APACHE TRAIL

US, 1942, 66 minutes, Black and white.
Lloyd Nolan, Donna Reed, William Lundigan, Ann Ayers, Connie Gilchrist, Chill Wills.
Directed by Richard Thorpe.

Apache Trail is a small-budget B-feature. It is a conventional western, focusing on outlaws, the robbing of stagecoaches and payrolls, the innocent man jailed, the Apaches and the warpath, Geronimo, the infiltration of the Indians and robbing them and killing them? The Spaniards at the stagecoach station? The femme fatale and her visit, the artist and his wife, interesting characters – the stagecoach types.

Lloyd Nolan is smooth as the outlaw brother, William Lundigan upright as the good brother making a chance by running the station well, encountering the Indians, facing the dilemma of surrendering his brother to Geronimo or not? Donna Reed, in an early role, is a Spanish senorita with eyes for William Lundigan, Connie Gilchrist her mother. Ann Ayers is the widow of an officer who committed suicide and now has her eye on Lundigan. The film was directed by Richard Thorpe, a director of many films at MGM, including a number of action features in the 1950s with Robert Taylor including Quentin Durward, Ivanhoe, Knights of the Round Table.

1. An entertaining western? Regular contents? Treatment?

2. The title, the Apaches, the warpath, the smoke signals, the attack on the fort? Trigger Bill and his infiltration, initiation, killing and robbing?
The young Indian wanting to be with the whites at the station, giving his life for the whites? The prejudiced statements about redskins and whites? A film of 1942?

3. The western scenery, black and white photography? Action sequences?

4. Trigger Bill, Tom, brothers, Tom being released, Bill wanting to join him, giving him the money, Tom wanting to go straight, his being entrusted with the station? His running the station well, Rosalia and her mother, persuading him to stay, tidying up, the meals, safety? The colonel and the payroll? The stagecoach, the artist and his wife, the artist’s illness, sketching the Indians, sketching Trigger Bill, his giving him the guns, his collapse and death? His wife and her grief? Constance and her being a widow, her eye on Tom, Rosalia and her reaction?

5. Trigger Bill, coming to the fort, the background with the Apaches, Tom taking his guns, his comments, his getting the guns from the artist, getting the payroll, his wanting to leave, taking Constance? Thinking she was his type? Tom at the gate, taking him back in?

6. Rosalia, her age, from Spain? Attracted to Tom? Working at the fort, jealousy of Constance? Her declaration of love? Her mother, support, work? Urging Rosalia on?

7. Tom and his going to the Indians, routing them, getting the injured man and breaking the arrow, the return?

8. The Indians and the message, the siege? The shootings? Wanting Trigger Bill surrendered?

9. The vote, black for his being handed over, white for staying? The even vote? Bill and his casting vote?

10. Trigger Bill, the touch of conscience, seeing Rosalia? Going out, the Indians pursuing him, killing him?

11. Constance going on? Rosalia and her mother being persuaded to stay, the proposal? The happy ending?

12. The conventional images of westerns, the whites versus the redskins? Prejudices dramatised?

LIBELED LADY

US, 1936, 98 minutes, Black and white.
William Powell, Myrna Loy, Jean Harlow, Spencer Tracy, Walter Connolly.
Directed by Jack Conway.

Libeled Lady is a rather elegant screwball comedy, not like those from other studios, but with MGM polish. Black and white photography, musical score, stars – and an Oscar nomination for best film. This was a film about relationships, introduced after the code, but with the light enough touch to touch on more serious subjects, especially concerning relationships and sex.

The film has a very strong cast, William Powell was Oscar nominated this year for My Man Godfrey and appeared in the Oscar-winning film, The Great Ziegfeld. He partnered Myrna Loy in fourteen films including the Thin Man series. Spencer Tracy has a lighter role than he was accustomed to play in subsequent films. This was one of Jean Harlow’s last films, playing similar kinds of roles, the hardboiled blonde, but with some comedy flair.

