JUST MARRIED

US, 2003, 95 minutes, Colour.
Ashton Kutcher, Brittany Murphy, Christian Kane, David Moscow, David Rasche, Veronica Cartwright, Raymond J. Barry.
Directed by Shawn Levy.

Just Married is a very slight comedy about two young people who live together and then get married. Her family dislikes him. His father is a wise man remembering his own marriage and its love and difficulties. Ashton Kutcher was making the move from television to films at this stage and was soon to appear in bigger-budget films like The Butterfly Effect and A Lot Like Love. Brittany Murphy had established herself as a good comic actress in such films as Clueless and began to build a strong leading role career.

Shawn Levy was to go on to direct the remakes of Cheaper by the Dozen with Steve Martin as well as Steve Martin’s The Pink Panther. His films are very broad comedy – especially here with some slapstick as the young couple travel to Europe, he with his philistine attitudes towards anything European or non-American, she with her more cultured background (and the touch of jealousy from a young executive who wanted to marry her).

Nothing particularly startling, a few comic moments, some very irritating moments with Ashton Kutcher’s anti-European and ignorant stance – but, a moralising ending about true love.

1.An entertaining comedy? Verbal humour, visual humour? The situation about marriage, honeymoons?

2.The American settings, the affluent family, the ordinary middle-class family? Homes and mansions? The travels in Europe, the visuals of France and the luxury hotel? The alps and the mountain scenes? Venice, the canals, the hotels? The exotic touch? Musical score?

3.The title and indication of tone? Expectations? The opening with the return from the honeymoon, the couple being angry with each other, pushing each other? Getting the lift home? Separating?

4.The flashbacks: the meeting, Tom and Sarah and their getting on well with each other, their ability to communicate, falling in love, living with each other? Sarah taking Tom home to her parents, the surface acceptance, Mr Mc Inerney and his hostility, Pussy and her liking Tom? The attitude of the brothers? The plans for the marriage, the interventions of the McInerneys? Tom and his reliance on Kyle for advice?

5.The wedding ceremony, the comedy, the preparations, the dress…? Nervousness? The first night, their being tired, the discussion about sex?

6.The honeymoon: the plane ride, all going well, getting stuck in the toilet seat? The antagonistic flight attendant? Her later reappearing with a bandaged face? Tom and his attitudes, Sarah going along with him?

7.The hotel, Tom wanting the sports and television, not being in the room? His beginning his anti-European disparagement? Criticising the signs, the language, the concierge? The attendant and the tip? Sarah and her being embarrassed? The confrontation and their pulling out? On the road, the crash into the snow, the rich woman and her pushing their car off the road? The cold night? Going to the hotel, the difficulties, going to the farm? The woman, and the comedy, breaking wind etc? The decision to go to Venice, going to the old pensione that his father had recommended, crammed with the people? Going to the hotel? Peter’s arrival?

8.The tensions between the two, Tom and his continuing pro-American stances? Meeting up with the girl in the bar, going back with her, trying to avoid her, the bra? Sarah and her going to the galleries, Tom not wanting to go? The encounter with Peter, at the gallery, her going off with him? His kiss – and her slap (and Tom missing this)?

9.Peter, favoured by Sarah’s father, business sense? Jealous of Tom? Going to the hotel, paying to have Sarah followed? Meeting her, the art, taking her for the visit, the discussions, the kiss, her slap?

10.The return home? Tom and his bewilderment, Kyle and his advice? Sarah and the discussions with her parents?

11.Tom arriving in the car, threatening to ram the gate? His big speech about loving Sarah, her hearing it, opening the gate, the reconciliation? What future?

12.The film’s themes of young people, falling in love, not knowing enough about each other, being too young? Marriage, commitment? The difficulties, fights – and Tom’s father and his good advice about living each day, hard days, those not being in the photo albums? The possibilities of marriage and long-term commitment?

ORDET

Denmark, 1955, 126 minutes, Black and white.
Birgitte Federspiel, Emil Hass Christensen.
Directed by Carl Theodor Dreyer.

Ordet is one of the many masterpieces by Danish director Carl Theodor Dreyer. He began his writing career in 1912 and directed his first in 1919, The President. During the 1920s he made a number of significant films which still remain classics, Michael, Master of the House. However, he is probably best remembered for his silent film of 1928, The Passion of Joan of Arc. His first sound film, Vampyr, is also considered a classic of its kind. The other film for which he is strongly remembered is the 1943 historical and religious drama, Day of Wrath. He directed a number of films after World War Two in Denmark. Ordet is his outstanding film and his final film was Gertrude in 1964. Lars von Trier filmed his screenplay for Euripides’ Medea in 1988.

Ordet is an austere film about a man who thinks that he is Jesus Christ. The film focuses on the word, the word of God, the word of God heard by a man with a singular vocation and understanding of himself. The film also traces how his family deals with him and with the situation.

The film won a Golden Globe for best foreign film in 1955 as well as winning the Golden Lion and the Venice Film Festival. It on a number of international awards including the American National Board of Review for best foreign film.

1.Ordet hailed as a masterpiece? Its status, its standing in terms of film-making, plot, values and exploration of themes? The transcendent in human life?

2.The work of Dreyer, his visual style, the heritage of his silent film era? Writing and directing?

3.A film of the 1950s, yet very much influenced by the past? The black and white photography, the Jutland settings, the lighting, the exteriors and interiors? The compositions of scenes, the framing? The musical score?

4.The title: the reference to the Word, to God, to humans listening to the Word, the nature of faith?

5.Issues of religion, church, the Protestant tradition, belief and unbelief, personal faith?

6.The portrait of the family, the way the film established each character and the interrelationships? The situation of the town, the visualising of the town? The household, details of life, work? Talk, meals? The feuds? The underlying faith? Relationships?

7.The portrait of the grandfather, his being the patriarch, his place in the family, his relationship to his sons? The role of prayer, the praying of prayers? His relation to Inger? The meals, his blaming himself? The role of Anne? The fight, the Gospel? The pregnancy and its effect? Prayer and interpretation of prayer? Reconciliation?

8.Inger, going beyond faith? Not a Lutheran? As wife and mother? The relationship with Johannes? The coffee for the grandfather? Anders, the pregnancy, suffering? Death and rising?

