THE EXPENDABLES

US, 2010, 103 minutes, Colour.
Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Eric Roberts, Randy Couture, Steve Austin, Giselle Itie, Terry Crews, Mickey Rourke, Arnold Schwarzenegger, Bruce Willis.
Directed by Sylvester Stallone.

Testosterone. No. TESTOSTERONE. No. T- E- S- T- O- S- T- E- R- O- N- E. Yes, and with a huge plus...

Having established a screen presence with Rocky and Rambo (with sequels to both in recent years), Sylvester Stallone is branching out into a new character, Barney Ross, the leader of a squad of mercenaries who, had they been employed by the US military might have stopped the war in Afghanistan in the first couple of days. We see them at once in operation against Somali pirates (a new and topical enemy for movies), total enemy body count, releasing their amazed hostages and getting unobtusively back to the US to await further bookings.

One comes almost instantly. A mysterious Mr Church (cameo by Bruce Willis) urges them to destroy, with extreme prejudice, the corrupt government of a Latin American island (when they are interrupted by a comic cameo, aureole shining behind him, from Arnold Schwarzenegger in some amusingly hostile banter with Stallone and the comment, as he leaves, about his wanting to be president).

Stallone’s mainstay is Lee Christmas, played by movies’ current tough guy, Jason Statham. He is expert with knives, Stallone with bullets which sets up some competitive rivalry in mid-mission. Jet Li is there too (with wry comments about his being small) and some wrestlers, Randy Couture and Steve Austin (and some jokes about the former seeing a psychotherapist).

And, Eric Roberts is there, too, smiling and snarling simultaneously, in a performance that has stood him in good stead in many a B or straight to DVD movie: the master villain.

If you want action, more action and then more action, plus impossible stunts and punishing body fights (Stallone keeps getting up again and again after more physical pounding than was inflicted in The Passion of the Christ), then here you are.

There are plenty of nasty touches, vicious deaths with an immediate aftermath of nonchalant wisecracks. There is also a grim torture sequence when the woman who tries to help the expendables is waterboarded.

The whole thing is more than a bit much for all except the macho, hawkish niche audience.


1. Sylvester Stallone and his career, Rambo and Rocky, this film as continuing his interests and characters?

2. The niche audience for this kind of testosterone film, the male audience, the action audience? Others’ responses?

3. The Stallone perspective, his being the star, his image, tough, American? The group, the mercenaries, their values, not supervised, the control? The cast and their screen images? Seeing them together?

4. The initial action in Somalia, the contemporary issue of pirates and hostages, the set-up, the brutality of the pirates, the violence, the characters in the group, their abilities, strategies, decision-making, interactions, their achievement? The body count? The release of the hostages? Setting the tone for the film?

5. The action sequences, the stunts, their range, the special effects, explosions, fire, buildings collapsing, flights? The overall impact? The stunt work?

6. Audience response to the violence, gratuitous or justified? The contexts? American supremacy? Opposing tyrannies and removing governments? The overtones of memories of Iraq, Afghanistan…? The place of rogue agents, their power, money, drugs? Dominating a small country? The supply of weapons, the destructive power? Their use, callous? The Expendables and their lack of humane concern, a day’s work, the final wisecracks?

7. Stallone and Statham, Barney Ross and Lee Christmas, friends? Their pasts, their relationships? Lee and his being sad, going to meet his girlfriend, her change of heart, learning what he did? The group for hire, in Somalia, the achievement, the competition between bullets and knives? Their leadership of the group?

8. Ying Yang, Jet Li and his style, small, the fights, the jokes, effective?

9. The contrast with Gunner, Dolph Lundgren and his size? Big, angry, prejudiced? His being refused admission to the group? His going to James Munroe? The betrayal, going into action, the chase and the attempt to kill Ross and Christmas? The fights, with Ying Yang, his being injured, spared and rejoining the group?

10. Randy Couture and Steve Austin, their wrestling backgrounds, the jokes about psychotherapy? Their going into action?

11. The cameo with Arnold Schwarzenegger, his entrance with halo-like light behind him, the jokes about clashing with Stallone, his wanting to be president?

12. Bruce Willis, Mr Church, in the church, the discussions about hiring the group, the agency background, the promise of money, his motivations?

13. The island, the dictator, the backing of the US, the local inhabitants and their being oppressed, working for the drug dealers? Munroe and his tough henchmen, Munroe’s ruthlessness, visiting the site for the drugs, angry because it wasn’t developed? The pressures on the dictator, the daughter being captured, her torture for information?

14. Ross and Christmas, flying in, the landing, the confrontation at passport control, the contact with the girl, driving to the estate, the fight to get out, the shootouts, the girl staying, her being taken? The return of the plane, exploding everything on the wharf?