1. A film of the 30s, comedy, screwball touches, MGM gloss?

2. American society, after the Depression, the millionaire world, New York, the liners, the countryside and rivers, newspapers? The musical score?

3. The title, the focus on Connie, her wealth, the news scoops, the role of the papers, the suing of the paper, the schemes to thwart the suing?

4. The introduction to Gladys, Warren? The wedding, the awkwardness, her being dressed, his hesitations, relief when the paper called, the crisis, his leaving the wedding, Gladys and her reactions, tough style, Walter and his happiness in working for the paper?

5. The scandal, the scoop, the paper being wrong? Stopping the run, catching the delivered papers, not all of them? The boss, his concern about Allenbury, the hostility? Walter and his trying to cope? The decision to call in Bill Chandler? Searching the world, the humour of the various places where he might be? The young man knowing he was at the Plaza? Warren meeting Bill, their talk, the situation, the deal, Bill’s awkward financial situations, his wanting to write the book? The plan to trap Connie?

6. Gladys and Bill, the fake wedding, the effect on Gladys, the ceremony, going to the hotel, living there, her angers and eruptions, her being calmed, going to Connie’s house, going dancing with Bill, Bill able to persuade her, Walter and the confrontation, Gladys and the revelation about the divorce in Reno, the annulment? The retrospective legislation? The fight, her wanting to care for Warren?

7. Warren and his plans, the paper, using Bill? The urgency, visiting Connie, her giving the money to charity for the workers? The set-up, his planning the headlines, his being foiled by Bill, listening at the keyhole?

8. Connie and her wealth, at the wharf, besieged by the press, Bill saving her, his being invited to drinks, her not really listening, her father and his attitude? Society, going on to others, criticising? Fishing, Bill reading all the angling books? The set-up for the neighbours for dinner and Bill saving them? Connie saying he was a fortune hunter? Going fishing, the comedy in his chasing the trout? Connie and her change, falling in love, the meeting and the effect, the father and betting against Bill? The truth about his marriage, asking him for the answer, the wedding, the ceremony, the confrontation in the hotel, Connie and her kindness to Gladys?

9. Bill, suave, saving Connie, the drinks, the discussions about fishing, talking with Connie, the set-up to trap her? The alienation of affections? Bill and his pursuit of Connie, falling in love, the fishing comedy, foiled and Walter discovering him at the house? With Gladys and smooth-talking her?

10. The ceremony, the confrontation in the hotel, the truth? The fight between the two men, Warren and his nose, Gladys punching Bill?

11. The battle of the sexes, 30s screwball comedy type?

THE WHITE COUNTESS

UK, 2005, 138 minutes, Colour.
Ralph Fiennes, Natasha Richardson, Vanessa Redgrave, Lynn Redgrave, Madeleine Potter, Hiroyuki Sanada, John Wood, Madeleine Daly, Allan Cordunner.
Directed by James Ivory.

This is the last of the Merchant Ivory films. Producer Ismail Merchant died in 2005. While he and James Ivory began making films together in India in the 1960s and have a strong list of productions, it was only in the 1970s that they began to tackle literary classics (Henry James’ The Europeans in 1979). With their version of E.M.Forster’s A Room With a View, they found themselves popular and award-nominated and winning. They filmed Henry James (The Bostonians, The Golden Bowl). They filmed more Forster (Maurice, Howard’s End) and an assortment of period pieces like Jefferson in Paris and Surviving Picasso. They peaked in 2002-2003 with Howard’s End and Remains of the Day.

As time went on, they began to get negative reviews for their meticulous attention to detail which was sometimes dismissed as pedantic and stultifying, too dignified and holding back the dramatic impact of the plot. Be that as it may, they produced a body of significant and impressive films.