9.Mikkel: no faith, his work, with the herds, his love, helping Andres, his death? The tears and the miracle?

10.Anders, chasing Johannes, at work, relating to Anne, his father? His place in the feud? The effect? The new family?

11.Anne and her place in the family, tailors, the feud, her not participating, her going in grief?

12.The focus on Johannes and his madness, his place in the family, relating to the other people? His religious background, his perceptions of himself? His sufferings? The light, faith? On the hills? Death, the girl, the promises? The image of Lazarus and his rising from the dead? Saying the word? The search? The cure? With the girl – a miracle?

13.The girl and her love, simplicity, the farewell? Her uncle, faith?

14.The minister, his visit, the religion background, the Lutheran tradition? The prayer? Johannes?

15.The contrast with the doctor, his science background, the nature of belief and science?

16.The relationship between Mikkel and his agnosticism and Inger and her faith? The importance of the marital relationship? The birth of the child?

17.The experience of death, the experience of birth? The child? The mother, being laid out? The final images of hope and resurrection?

ICE AGE: MELTDOWN

US, 2006, 100 minutes, Colour.
Voices of: Ray Romano, John Leguizamo, Dennis Leary, Seann William Scott, Josh Peck, Queen Latifah, Will Arnett, Jay Leno, Chris Wedge.
Directed by Carlos Saldanha.

The characters in Ice Age turned out to be endearing and popular. Here they are, four years on. What has advanced during the four years is both the technical know-how that can bring greater detail to the computergraphics of the characters and their interactions as well as more vivid action sequences as well as the onset of global warming. As in the 21st century, the world is moving towards meltdown.

So, Ice Age is now serving as an entertaining and alerting fable about the consequences of the warming of the world.

Manny, the lone Mammoth (voiced by Everybody Loves Raymond’s Ray Romano), Sid, the would-be famous Sloth (voiced by John Leguizamo) and Diego, the tooth-capped and ironic sabre tiger (voiced by Denis Leary) decide that they had better join all the animals in their trek to find a boat that will save them from the dam-burst that will flood their valley. So, it’s a journey movie and a quest, an inner journey and quest – one can safely say this because Sloth, for one, is into pop psychological observations, especially about Diego’s fear of water because he can’t swim. But, Diego gets the opportunity to be heroic about this. Sloth gets to be heroic, because in his dreams and in reality, he is mistaken for a mythical hero (and does not mind in the least).

And what does Manny find? Ellie, a beautiful mammoth (voiced by Queen Latifah) who thinks that all mammoths are extinct and that she is, in fact, a possum, like her two mischievous brothers. Will they find true love? Will the mammoths avoid extinction – well, in the short term anyway?

The dialogue is witty. The circling vultures break out into Food, Glorious Food. And there is a great deal of physical comedy. Oh, and what about Scrat, who started it all rumbling last time when he tried to retrieve his acorn? He is now a star of the show. His opening attempts to get the acorn are hilarious and this continues right to the end (including a detour into acorn heaven to the strains of Katchaturian’s Spartacus!).

Even better than the original.

1.The popularity of the original film? Its setting, characters, humour? Issues? The popularity of this sequel – even better?

2.The title, the focus on meltdown, the issue of global warming? A fable for younger audiences about the consequences of global warming?

3.The animation style, the computer graphics? The world of ice, beyond the world of ice, mountains, valleys, vegetation? The attention to the detail of the characters, their interactions? Action, humour, emotions? Scrat and his continued quest for the acorn?

4.The quality of the voices, their fitting the characters, the emotions, the humour?

5.The popular story: meltdown, the strange family of Manny, Sid and Diego? Listening to Fast Tony and his talking about the end of the world? The information about the melting ice, the threat of the dam bursting, the flooding of the valley? The dangers and their decision to go with the animals on the quest? The long journey, the perils? Meeting Elly and the possums? The vultures following them? The struggles? The achievement? The human spirit – and dramatised through the animal kingdom?

6.The theme of the melting, the water, the threat to the animals, death, the vultures and the animals as their prey? (And the film alleviating the threat by the vultures singing ‘Food, Glorious Food’?)

7.Scrat and his story, from the first film? The humour of the opening, the acorn, his quest? The splitting of the ice? His continued adventures right throughout the film? The various devices to keep him in pursuit of the acorn, his losing it, the vulture’s next and the young vulture threatening him, his impossible falls? His tongue sticking to the ice? His using his legs on the cliff? The final in Heaven with the golden gates, the golden acorn – and the themes from Katchaturian and Spartacus? His being dragged back to life by Sid?

8.Manny, the lone mammoth, sad and wise, his size, helping the others? Diego and his losing his edge as a sabre-tooth tiger? His comments to Sid, the sarcasm? His inner fears, the water, his avoiding it, Sid pushing him in, his not being able to swim, his finally saving the animals and the pride in swimming? Sid as the sloth? His humour, slippery? His psychology, his psychological comments about journeys and inner quests? His dream, the sloths worshipping him? The sloths admiring him in real life and his enjoying this? Together as an odd family on the quest?

9.The opening at the summer camp, Sid and the kids persecuting him? The speeches of Fast Tony and his warnings, his escaping with everyone else? The end of the world? Jay Leno and his humorous voice and patter? The decisions of all the animals to go, searching for the boat?

10.The encounter with Elly, hanging in the tree, falling out, thinking she was a possum, thinking mammoths were extinct? Her relationship with the two possums? Crash and Eddie and their continued pranks and mischief? Their loving Elly as a possum? Together, the need for help, continuing with Manny and the family? The dangers, Elly and her being trapped in the cave? Manny getting her out? In the water, the possums and Diego saving them? Diego and Sid and their matchmaking, Manny in denial, irritated with Elly, arguing with her? The true romance? The change, experiencing the dangers? A happy ending?

11.The fish, their threat, their pursuit of the animals, the fights?

12.The vultures, sinister – and ‘Food, Glorious Food’?

13.The success of the trek? The success of the film? Pleasing for children, pleasing for adults?

FIREWALL

US, 2006, 105 minutes, Colour.
Harrison Ford, Paul Bettany, Virginia Madsen, Mary Lynn Rajskub, Robert Patrick, Robert Forster, Alan Arkin, Carly Schroeder, Jimmy Bennett.
Directed by Richard Loncraine.