15. The decision to go back, the training, the aims? The action sequences? The raid, the executions? The deaths, the body count? Ross being captured, his attempt to rescue the girl, the chase, the explosions, the collapse of the presidential building, Munroe taking the girl, his killing the dictator? The dictator and his speech to the people offering to repent? His talking with his daughter? Munroe’s death, the knife and the bullets?

16. The tradition of mercenaries andThe Wild Geese? Audience tolerance of this kind of gung-ho, macho, hawkish action adventure?

17. Tool and his personality, his past, the close-ups of his monologue, his reappearance with the group at the end, his skill with knives?

GENTLE ANNIE

US, 1944, 80 minutes, Black and white.
James Craig, Donna Reed, Marjorie Main, Harry Morgan, Paul Langton, Barton Mac Lane, Morris Ankrum.
Directed by Andrew Marton.

Gentle Annie is based on a novel by Mac Kinlay Cantor, writer of The Best Years of Our Lives and offering stories for such films as Gun Crazy and The Romance of Rosie Ridge.

The setting is Oklahoma, 1901 – still an outpost with overtones of the old west, which makes this film something of a 20th century western. The Annie of the title is played by Marjorie Main, a character actress – and this performance anticipates her very popular role as Ma Kettle. James Craig is the leading man, an investigator concerning a train robbery who goes undercover and lives with the family of the robbers. Donna Reed works at a hotel, is alone and wants to return to Missouri but is befriended by the family. Harry Morgan and Paul Langton are Annie’s sons, involved in a train robbery. Barton Mac Lane is the corrupt sheriff in the town, with a hostility as a northerner towards those from the south because of the civil war.

The film has its genial moments with Marjorie Main veering between firing a shotgun and being pleasant and sentimental. Donna Reed is always charming. James Craig a solid hero. There is some ambiguity in the reasons for the family robbing the train – which plays into the conclusion, a more empathetic ending than might have been expected.

1. A pleasant B-budget film? 20th century western? Drama?

2. Oklahoma, 1901, the towns, the saloons, the streets? The railroads? The farms? Authentic feel?

3. The title, the reference to Annie Goss? Motherly, the widow of the southern soldier? His portrait and the family greeting him each day? Her love for her sons? Her kindness, with the chickens and on the farm? Her eyesight? Off-key singing? Her welcoming Mary and making her part of the family? Her welcoming Rich? Happy to have him in the house? Her relationship with her sons? The revelation that she was at the robbery? The threats from the sheriff? Her wanting to go back to Missouri, the gift of the hat and its effect on her? The pathos of her being shot by the sheriff?

4. The rain robbery, the explosion, burning so much of the money? The motivations for the robbery, money to buy the old homestead and return to Missouri? The rumours of gold on the land? Annie at home, her two sons, Cotton and his more serious approach, Vi and his name, his attraction towards the girls, his hopes? The brothers going into town, Barrow and his knowing the truth, having the money? The train arriving, Rich and his being seen as a vagrant? Barrow and his wanting to take photographs?

5. The sheriff, the northerner, his hostility, his deputy? Suspicions of the brothers, going onto their land, losing his hat? The confrontation? The group going to the farm, the shooting of Annie? The shootout in the town, the death of the deputy and the sheriff?

6. Rich, seeing him in the city, his commission to find the robbers, his reputation? Undercover, a vagrant? Handy with the gun, sympathetic to the brothers, staying with them, working on the farm, friendly with Annie? His falling in love with Mary? With the brothers, their confiding in him, helping them against the sheriff? Their showing him the money, the invitation to go on a raid? His pulling the gun, their overcoming him? Working with them against the sheriff, the death of Vi, taking Cotton in, Cotton’s sense of justice and Rich doing his duty?

7. Mary, in the saloon, short-tempered? Leaving, going with Annie, enjoying living in the house, a family, the hat, riding with Vi? Falling in love with Rich, discovering the truth? On the train, leaving and the happy ending?

8. Rich, undercover, sense of duty, sympathy? Love for Mary, the happy ending?

9. Barrow, the photos, the drinks, the sheriff getting the information? Being cowardly?

10. A gallery of characters – and a gentle train robbery story, a story of outlaws in the old style –

INTRODUCING DOROTHY DANDRIDGE

US, 1999, 120 minutes, Colour.
Halle Berry, Brent Spiner, Klaus Maria Brandauer, Obba Babatunde, Loretta Devine, Cynda Williams, La Tanya Richardson, Tamara Taylor, William Atherton, D.B. Sweeney.
Directed by Martha Coolidge.

Introducing Dorothy Dandridge is one of the best biography films about a Hollywood star.

Dorothy Dandridge was born in 1922 and died of an overdose, accidental or intentional, in 1965. She entered show business at an early age, excelled as a singer and then moved into some small-budget films. She sang with her sister, Vivian Dandridge (Cynda Williams) and a third in the Dandridge sister.