The White Countess was written by Japanese/English author, Kazuo Ishiguro who wrote the novel, Remains of the Day. It is certainly in the Merchant-Ivory? style. It has an elegant cast, takes its audience back into a somewhat exotic world (Shanghai in the late 1930s) and relishes its production and costume design. It moves at a generally sedate pace (sometimes slower) that is not in favour these days. It asks for a contemplation of its characters and their plight rather than hurrying with them through action.

Thinking back on the plot, it is really Remains of the Day transferred to China. The period is the same. War looms - which some anticipate and others deny. At the centre are faded and fading aristocracy – this time refugees from the Russian Revolution who have been stranded for two decades in Asian poverty and nostalgia for their former status and its trimmings. There is an outsider who acts as a catalyst for change when the war breaks out.

Natasha Richardson is Sofia, the White Countess of the title – although expatriate American diplomat, now blind and stranded, opens a club which in her honour he calls the White Countess. Sofia works as a hostess (a euphemistic term) at a club, encouraging clients to buy dances and drinks. She supports her mother-in-law, sister-in-law, uncle and aunt who live in faded gentility. She also has a daughter whom the family want to protect from Sofia’s way of life while still depending on her. The American (Ralph Fiennes) can possibly offer her a new life.

Then the Japanese invade and there is a rush to get to Hong Kong and Macau…

Natasha Richardson has a dignified bearing as she works and suffers. Ralph Fiennes does an interesting variation on his dignified gentlemen. The aunts are portrayed by Vanessa (Natasha Richardson’s real mother) and Lynn Redgrave. Madeline Potter is particularly persuasive as the narrow-minded sister-in-law.
Hiroyuki Sanada is impressive as a sinisterly genial Japanese businessman who believes in his country’s ambitions.

The music soundtrack reminds us of Shanghai at this time as cosmopolitan: selections from classics, from local music and the jazz and songs of the 30s US – the film finishing with the junk sailing out to freedom (we hope) to the strains of ‘After You’ve Gone’.

1.The films of Merchant Ivory? Style, topics? Unhurried, attention to detail? Re-creation of periods?

2.China and the 1930s? Life in Shanghai, for the Chinese, for the expatriates? Politics? The Chinese warlords? Japanese occupation? The build-up to World War Two?

3.Russian aristocracy, twenty years of exile from Russia? Their going to Shanghai? Wanting to get to Hong Kong? Poverty? Their plight? The flashbacks and glimpses of happy life in Russia? Their living in the past, assumptions that they were aristocracy? Yet that life having disappeared? The contrast with the Americans? Disillusionment? The diplomats and their life in Shanghai?

4.The Japanese, the relationship with China, occupation? Plans and ambitions? The comparison with the Nazis in Germany? The attack on Shanghai, the occupation, the bombings, the refugees?

5.The title, Sofia as a countess? Jackson and his calling his club The White Countess? Sofia as a symbol? Evoking past aristocracy and dignifies lifestyle?

6.The focus on Sofia, a widow, her love for her daughter? Her mother-in-law’s disdain? The family’s attitude towards her, her earning the money for them to survive? Greshenka and her continual comparisons, taunts? There not being enough beds, taking sleeping in shifts? Sofia and her love for her daughter, sharing life with her, her fears for her daughter imitating her? At the club, the man trying to pick her up on the tram? Dancing, the tickets, chaperoning her friend? The owner and his criticism, wanting her to have a better dress, going to markets and bargaining for a dress? Her helping Jackson not to be robbed? The tensions at home? Her life and her clients?

7.Jackson and his way of life in Shanghai, wealthy background, American? His history, diplomacy and success for the League of Nations? The death of his wife and child? The bombing with his daughter? His grieving for her? His becoming blind? Embittered yet self-assured? Not wanting pity? His chauffeur driving him around? His clubbing and his drinking? His meeting Mr Matsuda, their discussions, his ambitions to own his own club?

8.His hearing Sofia’s conversation, his accepting her help? His deciding that she was the ideal, the offer for her to come to his club? The distance, not touching? The passing of the year?