It’s a pity that Harrison Ford is looking so old but playing considerably younger than he is, along with a beautiful wife (Virginia Madsen) and two young children – he was 63 when he made Firewall. Still, he has some vigour, which he needs here because he is the target of a ruthless gang who take his family hostage so that he will break into the bank’s computer system and transfer $100,000,000 into their bank account. Computer fraud on the largest scale.

Ford is Jack, the security officer for a bank that is involved in a merger and this is the time that the criminals take advantage of the changes to hack in. The bank actually has quite a character actor staff to good effect: Alan Arkin as the owner, Robert Patrick in charge of the merger, Mary Lynn Rajskub as a secretary and Robert Forster as a consultor. But, in cast terms, the standout is Paul Bettany as one of the most ruthless of British criminals on the US screen (and there have been so many of them over the decades). Bettany plays elegantly spoken, but with a sense of menace that can be both charming and unforgiving.

The film builds up quite a bit of tension as to what Jack can actually do, especially since any trick he tries is almost immediately discovered. But, not the last one, which leads to a big confrontation and the inevitable happy ending which, given the suspense during the process of stealing the money, seems more than a little rushed and twee.

Film buffs will be recalling how these stories have been used before, like the Desperate Hours for a family held in their home by a gang and Swordfish where John Travolta brought in Hugh Jackman to do the same kind of hacking.

Firewall is an entertainment, no more, no less.

1.A popular thriller, Harrison Ford vehicle? The work of banking, technology, computer world?

2.The Seattle settings, the bank, homes, the environment, the continual rain until the end, outside Seattle? The atmospheric score?

3.The screenplay and the duration of the action over a few days? Days and nights?

4.The credibility of the plot: banks and their management, accounts and details, privacy and secrecy, technology? Mergers? The role of the staff? Security and surveillance? Ingenuity for protecting the bank’s money? The plausibility of computer fraud and the robbing of banks?

5.The credits and the surveillance sequences of the family, their ordinary life? Their being spied on? Cox and his plan and his using of Jack and the family?

6.Harrison Ford as Jack, at home, his relationship with his children, Andy and his allergy, Sarah and her absorption in the Ipod? The TV on so much of the time? Beth and her managing the household, busy? His attitudes? Leaving for work? Returning to the house, finding his family as hostages? The continuing of life at home with the captors? Action in the kitchen, watching television, sleeping, his work in his office? The action in the duct as the family tried to escape, the garage? The nature of the home, designed by Beth? Affluently real? A location for this kind of action?

7.Jack and his work, his status at the bank, twenty years, in charge of security? His working with Janet and her devotion to him? His meeting with Gary Mitchell, the antagonism? Arlin Forester and the management of the bank? The discussion about the merger? His rudeness? His issues? His friendship with Harry and their discussions, Harry introducing Cox? The officer coming with concern about the ninety-five thousand dollars gambling debt? People overhearing this? Cox and the discussion with Jack? An ordinary day with its ordinary difficulties?

8.Going to the car, finding Cox in the car, in control? Cox, smooth style, age and experience, the abduction, the pressure in the home, Jack lying about the gun and Cox’s violence? The presence of his team? The potential brutality, deadly? Cox and his having no feelings? His continued references to ‘my money’? His men, the threats? His treatment of his own men, the driver and his surveillance of Jack, his making the mistake – and Cox killing him? The later confrontation with the men and his killing of the more sympathetic gang member?

9.Jack and his going to work, under pressure, snarling at Janet, his trick with the camera and putting the pen in Janet’s pocket? His attempt to do something with the computers? Cox’s arrival and control? Jack taking him on the tour of the bank, the plan? The new situation because of the merger, the urgency? Jack at home, the ultimatum? Andy and his responding to the cookie, the nuts allergy, the reaction, trying to get the equipment, Cox and his control, his using this as a threat? Jack arranging the plan for the escape, going through the duct, the men chasing them, capturing them in the car? Their return? Jack and his trying to think of a solution, the equipment, his daughter’s machine? The unit and the setting up of the way of deleting the accounts after transferring them? Going to the office, firing Janet at Cox’s behest? The discussions with Bobby, threatening, using his terminal? Gary Mitchell and his suspicions, pursuing Jack around the bank? Going to the archives, eliminating the records of the surveillance tapes? Getting in the car and getting away free?

10.The office, Gary Mitchell and his concern? Arlin and the discussions, the merger, Jack’s promise, apology to Gary? Janet and Bobby, their relationship, Bobby’s born again status, Janet not encouraging him? Jack using them both in the crisis?

11.Jack and his eluding Cox, the family, confronting Liam and his death? Going to Harry’s apartment, seeing Cox kill him? Going to Janet, using her phone? Using her car? His going to the bus station, going to the bank, getting the terminal, cancelling the transfers? The apology of the bank attendant for calling the police? The phone call, hearing the dog barking? The realisation that he had a tracking collar? Janet and Jack pursuing in the car? The irony of the family getting out, the dog being thrown out? And their being no rain outside Seattle?

12.The build-up the confrontation? Cox and his gang, his having killed the driver for making the mistake, Liam and his death, the more sympathetic robber and his being killed? Jack and the confrontation with the remaining thief? The pursuit of Cox? Their fight, Cox’s death?

13.The happy ending – brought about rather more quickly than dramatically successfully? On the whole, a satisfying popular thriller?

EIGHT BELOW

US, 2006, 120 minutes, Colour.
Paul Walker, Bruce Greenwood, Moon Bloodgood, Jason Biggs, August Schellenberg, Wendy Crewson.
Directed by Frank Marshall.

Here is a film that can be rightly called a family film. There is something worthwhile for all members of the family – although critical teenagers might think it is all a bit too nice!

In 1958, a Japanese expedition to Antarctica had to withdraw because of the excessive bad weather. The members of the team had to leave behind the sled dogs when they hurriedly evacuated. The dogs, using their canine wits and drive to live, survived the winter and were recovered at the beginning of spring. A heroic story and a tale for dog-lovers. The Japanese made an epic film of these events in 1983, filming in Canada. It was called, simply, Antarctica.

