his writing? First feature? His own experiences? His particular style – a very verbal film? The small budget, the lack of camera and other equipment, the decision to have a still style? The cast – amateurs and professional? Little known? Cinema models, Allen, Bergman, Rohmer?

3. The variety of the musical score, the background to the different characters, jazz and contemporary music, Gilbert and Sullivan, hymns?

4. The time setting: not so long ago?

5. The impact for an audience, depending on social class, for Americans, for a universal audience? Manners and morals – US Jane Austen style?

6. The Manhattan settings and atmosphere, the Plaza Hotel, interiors, apartments? Churches, salons and restaurants? New York by day, by night?The contrast with the exteriors – and the visit to the Hamptons, the house at the Hamptons? The film opening out in the latter part?

7. Costumes, décor and attention to detail?

8. The initial focus on Audrey, with her mother, pouting, going out, her self-image? The deb season? Escorts? The audience not seeing any of the dances? The parties afterwards? Sally and her group, her apartment? Audrey as the focus of the film? Her being different from the others? A nice heroine – with the touch of romance? And having to learn self-esteem?

9. Tom and his leaving the hotel, the encounter with Nick and the group, the discussion about the taxi, Tom going with the group even though he didn’t intend it? Being introduced to Sally and her group? Jane and Cynthia, Charlie and his incessant talking, Fred and his sleeping? The collages of the encounters in the apartment, the discussions, the groupings?

10. The topics of discussion, Charlie and his philosophy? Tom and his ideologies? Nick and the suave manner, information about society, gossip? Tom and his opposition to their stances? Yet gradually accommodating himself? The link with Serena, her many boyfriends, Tom being one of them? The issue of his letters – and the revelation that Serena had given his letters to Audrey, Serena reading them out? Audrey treasuring them?

11. The season continuing, dances every night, parties every night? Invitations? Tom expecting that this would continue – the others only being friendly for the season? His friendship with Charlie, concern about Audrey? The visit to Sally in the middle of the night, her going out, her brushing them off? Rick and his reputation, bringing guests to Sally’s? Listening to Rick, the encounter with Nick and the punching? Rick and his trouble-making – even though a baron?

12. The scenes with Tom and his mother, his irritation, taking the tuxedo back to the rental, his being too late, his becoming more and more involved with the group, Audrey and his not realising her love for him?

13. Nick as the centre of the group, his talk, his badmouthing Rick? The clashes? His eventually going to see his stepmother, the irony of his saying that he might be murdered and Tom was to investigate?

14. The importance of the game, the truth game, Audrey and her being asked a direct question? Tom and his being asked the direct question about Serena? Jane blaming herself?

15. The various members of the group giving advice? Cynthia and her wanting to break out? Her reputation – and going to Rick’s place? Fred and his becoming sober? Charlie and his giving up his intellectual talk, his devotion to Audrey, declaring himself, her response? Her later concern? Tom and Charlie and their worrying about where Audrey was, with Cynthia, their going to Rick’s?

16. The background of Rick and Serena, Tom and Serena and their meetings, the final break-up, Serena explaining about the letters? The change of attitude for Tom? Able to leave the relationship?

17. Charlie and Tom and their worry, their search, the hiring of the cars, discussions about licence, getting the taxi, the drive to the Hamptons, the taxi driver and his demands? Charlie’s reaction? Tom scouting the house?

18. Getting inside, intruding, the confrontation with Rick, his friend there? Cynthia and Audrey? Audrey demurely reading the book?

19. Audrey and Tom, the walk on the beach, a gradual understanding? Charlie and his observing? The film ending?

20. The portrait of young people, their particular class, concerns? The Christmas period in New York? A film of its period? Seen in the present perspective?

THE COOL MIKADO

UK, 1982, 81 minutes, Colour.
Frankie Howerd, Stubby Kaye, Mike Winters, Tommy Cooper, Dennis Price, Jacqueline Jones, Kevin Scott, Jill Mai Meredith, Lionel Blair, Dermot Walsh.
Directed by Michael Winner.

The Cool Mikado must be one of the most oddball of British films. It was made when the copyright for Gilbert and Sullivan’s works lapsed, fifty years after W.S. Gilbert’s death. This film is a presage of what was to come in the adaptations of the Gilbert and Sullivan operettas to more contemporary styles.

However, the musical styles here are a mixture of the authentic songs (generally sung by choruses), more jazzed versions (by John Barry, the celebrated composer at the beginning of his career) and a twist version of ‘Tit Willow’, sung and danced by actor, comic, choreographer, Lionel Blair.

This would be enough to give Gilbert and Sullivan aficionados a stroke.

The story then is updated to the 1950s. It is set in Japan with occupying American forces. However, some of the characters who are meant to be Japanese are Americans or English. The film starts on a plane with Stubby Kaye as a loud American talking incessantly. The man next to him, played by Kevin Scott, tells the story of his experience in Japan and so it is a flashback to the basic Mikado story.

Frankie Howerd is Ko Ko, Stubby Kaye is the judge, the father of the hero. Tommy Cooper, getting a chance to do some of his comic routines, is Poo Baa the private detective. Dennis Price is Ronald Fortescue, the consul who is to fix up everything at the end. Jill Mai Meredith is Yum Yum and Jacqueline Jones is Katie, instead of Katya. Lionel Blair at a club is Nanki Poo.

While all the characters are there and the basic plot is followed, it is not particularly well acted except for Stubby Kaye as a professional both in comic acting and singing. Frankie Howerd does his usual thing.

Most of the songs are reproduced in varying forms – and with varying qualities of voice and style.

One of the main interests is that this was made at the beginning of Michael Winner’s career. He was twenty-six when he made the film (and others in the making also show that it is a young person’s enterprise). However, Michael Winner was to go on to make a number of interesting films during the 1960s in England including such films as I’ll Never Forget Whatsisname, Hannibal Brooks, The Games. During the 1970s he went to the United States where he was much more successful with Lawman, The Night Comes, Chato’s Land, The Mechanic, Death Wish, a strong partnership with Charles Bronson as well as Scorpio with Paul Scofield and Burt Lancaster. He was less successful in the 1970s and the 1980s making a couple of Death Wish sequels as well as The Wicked Lady. He did not make many films during the 1990s – but continually appears, quite eccentrically and comically, on television panels as well as doing a lot of television advertising in the United Kingdom.

A cinema curio.

MAGENTA

US, 1996, 91 minutes, Colour.
Julian Mc Mahon, Alison Storry, Markland Kennedy, Crystal Atkins.
Directed by Gregory C. Haines.

Magenta is a straight-to-video release. It is soft-core pornography. Gregory C. Haines has made a number of films in this vein – a story of a marriage, a young doctor whose partner is corrupt, the sister of his wife coming to visit from England. With this kind of formula one can work out how the screenplay will go. The wife is having an affair with the friend, the friend is bisexual and has eyes for his partner, the innocent young girl is a modern Lolita and the husband begins an affair with her. So much, so predictable.

At times the screenplay tries to moralise but generally it indulges itself in its presentation of a fairly unprincipled and amoral group. There are salacious scenes – and the touch of the minor orgy in the house of the friend.

One of the difficulties is that the performances are fairly terrible. Julian Mc Mahon, after his appearances in Home and Away and before his American career – more successful with Nip/Tuck and The Fantastic Four – is a rather stolid presence. While at times he tries to be principled, his descent into the relationship is rather sudden and unconvincing. His violent confrontation at the end, even more so.

There is an irony that in real life Mc Mahon left Dannii Minogue for Crystal Atkins who performs (rather ineptly) as Magenta.