9.The family at home, the two aunts and their characters, the busy and practical mother-in-law, Aunt Sarah and her dreams of the past? Uncle Peter and his presence, agreeing with what his sisters taught him to agree with? Greshenka and her running of the household? Their life, style, yearning for the past, relying on their dignity? Sarah and Peter and the letter, visiting the French embassy, their treatment, being driven home, showing the neighbours? Their memories? Their needing money for the passports, relying on Sofia, yet wanting to leave her behind, the argument to protect her daughter? Greshenka and her motivation, not wanting the daughter to use make-up, forbidding Sofia to see her daughter? Sofia believing this?

10.The new club, Jackson and his satisfaction? Sofia and her work? The style of the club? Mr Matsuda and his visits, his eventually proposing to partner the club? Jackson’s life, tensions? Sofia and her daughter seeing Jackson in the street? Sofia trying to move them on, the daughter running back, making friends with Jackson? Their walks and outing together? Her wanting to go on a boat trip – and Jackson using this finally when they were refugees?

11.The sketch of the neighbours, the Feinsteins, the anti-Semitic attitude of the family? Katya and her playing with the children? Sofia’s friendliness? Samuel Feinstein and his work, market? The meeting with Jackson, their friendship? Feinstein and his helping Jackson in the crowd, saving Sofia and her daughter, taking them to Macau?

12.Jackson, his telling Sofia the story of his tragedy, the flashbacks? His wanting to touch her? The bond, giving her the money for the family? His sacrificing his love for her? Her sacrificing herself? The effect of the truth on her? The truth about her daughter, going home, the family having taken her? Her search?

13.Jackson and his decision to stay in the club, the final discussion and parting of the ways with Mr Matsuda? His giving up? The destruction, the bombings, his going in the car, the chauffeur trying to warn him, his getting lost in the crowd? Mr Feinstein finding him?

14.Sofia and her search for her daughter? Jackson and his search for them both? Their finding each other? On the boat? The background music: ‘After You’ve Gone’?

15.The importance of music throughout the film, the American-style music, the jazz? Popular songs? The Chinese orchestras playing them in the club? As background music for the themes?

16.A glimpse of a group of refugees, displaced people, not accepting their fate, always hoping for something better, not admitting their poverty? The possibility of some kind of redemption and salvation?

TRISTAN + ISOLDE

UK, 2006, 126 minutes, Colour.
James Franco, Sophia Myles, Rufus Sewell, David Patrick O’ Hara, Mark Strong, Henry Cavill.
Directed by Kevin Reynolds.

Back into pre-Arthurian times and legends. Like the recent King Arthur, the film-makers have opted for a rather serious and sombre presentation, a darker (grey and blue) palette for the film and lonely and sometimes eerie landscapes. So, this is not a Camelot-like story – well, in fact it really is, at least in plot outline and characters and their tragedies. The ideal marriage between Guinevere and Arthur was undermined by her love for Lancelot. This time, Isolde is married to King Mark but was already in love with Tristan. Kingdoms collapse as a consequence of these loves and betrayals.

The setting is the southwest kingdoms of Britain after the withdrawal of the Romans, the Dark Ages. The tribes are disunited and cannot prevail against the prosperous and warlike Irish. Young Tristan’s father is killed in an Irish attack but Tristan’s life is saved by King Mark who regards him as his own son. Tristan grows up to be the champion but is wounded in another Irish onslaught. He receives the Viking style send-off, lying in state on a burning boat. But, he has been poisoned and is not dead.

Fortunately, and then unfortunately, he is washed up on the Irish shore and found by the king’s daughter, Isolde, who has been betrothed by arrangement with an unwelcome warrior. Definitely unfortunately, she does not tell Tristan, whom she nurses back to health, her real name, so that when Irish and Britons agree to a tournament to win the princess’s hand, Tristan aims to win her as a bride for King Mark.