Producer, Frank Marshall, who had worked with Spielberg on several of his epics and who had himself directed several films, including Arachnophobia and Congo, was also the director of Alive, the story of the Uruguayan football team whose plane crashed in the Andes and who showed heroism in staying alive and finding rescuers. Marshall is obviously at home in the snow. He was attracted to do a remake of Antarctica. However, the adaptation makes the story an American one and the setting has been changed to 1993, the last year that sled dogs were allowed to be used.

Eight below is something of a mild title for this film. For a lot of the time, the temperature is well below eight. The film introduces us to two young men working at Mc Murdo Sound, hotting up in the sauna and then racing into the snow. We feel the cold at once! They are part of a scientific team which works there during the Antarctic summer. Jason Biggs is Chris, a cartographer, tracing amongst other jobs, the treks of penguins. Biggs provides some of the comic touches. The other is Jerry, an athlete who works as a guide and who trains the dogs. He is played as serious hero by Paul Walker (The Fast and the Furious, Timeline, Into the Blue).

When a scientist (Bruce Greenwood) wants to explore a site to find traces of a meteorite, he and Jerry and the dogs risk the thin ice to travel to Mt Melbourne. However, a huge snowstorm moves in and they have to rush to base, especially after the scientist breaks his leg, and evacuate the base at once. The dogs, chained together, have to be left behind.

The dogs are impressive specimens – even to those who are not dog-lovers. We get to know them by name. They are also heroic, pulling the scientist out of an ice-hole and dragging him to safety with his broken leg through blinding blizzards.

The film indicates the passing of the winter, signalling the number of days that the dogs are alone. Most of them are able to break out of their chains. They band together and help each other. They hunt random birds for food, find the remains of a beached whale and are pursued by a scavenging leopard seal. This is Discovery channel material plus dramatics.

Meanwhile, of course, Jerry makes many attempts to get back to Antarctica to save the dogs – to little avail, until… And, the film mixes the action and the sentiment well enough even for hardened cynics to be moved by the survival power of the dogs and the joyous reunion.

The film-makers went to Canada for some rather breathtaking snowscapes. A sequence with an icebreaker ship was filmed in Norway. The technical qualities are fine and the performances of the dogs and their screen presence are convincing. Eight Below is suitable for all audiences, although classification indicates that for very young audiences, there is some ‘mild peril’.

1.The popularity of dog films? Friendship with humans? In peril? Risking lives? This film as embodying all these elements?

2.The film inspired by a true story? The Japanese expedition of 1958? The 1983 Japanese film, Antarctica, with these themes? The film adapted to an American setting in Antarctica? The plausibility of the plot, the scientists in Antarctica, the weather conditions, the sled dogs, their survival?

3.The focus on the dogs? The team, their alertness, their skills? The training? The friendship with Jerry? Their relying on him? The scene of feeding them with the fish? Their going on the expedition with Jerry and David Mc Claren? Pulling Mc Laren out of the ice hole? The coming of the bad weather, their getting through? Their being chained up, being left? Their getting free – except for Jack? Their ingenuity, their working together, their ways of communication? Their survival in the weather? Their finding the birds and getting food? Their finding the beached whale, the fights with the leopard seal? Their ingenuity? Injuries? The months passing, the sharing of the food? The humans returning? Their coming to meet Jerry? Maya and her injury, Jerry carrying her to the vehicle? Jack not surviving? A story of the dogs’ endurance? Audience response, the plight of the dogs, the personalities of the dogs?

4.Jerry and Charlie in the Sauna, the comparisons of the temperatures inside and out? The indication of the conditions in Antarctica? The summer season, the thinning ice, the risks in the expedition? The ice holes, the cracking of the ice? The sudden coming of the storms? Flying conditions? Vehicle conditions? The winter team not able to come in? The passing of the months? The spring change? The icebreaking ship, getting stuck in the ice? The use of helicopters? The Italian land vehicle? A vivid picture of life in Antarctica? The variety of work, mapping, the paths of the penguins, the geological information, the meteorites? The technicians, the doctor?

5.Jerry, age and experience, a guide in Antarctica? Friendship with Charlie? The past relationship with Katie? His affection for her? The decision to go on the expedition? His warning against it, following orders? The dangers on the trek, rescuing David Mc Claren? The warning about the storm? Giving him the morning, his finding the meteorite? The difficulties of the return, the radio going out, Mc Claren breaking his leg? His wanting to take the dogs, their having to evacuate? His arguments? His own frostbite? In the hospital, his recovery? The inability to go back? Going back to America, pleading with all the official agencies in Washington? Going to visit Mc Claren and his family in California? His going back to Oregon, being by himself, training the children at the camp? Katie coming to visit him? His going to Mc Claren’s celebratory evening? The friendship with Mc Claren? The decision to go to New Zealand, meeting Mc Claren, Charlie and Katie? The helicopter, on the icebreaker? Charlie’s solution about the Italian centre, getting the vehicle, rescuing the dogs? His satisfaction and achievement, being prepared to take risks? And the bond with Katie?

6.Katie, the bush pilot, her skills, past relationship with Jerry? Her having to leave the dogs behind? Visiting Jerry in Oregon, a new friend? In New Zealand, the bond between the two, flying the rescue mission? Happy ending?

7.Charlie, the comic style, the wisecracks, his fear of flying, his maps, especially for the penguins? His boasting about the Italian girl? Visiting Jerry in hospital? The bad news about the dogs? In New Zealand, in the helicopter, his solution with the Italian centre and the vehicle, the rescuing of the dogs?

8.Davis Mc Claren, the academic scientist, travelling around the world, wanting to get the meteorite, the expedition, talking about risks, putting the pressure on Jerry? His falling into the water, the dogs rescuing him? His broken leg, his being saved? His indebtedness to the dogs? At home, with his family, his son’s drawings, the son drawing the dogs who saved his father’s life? The celebration evening, meeting Jerry again? Financing the expedition, in New Zealand, participating in the rescue? The glimpse of his family?

9.Dr Harrison, the work at the centre, Mc Murdo Sound, Rosemary and her work? Having to obey orders, the pressures of the weather?

10.Jerry and his friend Mindo, native American Indian, discussions, Mindo helping Jerry to understand himself?