Early in her career, she encountered the celebrated African American dancers, the Nicholas Brothers and married Harold. Because of an assault on her by her aunt, suspicious of her dating Harold Nicholas, she had a phobia about sexual relationships. She became pregnant and gave birth to a child who had brain damage at birth. This made demands on her life, finally and reluctantly handing her over to institutional care. She was supported very strongly by her actress mother (Loretta Devine).

She took the opportunity with her manager, Earl Mills (Brent Spiner) on whose biography this film is based. She broke through some race barriers in clubs in the 1950s in Florida, canvassed for the role of Carmen Jones with Otto Preminger (Klaus Maria Brandauer) with whom she had a long relationship and who brutally broke off the relationship, damaging her emotionally. She married gambler Jack Denison (D.B. Sweeney) but the marriage was a disaster. William Atherton has a small role playing Darryl F. Zanuck.

Halle Berry is excellent in the title role and won an Emmy award for her performance. She had to re-enact Dorothy Dandridge going to t 1955 Oscar ceremony when Dandridge was nominated for Carmen Jones but did not win. Three years later, Halle Berry herself won the first African American woman best actress award for Monsters’ Ball.

The film is well written, offers insights into Dorothy Dandridge’s character and personality, and she is impersonated with some intensity and skill by Halle Berry. Brent Spiner is very good as Earl Mills as is Brandauer as Otto Preminger.

The film also offers a great deal of background about race relationships in the United States from the 20s to the 60s, scenes where Dorothy Dandridge is allowed to perform as a Las Vegas casino but not allowed to use the swimming pool which would have to be cleaned and fumigated after her use. There are also some very interesting scenes about the production and performance of Carmen Jones as well as the scenes for Porgy and Bess where Dandridge encountered Preminger again.

The film is well directed by Martha Coolidge, who began with documentaries, moved into popular films in the 1980s and directed a great deal of television as well.

1. Audience knowledge of Dorothy Dandridge? Her singing, her film performances, Carmen Jones?

2. Dorothy Dandridge’s life, the 1920s, 30s, 40s and 50s, the culmination in the 60s? As a singer, an actress, in films, Carmen Jones, the aftermath, other film roles, continuing her singing career? Her place within her family, the abuse from her aunt, the marriage to Harold Nicholas, the birth of her daughter, caring for her, the divorce, the meeting with Otto Preminger, her marrying, her husband as a fraudster, her relationship with her agent, her collapse? A showbiz life and death?

3. The quality of the film as a biopic, the information about characters, re-creation of the period, Dorothy Dandridge’s personality, ambitions, her flaws? Hollywood? Decline and depression?

4. The framework of the film: Dorothy talking to Geri on the phone, putting the photos in the photo album and remembering, the suicide note, her suicide or not?

5. The Oscar ceremony, 1955, her dress, going with Vivian, the interviews?

6. Dorothy’s memories, her singing in the group, the three, her mother as an actress, her mother supporting the family, her aunt and the strict supervision, the examination and abuse? The flirting with Harold Nicholas, the Nicholas Brothers and their skills, the brother and his wife, Geri? Their friendship? The flirting, the night out, her aunt’s strictness? The marriage and her happiness? The frigidity in the marriage? The attempts of Harold Nicholas to consummate the marriage, her daughter, her birth, Harold at golf, her anger, the blood and the lack of air for the daughter? The four years passing, the visits to so many doctors, the variety of opinions, attempts at cure, whether to put the daughter in the institution or not? Dorothy as a mother, her daughter not knowing her? Dorothy’s mother and her continued help?

7. The introduction to Earl Mills, the agent, at the party, being invited to listen to her sing, her being under the piano, his being impressed, his working for her, his quiet love for her, his ambitions for her, selfless, right to the end?

8. The film and its treatment of race issues in the United States in the 40s and 50s, the pool and its having to be scrubbed, yet Dorothy performing and having to go through different doors? The episode in Florida, singing in the club, her stance, winning over the crowd, their support? Singing in Las Vegas and the discrimination? The owner of the club in Florida, his stance, urging Dorothy to sing, her success? Her travel, the collage of the newspapers and her world tour?

9. The issue of Carmen Jones, a film with African American actors, the auditions, the studio’s attitude, Earl Mills and his urging Dorothy to audition, the visit to Preminger, dressed up in a proper manner, polite, getting the part of Cindy Lou, her not wanting it? Her tantrum and attack on Preminger? Her family and their urging her to talk, to walk, going for another interview? Her getting the role, her fears in the studio, on the set? Preminger and his visit, persuading Dorothy to act? The affair, its effect on both of them? The scenes of the filming, the premiere, the Oscars and her not winning, Preminger’s nod to her?