Guess the rest! And that’s what happens (like Arthur, Guinevere and Lancelot all over again – well not quite because history wise, this story precedes Camelot).

James Franco did a great award-wining performance on television as James Dean and is the brooding friend of Peter Parker (alias Spiderman). Brooding seems to be his forte, which means that his Tristan is soulful at best rather than heroic. Sophia Myles as Isolde has much more go in her. It is the supporting cast who really carry the drama: Rufus Sewell very sympathetic as the decent King Mark, Mark Strong absolutely dastardly as the cowardly villain, David O’Hara? as the plotting and conquering Irish king.

The director is Kevin Reynolds who has a strange filmography, especially his matinee like adventures Robin Hood, Prince of Thieves, Waterworld, The Count of Monte Cristo and the very silly Rapa Nui. In his defence, he made the frighteningly thoughtful story of problems in US schools, 187. His adventures seem sometimes anachronistic (American accents in Sherwood Forest). However, Isolde is able to quote the poems of John Donne a millennium before they were written. But, they do elevate the dialogue.

1.The legend of Tristan and Isolde? Its relationship to the legends of Arthur, Guinevere and Lancelot? The atmosphere of Romeo and Juliet? The use (a thousand years before his time) of John Donne’s Sonnet?

2.A tragedy, in a violent world, love and betrayal, heroism?

3.The Irish settings? The Irish coast? The Czech locations? The castles? The plaintive score?

4.The work of the director, his history with historical epics? In the tradition of the Hollywood historical epics? Action, romance, sadness?

5.The introductory information about the Romans, about the British tribes, about Irish domination? The old religions?

6.The opening with the hunting, the rabbit, Tristan and his father, the question of the uniting of the British tribes, the treaty? The attack, the battle, his father saving Tristan, his death? Mark coming to his rescue, losing his hand? Tristan and his debt to Mark? Lifelong? The being adopted by Mark’s sister, his relationship with Melot? Training to fight as a boy, his reluctance, his anger at the taunts, his supremacy? The passing of time and his growing up as Mark’s adopted son?

7.Isolde as a young girl, the funeral of her mother, her dependence on Bragnae, wanting to sit alone, her growing up, her power of healing, the alienation from her father, wistful? Wanting the meaning of life, wanting to escape? Her father’s betrothing her to the warrior against her will?

8.The portrait of the Irish, the king and his dominance? The attacks on Cornwall? The divisions of the British and the tribes? The British and their map, the development of the treaty, wanting to work together? The mixed loyalties? The battle against the Irish? Tristan’s plan for saving the captives? The two men running, the horsemen chasing them, their being trapped, the Britons in the ground? Going back to the wagon? Freeing them? The battle, Tristan and his fighting – and the death of Isolde’s betrothed?

9.Tristan, personality, his forlorn look? The experience of dying, the Viking boat sent out into the water, the flames? Landing on the Irish coast, the background to Isolde and the poisoning of weapons? His being poisoned, coming to life again? Isolde caring for him, Bragnae’s concern? The sharing, the healing, falling in love?

10.Isolde and wanting to leave the island, her healing powers, her care for Tristan? Her love, but having to let him go?

11.The lords of Britain, Wictrid of Glastonbury? His power, devious? The ambitions? His league with the Irish? The other lords and their weakness?

12.Triston’s return, the idea of the tournament, the Irish king allowing his daughter to be the prize? Wictrid and the plan that he should win and become leader of the Britons?

13.Mark as a good man, his losing his hand to save Tristan’s life? His care for Tristan? His not thinking that Melot was strong enough to lead? The battles, his grief at Tristan’s death, joy at his return? His favouring Tristan as his second? The tournament, Tristan fighting on behalf of Mark? His winning the tournament, the various phases of the battles, Wictrid and his organising his victories? Finally having to yield to Tristan? Tristan discovering that Isolde was not a maid but the king’s daughter? His dismay at her not telling him the truth? The journey back to England? His moping, the marriage ceremony? Mark and his joy, concerned about Isolde, asking Tristan to follow her? His discovery of the truth and his grief?