11.The action sequences? Filming in Canada and Greenland? Recreating the atmosphere, the weather and the dangers of Antarctica? The skill of filming the dogs and making their actions so convincing? The blend of human experience, heroism? The touch of romance? Surefire popular ingredients?

THE UNKNOWN MAN

US, 1951, 86 minutes, Black and white.
Walter Pidgeon, Ann Harding, Barry Sullivan, Keefe Brasselle, Lewis Stone, Eduard Franz, Richard Anderson, Dawn Addams, Philip Ober, Mari Blanchard.
Directed by Richard Thorpe.

The Unknown Man is a strong courtroom drama of 1951. It is quite a moralising film insofar as the central character is caught up in a moral dilemma that involves principles and matters of life and death. With its brief running time, perhaps it does not have the opportunity to develop the moral dilemma more fully but it presents it in a strong manner, especially when audiences identify with Walter Pidgeon.

Pidgeon portrays a lawyer who is not skilled in defence cases. Challenged, he takes up the case of a young criminal, played by Keefe Brasselle, and using a technique that was later used in Twelve Angry Men (the witness needing glasses to see clearly), he wins an acquittal. The film’s tone shifts when it is clear that the young man was actually guilty, and is employed by the Mr Big of crime in the city.

Pidgeon is a very strong and upright screen presence, grappling with the dilemma, his respect for the law, for justice – eventually sacrificing himself for his principles. Barry Sullivan gives another strong performance as the district attorney, the kind of performance he offered in many films (and was very similar in the 1959 The Purple Gang). There is a very good supporting cast including Lewis Stone as the sympathetic judge, Eduard Franz as the head of the crime commission. There are cameo appearances by Ann Harding as Pidgeon’s wife, Richard Anderson and Dawn Addams as well as Mari Blanchard in early roles. Direction is by Richard Thorpe who made many action films at MGM, soon after this making Ivanhoe, Quentin Durward and The Knights of the Round Table.

1. A 50s moral drama, civic corruption, protection, law and justice, integrity?

2. Black and white photography, the contemporary city, ordinary streets and life, affluent circles? Stores, courts, district attorney’s office, prisons? The musical score?

3. The strong cast, MGM values?

4. The voice-over, Jack and his explanations, the introduction to Brad Masen? Jack as tough, DA, the perspective of the law, information about the characters, the court? The final decisions and Jack’s final speech?

5. The importance of law, the relationship between law and justice? The administration of law, the police and the courts? The penalties for breaking the law?

6. The information about the law commission, the visit to the store, the robbery, the murder of the young man, the father’s grief?

7. The introduction to Brad, his age, his respect for his father and his role in the law, his son and his law studies (and the help from his fiancée)? Love for his wife? Seeing her at the store, the fashion model, the dress for the social? His love for the law, aloof from criminal law? The invitation, his friends? The discussion about the law commission, the invitation for him to be a member? His thinking this over?

8. The visit, the discussions with the judge, with the DA? The issue of Rudi and his being innocent? His friend Kellwin visiting him, explaining the case? The challenge to Masen? The decision to defend him? His not being skilled in defence techniques? The judge, presiding, urging Masen on? The witness, the issue of the glasses and what the father could see? The argument of the case, the DA's response, Rudi in the court? The not guilty verdict? The jury decision, the dead man’s father accosting Brad outside the courtroom?

9. Brad, the verdict, success, the encounter with the father, being uncomfortable? Discussions with his wife? His decision to visit Rudi, seeing the model, his friend, Rudi’s change of manner? His suspicions?

10. The visit to the father, talking things over, wanting to help him, his having the key? The discovery of the protection racket, his interviewing the other shopkeepers? Their unwillingness to testify?

11. His going to Rudi’s room, discovering the rapier, taking the laundry note, taking the weapon? The phone call, his listening in, Rudi’s appointment? His going to visit Layford? Their discussions, the visitor, the noise in the background, his realisation of the truth? Layford as head of the crime commission, the Mr Big, his hypocrisy, their talking hypothetically, Masen’s impulse, self-righteous, killing Layford?

12. His conscience, explaining the situation to his wife? Going to the DA? Rudi’s arrest, the weapon? His decision to defend Rudi, the talk in court about the unknown man, the other man, Masen and his giving the detail – hypothetically, but realistically?

13. Rudi, in court, the verdict?

14. Masen and his talking to the DA, permission to visit Rudi, the revelation of the truth to Rudi, the knife and his taking it, Rudi killing him? Masen sacrificing himself for justice? The fact that Rudi was guilty of murder? The arrest?

15. The DA's final speech, the graduation, the son and his fiancée at the ceremony? The DA and his praising of Masen’s sense of justice and integrity?

16. A film like this as providing a basis for a moral case and discussions about moral issues of justice, law and integrity?

SOUTH SOLITARY

Australia, 2010, 113 minutes, Colour.
Miranda Otto, Marton Csokas, Essie Davis, Rohan Nichol, Barry Otto.
Directed by Shirley Barrett.

This is the kind of drama an audience needs to be ready for. As the title indicates, it is a story of isolation, so not a fast-paced action film. In tone and style, it is akin to restrained European film-making.

South Solitary is a fictitious lighthouse island off the mainland coast of Australia. The time is 1927. As the film opens, there has been a tragedy on South Solitary, the lighthouse keeper killing himself. An inspector arrives to make a report. He brings his niece with him to assist in preparing the report. There is a family on the island, living something of a rough and ready existence. There is also another keeper, Fleet, a bomb disposals expert during World War I who is still suffering mentally from the experience. It is noted that the keeper who killed himself also served in World War I. This theme of war, death and illness underlies the film.

The first half of the film establishes the situation and the characters. The rugged island, the surrounding waters, the cliffs, the windswept top with its horse and straggling sheep help the audience feel immersed in this physically isolated and difficult world. The inspector (Barry Otto) is a stickler for detail and regulations, something of a bureaucratic snob. His niece, Meredith (Miranda Otto, who is the central focus of the film), has lost her fiancé in the war and is at a loose end emotionally and with jobs. The mother of the family is a tough type (Essie Davis), her husband (Rohan Nichol), a friendly type, too friendly with Meredith for his own good. There are three children, one little girl whom Meredith befriends, especially in their fondness and care for a lamb, Lucille.