10. The bond with Preminger? Her singing, his coming to hear her, his advising her not to take the part in The King and I? His leaving her at the club? The effect on her, collapse? Her accepting Porgy and Bess, the advice of Sidney Poitier, Preminger coming on the set, her reactions to him, his dogmatic style?

11. The consequences for Dorothy, the films she chose, the film career, her singing, getting depressed, consigning her daughter to the institution, unwillingly?

12. Meeting Jack Denison, his style and manner, marrying him? The talk, her career, his violence, beating her, her self-assertion?

13. Her reliance on Earl Mills, his being there for her, his love at the end?

14. Her final collapse, her look and her face showing wear and tear, the pills, the plan to go to New York, getting ready, the preview, the note, the photos, talking to Geri?

15. Halle Berry’s performance and her bringing Dorothy Dandridge to life?

JESSE STONE: STONE COLD

US, 2005, 87 minutes, Colour.
Tom Selleck, Jane Adams, Reg Rogers, Viola Davis, Alexis Dziena, Kohl Sudduth, Polly Shannon, Stephen Mc Hattie, Shawn Roberts, Mimi Rogers.
Directed by Robert Harmon.

Stone Cold is the pilot movie for a series of films about Robert B. Parker’s detective and police chief, Jesse Stone. He has been played by Tom Selleck in the seven films from 2005 to 2010, all directed by Robert Harmon.

The setting is a town called Paradise, Massachusetts. In this film there is a series of random killings, performed by an odd couple, played by Jane Adams and Reg Rogers. Tom Selleck, divorced, with an alcohol problem, has been moved from Los Angeles to Massachusetts. He is a straight-talking, no-nonsense policeman. In the office he is assisted by Molly Crane, played by Viola Davis, and Luther ‘Suitcase’ Simpson, played by Kohl Sudduth. He has a girlfriend from the municipal offices, played by Polly Shannon. She becomes one of the victims of the made couple’s killing spree. Stephen Mc Hattie, who was to appear in other films, plays the Boston police chief. There is a cameo by Mimi Rogers as a rather imposing defence attorney.

The audience knows who the killers are early in the film, so it is a matter of watching the cat-and-mouse behaviour of the couple with the police chief. There is also a subplot about the local high school football champions and their gang rape of a sixteen-year-old effectively played by Alexis Dziena).

The film is well written, well paced and keeps audience interest. It assured the continuation of the series for quite a number of films.

1. The writings of Robert B. Parker? The Jesse Stone series? Translated to the small screen?

2. Paradise, Massachusetts, the dictionary meanings given at the beginning? The look of the town, the coast, the cliffs? The streets and homes? High school? Police precincts? Mansions? An authentic feel? A setting for murder investigations? Musical score?

3. The focus on Jesse Stone, Tom Selleck’s screen presence and performance? The back-story, his journalist wife, her continued contact with him, wanting stories? His drinking? Transferred from Los Angeles? His settling in, working with Molly and with Simpson, the other members of the staff? his straightforward attitudes, laconic, speaking directly, speaking his mind? His relationship with Abby, her advice about the drinking, the divorce? The effect of her murder, his being shattered? His investigating the murders, forensic evidence, the authorities in Boston, handling the media? Handling the town council? The suspicions of the Lincolns, the visit, taking their rifle? Their following him? His confronting them? His setting them up, the linking of their story with the rape investigation? Their succumbing to the trap, the confrontation, the shootout, Andrew and his fears and arrest?

4. The Lincolns, the random murders, filming the victims, choosing them, the executions? The death of Abby? Their behaviour, the discussions with Jesse Stone, boasting, their travels? Their wealth? Madness? Following Stone, the death of Abby? The set-up, their falling into the trap, their vanity? The confrontation, Brianna as the killer? Andrew and the film, his cowardice?

5. The rape case, Candace coming with her parents, her silence, her mother’s demands? Molly and her going to the school, watching, identifying the assailants? Getting the photos? Stone and his giving a lift to Candace, winning her over, confidentiality? Her gratitude towards him? Marino’s father, the fight with Candace’s father in the office? The threats of an assault case? Rita Fiore and her entrance, her demands? Her assessing the situation? Her meeting with Stone, coming on to him, the meeting, the date, her estimating his value? The deal?

6. The boys, confrontational, Bo and the joint in the toilet, being arrested by Molly and overcome by her? His surliness? Kevin Feeney and his mother, the interrogation, his admitting the truth? Bo and his father, his father’s surliness? The deal with the DA, their working for the police chief? Candace and her being able to face life again?

7. Molly, as a person, interchanges with Jesse? Her skill with Bo? Her concern about rape crimes? Luther, his earnestness, Stone and his leading him on, his investigations, support of Stone? Captain Healy and his visits?