Perhaps a difficulty for some audiences is that the pace of this part of the film is somewhat similar to living on South Solitary, meandering, governed by the roster in care for the light, and limited in the scope for where people can actually go.

When the family and the inspector leave, Meredith and the taciturn Fleet, have to co-exist. He keeps politely to himself. She needs company and some affection. They begin to bond very slowly. He embroiders and reads to occupy the time. She does the same but tries for conversation. The main action is a fierce storm which wreaks some damage and puts a strain on both of them.

This two-hander half of the film is more persuasive than the first half, an opportunity to be with these two characters and understand them better, feel her need for companionship and observe and feel for his coming out of himself very gradually.

While Miranda Otto brings her character to life, it is Marton Czokas, speaking laconically and courteously with a Welsh lilt, who captures the interest. A very gentle finale, open-ended.

1. A mood drama? Period drama? Emotions and reticence?

2. The visuals of the island, rugged, isolated, the boats going to the island, rowing, the authorities being seasick? The lighthouse, the steep slope, the rail winch? The houses, the top of the island, the scrub, the animals? The majestic cliffs and the sea? The musical score?

3. The title, the island, the emphasis on solitude? The physical solitude, psychological, emotional?

4. The 1920s, the role of lighthouses, the keepers? Communication and isolation? Pre-radio, use of semaphores? Lights? Government, regulations? The shipping? Mistakes? The period and the costumes, décor, styles? Post- World War One and trauma?

5. The trauma after World War One, the returning troops, suicidal and depressed? The background of bomb disposal work, shellshock, the soldiers experiencing physical and mental turns? Silence, preferences for being alone? Meredith and the death of her fiancé in the war?

6. The focus on Meredith, her uncle’s niece, in the boat, her luggage, the climb? Meeting the children? The little girl, the lamb, calling her Lucille? Accommodation? Her work, collaboration on the report? With the Stanley family? The mother and her harshness, the boys and the animals, the father and the tour of the island? Her need for affection, her dead fiancé? The needs, Harry’s attentions? His advances, seductive, her allowing herself to be seduced? The consequences?

7. Her uncle, fussy, sick on the boat, his demands, wanting his tea, imposing the regulations? The various offences and failings in helping shipping? The report? On duty? Meredith, the affair? His leaving?

8. The Stanley family, hard life, food and lack of food, the animals, no school for the children, the little girl, looking after Lucille, feeding the lamb? Friendship with Meredith? Harry, his attitudes, easygoing? His talk, the rosters? His advance on Meredith? The family leaving?

9. Fleet, his background, silent, helping with the duties? Meredith and Fleet alone, talking? Sharing, not sharing? The common interest in embroidery? The semaphore training, Meredith’s mistakes? Her wearing the flags, Fleet’s reaction? Books? Aloof?

10. Meredith and the effect of the relationship, her staying on, helping with the duties, talking for company for Fleet, embroidering?

11. The visuals of the storm, its impact, effect? Her wanting to go to the toilet, the experience? The calm after the storm?

12. Meredith preparing to leave, encountering Lucille again? The bonds with Fleet, touches of affection, the awkward movement, the embrace, the promise to write letters? Her going down the cliff? What future?

13. A study of relationships, loneliness, lack of affection, love?

THE SPECIAL RELATIONSHIP

UK/US, 2010, 103 minutes, Colour.
Michael Sheen, Dennis Quaid, Hope Davis, Helen Mc Crory, Adam Godley, Mark Bazeley.
Directed by Richard Loncraine.

The Special Relationship is that political love affair between the United States and the United Kingdom – despite the Revolutionary Wars. The credits sequences of this film give us a pictorial historical overview of the presidents and the prime ministers and the partnerships from Winston Churchill during World War II and Franklin Roosevelt to John Major and Bill Clinton in the 1990s. However, the film opens with a visit from the Labour Leader, Tony Blair, in 1996 to the White House, which was expecting Blair to become the next British Prime Minister. He was elected in a landslide in 1997. In the meantime, Bill Clinton was elected for his second term as President.

This screenplay has been written by Peter Morgan who has show quite a remarkable skill in reconstructing political and social situations as well as credible imagining of conversations between the politicians, royalty and significant American figures: The Deal (the television movie about Tony Blair’s agreement with Gordon Brown concerning the succession in the prime ministership and which introduced Michael Sheen as Blair), The Queen (Sheen reprising his role as Blair and introducing Helen Mc Crory as Cherie Blair), The Last King of Scotland and Frost/Nixon (with Sheen this time as David Frost).

Michael Sheen and Helen Mc Rory are back as the Blairs with Dennis Quaid, doing a fine impersonation of Bill Clinton and Hope Davis who could be easily mistaken in looks and voice for the real Hilary Clinton. Once again Peter Morgan has incorporated speeches and information in the public arena with creative sequences of conversations which were private but which are more than plausible here.

Tony Blair was rather amazed to be so welcomed to Washington and to meet Bill Clinton before he became prime minister. The two hit it off and seemed to have something of a united vision, Blair bringing up the tradition of the special relationship. Clinton is the senior politician and the screenplay indicates how shrewd a politician and statesman he could be. While the Monica Lewinsky situation looms quite large at this time, with the president’s denials, change of attitude and his further testimony in the context of impeachment, Tony Blair (who did not approve and who is taken aback at first with the media’s rather uncensored presentation and language about the affair) stood by Clinton and is quoted as saying that these personal matters did not affect his capacity to govern.

The immediate issue here for the special relationship is that of Northern Ireland, with footage of the violence and glimpses of Gerry Addams. The next critical issue is that of the Balkans and how Europe, NATO and the Americans dealt with the attacks of President Milosovich on Kosovo. It is here that the idealism of Tony Blair, with some messianic touches, begins to emerge, along with the politics of being liked. He and Clinton disagree, with Clinton clearly stating his hesitations and his reasons. Blair went on the offensive in the US and the American media lapped him up, forcing Clinton’s hand. The personal aspect of the special relationship cooled, even as we see the Clintons visiting the Blairs at the time of the 2000 American election.

With George W. Bush in office, we see Blair becoming more of an opportunist using the special relationship and becoming friends with the new president (much to Clinton’s dismay). He wonders whether Blair was the visionary that he initially thought he was.

This means that the screenplay tends to make Bill Clinton the moral arbiter of Tony Blair’s behaviour with his final disapproving judgment.

Michael Sheen again brings Tony Blair to life, the eagerness, the political nous, the idealism, being forced into more pragmatic stances. (Sheen makes Blair smile a lot – but in the final sequence with actual footage of the prime minister with George Bush, the real Tony Blair seems to smile more in happy acquiescence of the Bush friendship than Sheen does).

Helen McRory? is given good lines and speeches as Cherie, the Blair household at a seemingly more modest 10 Downing Street, contrasting with the Clintons. She provides an ‘earthing’ for her husband many a time.

Dennis Quaid is very good as Clinton – which must make Oliver Stone disappointed as he has made JFK, Nixon films and a film with both Bushes but has not tackled Clinton. Hope Davis, perhaps in the light of Hilary Clinton’s life and work as Senator and Secretary of State, makes her a credible first lady with some dignity and wit (and tolerance for her husband).

In the wings, Adam Godley as chief adviser, Jonathan Powell, and Mark Bazeley as a strong lookalike spin doctor, Alistair Campbell (reprising his role from The Queen), remind us of the role of these powers behind the throne.

The film was screened on American television and in cinemas in other areas. The film and the cast were nominated for Emmy awards.

One hopes there will be The Special Relationship II with Peter Morgan enlightening us by reconstructing phone calls and meetings between Tony Blair and George W. Bush and, of course, the invasion of Iraq and its aftermath.

1. The film made for television audiences in America? World theatrical release? World interest, US, UK and beyond? Non-English-speaking? countries?

2. A film of 2010, the status of Bill Clinton after his presidency, memories of his presidency, his strengths, capacity for governing, diplomacy? His personal weaknesses, relationships with women, investigations, Monica Lewinsky?

3. 2010 perspective on Tony Blair, before his becoming prime minister, Labour leader, his going to the United States, meeting Bill Clinton and being backed by the administration, elected as prime minister, his decisions? His being seen in the light of the invasion of Iraq? Strengths and weaknesses, diplomacy and policy in the 1990s, Ireland, Kosovo? His reputation after his prime ministership?

4. The British settings, London, Downing Street, Westminster, inside Downing Street? The Oratory School and other local landmarks?

5. The American settings, Washington, DC, airports and hotels, the White House, the interiors of the White House, the Capitol?

6. The use of documentary footage, for what was happening in Northern Ireland, the peace talks, the agreements? Milosevic and Serbia, the attacks on Kosovo? The scenes with George W. Bush and the actual Tony Blair at the end?

7. The nature of the Special Relationship, its history? The credits and the images of the prime ministers from Churchill to Blair, the American presidents from Roosevelt to George W. Bush? The explanations? The relationship for the US? Advice and support from Britain, collaboration, critique? Britain and its support of Bill Clinton, especially in the Monica Lewinsky situation? The Special Relationship for Tony Blair, the need, the prestige, his eagerness, naivety? The relationship in 1996, the dominance of the US? By 2000, Bill Clinton’s interventions for Ireland and Kosovo, the tensions in the Special Relationship? Being recreated with George W. Bush?

8. Bill Clinton as a person, genial, businesslike, friendly? The domestic sequences and the White House, with Hillary, their private rooms, eating in the kitchen? Receiving Tony Blair, the talk, the bond? His being elected to the second term? The Irish cases? Hillary and the relationship, his past? The Monica Lewinsky situation, his testimony, his eventual confession, the possible impeachment? The effect? Hillary and her reaction, being betrayed, taking time to cope with it? Tony Blair and his support, the visits? The meals with the Clintons and the Blairs? The talk about Al Gore, the hopes for policy for the future, his being defeated by Bush? Ireland and his shrewdness, Kosovo and his hesitation, the response of the American public, to troops on the ground, to the bombings of Serbia? Discussions with Tony Blair, the warnings? His reaction to Blair going public? Clinton in London, 2000, the Bush victory? His perceptions of Tony Blair and his ideals – or not?

9. Tony Blair, British, his background, the importance of his advisers, Jonathan Powell and Alastair Campbell, always present? The initial visit to the United States, the taxi driver’s nonchalance, his meeting Bill Clinton, that Clinton saw that he was about to win the British election? Press conferences, the advisers and their checking everything? The collages of Clinton’s re-election, Blair’s election? The other visits, Blair going to the White House, the talks, the wives and their friendship, diplomatic issues? The talking and the press conferences? Ireland, Gerry Adams? Kosovo, the ideals, the persecuted Kosovans, the ambitions of Milosevic and Serbia? The actual footage? The American response, the issues of NATO and the forces, the United Nations, the bombings, the protests? The American media and Blair’s seventy-five percent popularity? The tension with Bill Clinton, Blair offering an apology, Clinton’s reaction?

10. The portrait of Cherie Blair, supportive wife, her own career as a lawyer, with the children, supporting the prime minister, the school scenes, the domestic scenes in the kitchen, talking things over, her advice? The reaction to the Monica Lewinsky case? The (**?overheard? – not clear) and the frankness, shielding her children? The comparisons of Cherie with Hillary? Clinton and the 2000 visit?

11. The portrait of Hillary Clinton (and seen in the retrospect of her Senate career as well as secretary of state)? Strong, the reputation, Ken Starr and the continued criticisms? The reputation, the cases, the attacks on her? Her love for Bill Clinton? The deception about Monica Lewinsky and her having to handle it, her public face? Taking time? Her attempts to reform the American health system?

12. The blend of the politics and the personal, Peter Morgan’s ability to reconstruct plausible conversations which were held in private?

13. Bill Clinton, his achievement as president, his limitations, his heritage?

14. Tony Blair, with Clinton, the change, the friendship with Bush, the invasion of Iraq?

15. Tony Blair, his heritage as prime minister, his action and mediation after his prime ministership?

ROGUE COP

US, 1954, 92 minutes, Black and white.
Robert Taylor, Janet Leigh, George Raft, Steve Forrest, Anne Francis, Alan Hale Jr, Vince Edwards.
Directed by Roy Rowland.