8. The elaboration of the murder plot? The rape plot? Combining the two in the set-up for the Lincolns? A satisfying police story?

BAD COMPANY

US, 1995, 108 minutes, Colour.
Ellen Barkin, Laurence Fishburne, Frank Langella, Michael Beach, Gia Carides, David Ogden Stiers, Daniel Hugh Kelly, Spalding Gray, James Hong.
Directed by Damian Harris.

Bad Company is a film about ex-CIA operatives. Most of the characters are evil, exploitative, greedy.

Frank Langella plays the organiser of a company which blackmails victims like judges. His main assistant is played by Ellen Barkin. He hires former CIA agent, played by Laurence Fishburne, who is still under the thumb of the CIA (especially the chief, Michael Murphy). The film becomes more complex in its plotting as the operatives attack the judge, he commits suicide, leaves his money to his mistress (Gia Carides). The film is also complicated by the plots to kill the manager of the firm – a mutual conspiracy with Fishburne and Barkin. It all comes to a violent end.

The film is well acted, quite well written – and an ugly look into the world of manipulation, exploitation and greed.

1. The title? The CIA? The company and its career of crime? The individuals and their evil?

2. The American atmosphere, the skylines of the city? Wealth, the company rooms, apartments? The contrast with the countryside and its peace, the violence committed there? The musical score?

3. The narration by Nelson Crowe? The introduction to Margaret and Nelson, the comments of the voice-over, Nelson’s character, the recruiting, the audience opinion of him? Grimes, his company, exercise of power? Margaret in his employ? The introduction to Crowe, his summing up his character and possibilities, employing him?

4. The situation of the photos, incriminating, the blackmail? The perpetrators having no scruples?

5. Margaret and Crowe, their meeting, the apartment, Margaret’s seductive behaviour, the sexual relationship, the plans, Margaret as devious? The plotting against Grimes?

6. Walter Curl, his company, the suit against him? Giving the money, the bribe for the judge? His personally being nervous? The introduction to the judge, his gambling habit, the debts? His friends, the markers? Their being available, the company buying them? Crowe and his meeting with Todd Stapp, their discussions, the past work together, visiting Bobby Birdsong and the issue of the markers and the money deals? The encounter with Les Goodwin, his giving them leads, wanting what he could get out of it? The plan, the pain, the control? Goodwin and the betrayal of the judge?

7. The visit to the judge, following the judge, the elevator, the issue of the markers, Janet and her being present? The interviews, the discussions, the decision, the blackmail? The judge taking the money? His relationship with Janet, with his wife, leaving, getting her to go to the Bahamas, opening the account? The decision about his children and wife, his killing himself?

8. Walter Curl, the reaction? The damages case, the high court vote? Margaret and Crowe and their visit and dominating Curl?

9. The picture of the agency, Crowe and his visit, the hold over him, the non-delivery of the gold, Iraq? The manager and his assistant? Stapp and his wanting in? The plan, the agency wanted to take over Grimes’ company?

10. Grimes, relationship with Margaret, the weekend fishing, her deceiving him, killing him?

11. Margaret, the agency and their control of her? Setting up Margaret against Crowe?

12. Janet, her return, the travel, her wealth, her vengeance, the elevator, Margaret and the warning, confronting Margaret and Crowe, the shootout? Her emerging as victor?

13. An immoral, amoral world? The loss of values? And the violent end? The moralising end that no good came for the protagonists?

FLAWLESS

US, 1999, 112 minutes, Colour.
Robert De Niro, Philip Seymour Hoffman, Barry Miller, Rory Cochrane.
Directed by Joel Schumacher.

Joel Schumacher has had a full-flight career during the 90s, two Batman movies, two Grisham adaptations (The Client, A Time for Killing), two Julia Roberts vehicles (Flatliners, Dying Young), an arresting drama of mid-life crisis (Falling Down) and an excursion into the world of pornography and gangsters (8 mm). His movies are melodramas with a touch of the lurid. It is the same with this very interesting and entertaining film. Put Robert de Niro as a heroic, now retired, lonely homophobic cop who has a stroke, with his annoying neighbour, drag queen, Philip Seymour Hoffman, depending on him for singing lessons to develop his voice and control. Add in the friendly cops, the local drug-dealers and some robberies and killings, as well as the Miss Flawless ball and competition and you have Flawless.

Both actors are excellent and the film makes you think (well not everyone as I heard with the man leaving the cinema with four letter condemnations of the worst film he had ever seen). De Niro is strong but Hoffman (after Boogie Nights, Patch Adams, Happiness, Talented Mr Ripley, Magnolia) shows he is one of the most versatile actors in the US.

1. The title, flaws, disabilities? The contrast with perfection? The application of the title to Walt and to Rusty?

2. The Los Angeles atmosphere, the city, apartments, dingy, streets, drag queen clubs, not a flawless area of the city?

3. The colour and tone, the real grit and the atmosphere, the contrast with the camp style, costumes and décor? The score, the songs?

4. The camp tone, Rusty in himself, his friends, the group of gay Republicans, the flawless beauty competition, the drag queens and their performance, the issues of transgender operations and issues?

5. The audience identifying with Walt and/or Rusty? Ordinary attitudes, especially towards the gays and their camp style? The homophobia abuse and mockery? The lack of understanding on the part of Walt? Its effect on the audience? The possibility for the film and the characters to change people’s perceptions?

6. The theme of friendship, impossible friendships, the past clashes, the disregard and mockery, the development for needs and dependence, exploitation, senses of superiority? Talking, sharing, understanding, the risks – the ups and downs yet the reconciliation?

7. Walt and his record, his awards, bravery, the newspaper items, the story of his wife, her leaving with his friend? Retired, his police friends and the card games? The dingy hotel, the types who lived there, the old lady, Leonard Wilcox, the drug connections? Walt’s hearing the shooting, the screaming, his going into action? The attack on the steps, his stroke? Hospital, the doctors’ treatment, the advice? Going home, his carer and the Afro-American? references?

8. Rusty, personality, style, the group of friends, appearing in drag, their noise, giggling, going to the club, his performance, the clients, playing the piano, the singers? His saying he was a singer rather than a drag queen? Ultimately admitting the truth?

9. Walt, Robert De Niro and his style? His asking Rusty for help, his motivation, considering himself better than Rusty, the humiliation? The lessons, success and failure? Walt stopping them? Starting again, the progress? The songs?

10. The effect of the lessons on each, the ups and downs of their interactions, each revealing their family story?

11. Rusty and his life, the play when he was at school, wearing the dress, changing his life, planning for the operation, getting the money, working for the money (and stealing the money)?

12. The portrait of the drug dealers, the initial chase, the pursued man hiding, his girlfriend? The confrontation with the pursuers, the shootings, deaths? Rusty and the funeral for the girl, the ashes and their being spilt? The dealers and their searching the hotel, every room? The confrontation with the manager, the girl escaping and going on the street?

13. The irony of Rusty, the issue of the money, hiding it in his girdle?

14. The build-up to the showdown, the shootings, Walt being wounded, Rusty blocking the door, the fight on the steps, Rusty and the drainpipe, the dangers? The guns, Walt shooting? The deaths and arrests?

15. The gang suspecting Leonard Wilcox, his helping them with information, their attack on his mother?

16. The flawless competition, the men and their dresses, the disputes, the factions? The background of the meeting with the gay Republicans? The winner of the competition?

17. Walt, the ambulance, being taken away, Rusty saying that it was his sister, Walt accepting this and going in the ambulance? Symbolism of the reconciliation?

18. The film as drama, as performance by its stars, as a portrait of tolerance moving to understanding?

WATCH THE BIRDIE

US, 1950, 71 minutes, Black and white.
Red Skelton, Arlene Dahl, Ann Miller, Leon Ames, Pamela Britton, Richard Rober.
Directed by Jack Donohue.

Watch the Birdie is one of many small-budget short running time comedies starring Red Skelton in the late 40s and the first half of the 1950s. Red Skelton was always popular, often appearing as a co-star in musicals with Esther Williams. Later he was to have a successful television career.

This film is a collection of sketches, a slight plot about corrupt builders and politics, and a romance? It has its tongue in cheek and is quite satirical at times.

Red Skelton has the opportunity to do his usual shtick. He plays the son of his father (played by Skelton himself – as was the character of his grandfather). They run a small business for photographers and are in difficulties. Through a series of accidents he encounters a rich businesswoman who is involved in a building project. She is played by Arlene Dahl at her most charming and attractive. With the opening of the site for the building project, there is amusing satire with Miss Lucky Vista, played by Ann Miller, pulling all the stops out for satire. Leon Ames, usually benign, is the villain.

There are various routines that Skelton excels the which may or may not appeal to a later audience. He tries to take photos of an admiral but finishes up photographing the concierge by mistake. He tries to film the launching of a ship and ends up in the water instead. There is also a scene where he goes to the doctor’s and is in a tight dressing room trying to undress for examination with a rather large man. There is also a chase, with Arlene Dahl and Red Skelton atop a huge two-storey vehicle. There are also some slapstick scenes at the opening of the site – with turkeys and Miss Lucky Vista in the midst, as well as a re-edited version of the film with the wrong voices and turkey gobbler sounds instead of the wife of the proprietor.