Rogue Cop is a belated entry in the film noir genre. Unexpectedly, Robert Taylor portrays a crooked policeman who has a brother, also a policeman, who is incorruptible, Steve Forrest. When the younger brother witnesses a murder, he becomes the target of a gangster, played in his usual way by George Raft. The criminals try to buy off the corrupt policeman. However, he does become entangled with them but tries to protect his brother. Also in the picture is the younger brother’s girlfriend, a singer who is the former girlfriend of a Florida gangster. She is played by Janet Leigh. Also in the picture is George Raft’s girlfriend, played by Anne Francis. The film has a very strong cast including Alan Hale Jr and an interesting presentation of the Catholic priest by Anthony Ross.

The film is based on a novel by William P. Mc Givern, author of Shield for Murder and The Big Heat which were also filmed at this time. The writer is Sydney Boehm, writer of a number of crime thrillers including Side Street, Mystery Street, The Big Heat and Black Tuesday.

1. A police thriller? Gangster thriller? Film noir in the 1950s? The overtones of George Raft in gangster films of the 1930s? The film given MGM gloss in the 1950s?

2. Black and white photography, the city, the tough streets, the precincts, arcades and drug dealing, the apartments? A rough world?

3. The absence of a major musical score, the music from different sources like radio, clubs, to give a background?

4. The title, the focus on Chris Kelvaney? His possible redemption?

5. The set-up: the drugs, the dealers, the customers and their caution, the arcade, the booth, the murder? Threats? Eddie Kelvaney and his being on duty, the parked car, the ticket? The driver going off? Discovering the body? His ability to identify the killer? Chris and his help?

6. Chris, older, playing cards with the police, winning the money, the hints at his corruption? His discussions with the authorities? The connection with Beaumonte? His knowing that Fallon was the killer? The deals, the warnings? His later clash with Beaumonte? The forty-eight hours to save Eddie?

7. The bonds between Chris and Eddie, the background of their father and his police work? Chris and his decision to take money? The gangster connections? Eddie as a good man, his relationship with Karen, his hopes? Eddie not giving in to the pressures, the blackmail, the promise of money? The clash between the two brothers? The impact of his death?

8. Chris, the meetings with Karen, no illusions, knowing her past, the filling in of her story? His urging her to support Eddie? The kiss and her reaction, his reaction? The plea, the apology? The impact of Eddie’s death on Karen? Chris wanting to help Nancy, Karen taking her in?

9. George Raft as Beaumonte, tough, the clashes, his fellow gangsters, his kingdom, getting the killer, offering the money, ruthless concerning Eddie? Discarding Nancy?

10. Nancy, her being used, her drinking, the clash with Beaumonte, her being ousted, Chris helping her, taking her to Karen, Karen and her help, sympathy? Her being murdered?

11. The role of the priest, talking with Chris? Anointing Eddie, the funeral, his advice, the background of Gospel teaching?

12. Chris, the authorities, their knowing the truth about him, his motives, his taking it on himself to find the killer? Tracking him down, the confrontation?

13. The other police, the authorities, the clean cop, following Chris, the shootouts, Chris being wounded? Karen? The possibility of some kind of change for Chris, redemption?

THE PURPLE GANG

US, 1959, 88 minutes, Black and white.
Barry Sullivan, Robert Blake.
Directed by Frank Mc Donald.

The Purple Gang is the story of a group of young hooligans in Detroit in the late 20s and early 30s. The film is based on actual characters. The film is brief, well written and well made, and well acted by Barry Sullivan as a rather implacable district attorney and Robert Blake as a sinister young megalomaniac who controls a gang, is ruthless concerning others but has an irrational and claustrophobic fear. It anticipates his performance as Perry in In Cold Blood. Barry Sullivan had done variations on this kind of role many times (The Unknown Man, No Questions Asked). At this time he also appeared as a ruthless but sometimes genial outlaw in Seven Ways to Sundown with Audie Murphy.

The film came out at the same time as a growing interest in American gangsters on film, memories of the spate of films in the 1930s, this time focusing on such criminals as Pretty Boy Floyd and Baby Face Nelson. With Bonnie and Clyde in 1967, there has been a continued interest in films about the American gangsters of the Depression era.

1. A film of the 1950s, small-budget, brief?

2. The re-creation of the 1930s, black and white photography, atmosphere?

3. The film as tough, forceful, the introduction by the law administrator of the period? The emphasis on American cities, gangs, the police, law and order?

4. Detroit of the period, the introduction, the voice-over, the 20s and 30s, the role of Prohibition, the rise of the illicit alcohol trade, from Canada, the role of Detroit, distribution for the rest of America, the racketeering, the police, corrupt police, the public, fear, protection and violence, the apathy at times of the general public?

5. The gangs, the young men, the reasons for their forming gangs? Family background? The social workers of the time, the psychologists? The plea for tolerance for young men? The police, the danger of brutality? The rounding up of the gangs, their getting out on the streets again, their later attack on the social workers?

6. Harley and his tough attitude, his despising of the gangs, the old couple and the attack, the arrests, their son, their denial that he could be involved? The social worker and her plea? Harley’s wife, her concern? Harley and his commitment? His moving on the gangs? His being given authority? Gladys’s death and its effect on him? His becoming stronger against the gangs, the warrants, his being the grand jury, the contacts with the gangs, getting information? The deal with Honey Boy’s best friend?

7. Robert Blake as Honey Boy, psychotic, his power over his friends, leading of the gang, his grandparents, his spurning Harley? The hijacking of the Olsens, his power, the deals? The collaboration, the collage of the distribution of the alcohol? The attack on the social worker, her death? His getting at Harley, terrorising Gladys, killing her?

8. Killer Burke, personality, entry into Detroit, the background of St Louis, his violence, working with the gang?

9. The drycleaners, the pressure of protection, their meeting together, hiring the Mafia shooter, the clashes? The locals winning over the Mafia and the drycleaners?

10. Honey Boy and his claustrophobia, the build-up to his friend’s betrayal, killing him, enclosing him in the coffin? His moving to the set-up, the deal?

11. Harley, his getting Smith’s collaboration, the power of persuasion? The surveillance?

12. Honey Boy, his gang arriving, the massacre? Honey Boy and the arrests? Harley and his being vindicated? Honey Boy and his going in the van, his collapse, claustrophobic fear?

13. The 1950s and 60s, the memories of the Prohibition days? This film contributing to understanding of the gangsters in the context of 1960? In later decades?