The film was directed by Jack Donohue, formerly a Ziegfeld dancer who began directing and directed Skelton in The Yellow Cab Man. He directed mainly for television though he directed Doris Day in Lucky Me and Frank Sinatra and Deborah Kerr in Marriage on the Rocks.

A film to look at in the contest of comedies of this period, MGM production, Red Skelton’s career.

GIVE A GIRL A BREAK

US, 1953, 82 minutes, Colour.
Marge Champion, Gower Champion, Debbie Reynolds, Helen Wood, Bob Fosse, Kurt Kasznar, Richard Anderson, William Ching, Lurine Tuttle, Larry Keating.
Directed by Stanley Donen.

Give a Girl a Break is not an outstanding MGM musical of the kind that they were producing at this time: Singin’ in the Rain, Lovely to Look At, The Bandwagon, Seven Brides for Seven Brothers. It runs for only eighty-two minutes and was designed as a showcase for Marge and Gower Champion (who had appeared in such films as Show Boat) and for Debbie Reynolds and Bob Fosse who were up and coming.

The plot is the familiar one of the star who is unable to go on and the producers have to find a replacement (from 42nd Street to The Boyfriend). The three candidates are Debbie Reynolds, Helen Wood and Marge Champion. Gower Champion is the star and choreographer. Kurt Kasznar is the composer. Bob Fosse is Gower Champion’s assistant.

The film has a touch of suspense as the three aspiring stars audition, dance, have emotional conflicts about whether they can go on. Marge Champion is the older star – and her role in the film foreshadows her future when, after twenty-five years of marriage to Gower Champion, they separated and she became a dancing instructor. The film was also an anticipation of Debbie Reynolds’ career. She gets the part finally and is a success – as she was been for the next sixty years. Helen Wood had a short career, played Mary the mother of Jesus in The Pilgrimage Play in 1948.

Gower Champion received eight Tony awards for directing and choreography for his musicals on Broadway. Bob Fosse received seven. Fosse was the Oscar-winning director of Cabaret and directed such films as Sweet Charity, the autobiographical All That Jazz and Star 80.

The film is an opportunity to see these young performers in their early days – very interesting in the light of their subsequent careers. There are some song-and-dance routines, Give a Girl a Break, the finale, Applause (in which Oscar-winning dancer actor George Chakiris can be seen for those who remember him in West Side Story), The United State, sung by Bob Fosse and Debbie Reynolds, and a trio song with the large Kurt Kasznar trying to keep up with the athletic Gower Champion and Bob Fosse.

1. The popular story? The absent star, the show must go on? The search for an unknown? The hazards backstage? Final decisions and success?

2. The colour photography, the theatre, apartments, the atmosphere in New York? The Broadway background?

3. The musical score, the songs, the performances, the choreography? The Gower Champion style? Bob Fosse choreographing his own singing and dancing? In the light of their own subsequent careers?

4. The actress and her tantrum, Felix Jordan trying to persuade her to stay, Ted and his apology? His putting his foot in it? Her walking out? The crisis, the advertisement for performers, the crowd, Ted and his climbing over the roof? The auditions?

5. The preparation for the auditions, the three main actresses singing and dancing?

6. The auditions, the impact? Leo and his supporting Joanna Moss? Bob and his attraction towards Suzy? Ted and the previous partnership with Madelyn? Each of them promoting his choice?

7. The discussions, Ted and the past antipathy towards Madelyn? Madelyn and her relationship with Anson, the possibility of getting married? The discovery that Joanna was married, the interactions with her husband, her getting the part, her decision to go interstate with her husband? Madelyn and her decision, her appreciating Ted’s interest, leaving Anson? Forgoing the part? Her disappearing, coming in at the end? Reunited with Ted?

8. Bob, personality, getting the coffee, impulsive, attracted to Suzy? Suzy and her mother and her mother’s promoting her? The disappointment with the phone call, Bob coming to tell her she had the part? His desperation when he realised that Madelyn would get it? The relief when Suzy was the remaining candidate?

9. The personalities of the men, their song-and-dance routine?

10. The finale, Applause – and the show went on?

MURDER AT THE GALLOP

UK, 1963, 81 minutes, Black and white.
Margaret Rutherford, Stringer Davis, Robert Morley, Flora Robson, Charles Tingwell, Robert Urquhart, James Villiers, Finlay Currie, Duncan Lamont.
Directed by George Pollock.

Murder at the Gallop was the second in the series of Miss Marple thrillers adapted from Agatha Christie novels and directed by George Pollock. This film was based on After the Funeral. Robert Morley features very strongly in this film and brings his comic talent and style. Flora Robson takes over the Arthur Kennedy role from the first film and finally she is unmasked as the villainess. This film gave Margaret Rutherford an opportunity for Miss Marple to say things about Agatha Christie and also for the unusual sight of Margaret Rutherford and Stringer Davis doing the Twist. It was a good successor to the original.


1.Margaret Rutherford and her bumbling style, shrewd? Snoop? Putting things together, remembering parallels? Insinuating herself into circumstances? The threats, the confrontations? Her doing the Twist with Mr Stringer?

2.The murder situation, old Enderby and his death, the cat? The various relatives? The reading of the will and Miss Marple listening in? The suggestion of murder?

3.The family suspect: Hector Enderby, Robert Morley’s style, bumbling, the gentleman, the hunting, the kind host? The proposal to Miss Marple – and the narrow escape? George Crossfield, the art dealer, shady, sinister, his being murdered? Rosamond, the marriage to Michael, her determination? Michael and his double-dealing? Hellman and his being a servant, sinister?

4.Miss Milchrest, her disguising herself as the sister? Audience seeing through this? Her timidity, her finding Miss Marple with the body? Her upset, going to the hotel? Her fears? Miss Marple and the confrontation, revealing herself and her cleverness, exposed?

5.Miss Marple, the art situation, the painting, her taking it, giving it to Mr Stringer to take to London, the truth? Her setting herself up with the false heart attack? The exposure and confrontation with Miss Milchrest?

6.Inspector Craddock, genial, exasperated with Miss Marple? Going along with her? The other police, the doctor?

7.The popular ingredients of a Miss Marple story, Agatha Christie’s style? Agatha Christie’s technique of diverting attention away from the most obvious suspect?

UNTAMED FRONTIER

US, 1952, 78 minutes, Colour.
Joseph Cotten, Shelley Winters, Scott Brady, Susan Ball, Minor Watson, Lee van Cleef, Fess Parker.
Directed by Hugo Fregonese.

Untamed Frontier is one of the many small-budget westerns made by Universal Studios in the first half of the 1950s. The themes are the familiar ones of cattle barons and the settlers trying to get land and passageway through the huge holdings of the barons. There is an emotional plot where the extravagant son of the landowner is charged with murder and marries a witness to save himself from prosecution. There is a confrontation with his cousin, the sturdy hard worker on the ranch. The townspeople are against the landowners as are the incoming settlers. There are various shoot-outs – and a change of heart on the part of the hero who lets the settlers in.

Joseph Cotten is sturdy and stern as the upright worker. Shelley Winters, who had appeared in some strong films like A Double Life and A Place in the Sun, also made many programmers like this. Lee van Cleef can be seen as one of the villains.

Direction is by Argentinian Hugo Fregonese who made a number of films at this time including Decameron Nights.

1.Popular style of western? Brief? Small-budget?

2.The locations, the open plains, the cattle-ranching? The town? The musical score?

3.Familiarity of the plot: the land barons, their arrogance, their wide spreads, the threat from the settlers, refusing to give passage to government lands? The rustlers? The stampedes? The confrontations, shoot-outs? The entry of the settlers? The background of the open range wars?

4.Kirk Denbow, the upright hero, working for his Uncle Matt? Supporting him? Rescuing Glenn? The situation of the shooting, his trying to buy off Jane? His not being told the true motives for the marriage? His discovery, apology? The attraction towards Jane? The threat of Glenn? Jane feeling there was a barrier between them? The challenge to his authority? The shoot-outs, the death of his cousin and uncle? Free to marry, free to own the cattle, free to change decisions?

5.Matt Denbow, stern, unrelenting? His property? The clash with people in the town, the newspapers? Glenn and his wilfulness, with the women, Lottie and her love for him? His attraction towards Jane, the dance? The shooting and his killing? The arrest, the plan for his marrying? Feting Jane and buying the dresses? The paper’s revelation, the wedding? His attitude towards Jane, leaving her? The relationship with Lottie? Being rescued by Kirk? His father disowning him? His friends plotting against him – and his being shot?

6.Jane, her work at the bar, her falling in love with Glenn, at the dance? The shooting? Her honesty, not being able to be bought? The marriage, the dresses, her happiness, discovering the truth? Her strong stances, the clash with Kirk, standing up to Matt Denbow and defying him? The clashes with Glenn? Her work on the ranch, her knowledge from her family, the farm in Ohio, settlers? Her defence of the settlers and their rights? The attraction towards Kirk, keeping a distance? The shootings – and the happy ending?

7.Lottie, love for Glenn, taking his opponent’s gun, Glenn and the shooting? Her hold over Glenn? The clash with Jane?

8.Glenn’s friends, the group, the cattle rustling? Dave Chittun, sinister, shooting Glenn?

9.The comeuppance for the Denbows, the shooting of Glenn, the shooting of Matt? The place of Camilla Denbow, love for her son, her husband? Standing for what was right?

10.Popular themes of the open range, the settlers, the gunfighters and the clashes?