14.Tristan and Isolde, life at the castle, Tristan and his moping, Isolde and the wedding, the decisions to meet, the lovemaking? The decision to leave? Tristan and his wanting to break the liaison?

15.Wictrid and his seeing the couple, his plan to denounce them, the tunnel into the castle, his plan to lead the Irish? Tristan and his decision, Bragnae and her trying to shield them? Mark finding them together as they bid farewell to each other?

16.Mark and the interrogation of Tristan, Tristan’s silence? Isolde telling Mark the whole story? His being an upright man, providing the boat, sending them away?

17.The Irish king, the exposing of Tristan and Isolde, his disowning his daughter? Reliance on Wictrid? The attack, the siege of the castle, Mark doing battle? Wictrid and Melot in the tunnel, his murdering of Melot after setting him up to believe that he would be king? Melot’s final words to Tristan, that he believed that somebody was affirming him?

18.The defence of the castle, the desperation, the attack of the Irish?

19.Tristan, his coming back, finding Mark, saving him, Tristan being wounded? Isolde coming, her remembering their past? Tristan’s death?

20.Mark, the lords coming together, Tristan holding up Wictrid’s head? The uniting of the tribes?

21.The variety of characters in the film, at the Irish court, the advisers and warriors? The English nobles? The film giving a feel for the period?

DEADLOCKED

US, 2000, 90 minutes, Colour.
David Caruso, Charles S. Dutton, Jo D. Jonz, Tom Butler.
Directed by Michael W. Watkins.

Deadlocked is a quite efficient and interesting courtroom thriller. It stars David Caruso as an assistant district attorney and Charles S. Dutton as the father of the convicted prisoner.

What begins as a courtroom drama, with background between the two stars and their relationships with their sons, turns into a somewhat overwrought siege situation when Dutton takes the jury as hostages after their decision to convict his son. The film takes place over twenty-four hours where Dutton, rather crazed and in a somewhat overwrought performance, demands that the assistant DA find new evidence to prove his son innocent. In some surprising turns, this happens and the true murderer is apprehended.

The film moves with some pace, echoes the rather extroverted violence that takes place in American society, the gun culture where anybody can grab a gun and hold people to ransom. Allowing for this, it is actually quite an interesting and effective drama. It was made for television and the director is Michael W. Watkins, a television director from such series as Lois and Clark who made some television movies but continued his main work with television series like CSI. David Caruso attempted a film career but has been more successful on the small screen in CSI Miami. Charles S. Dutton (who, in fact, spent some time in prison for fatally stabbing someone and linked (??) theatre from prison) has appeared in many films as well as directing a number including Against the Ropes.

1.Interesting crime drama? Courtroom drama? Hostage siege drama? Police investigation?

2.The Seattle settings, homes, court buildings? The streets? Authentic atmosphere?

3.The title, the decision of the jury to condemn Demond Doyle? Jacob taking them hostage? The confrontation with Ned Stark? The deadlock?

4.The introduction to Ned Stark, the clashes with his son? His son spurning his father? The later meeting with his mother? The comparison with Jacob Doyle, watching the home movies of his son?

5.Information about the crime, the socialite murdered and raped, Demond Doyle and his not defending himself, not speaking, the conviction in court? The final scenes of the trial, the presiding judge, the jury? Prosecutor and defence? Ned Stark pleading for the death penalty?

6.Jacob Doyle, the explanation of his background, as a warden, helping young people, an upright citizen? His blaming himself for his treatment of his son, his son’s criticism of his lifestyle in the past? His making his son what he was? Sufficient motivation for getting the gun, for holding the people as hostages?

7.The action, the sudden movement with the guns, herding the jury into a room? The husband of the murdered woman with the group? The judge and the others leaving after the fear, everybody hiding from the guns?

8.The strategies, the district attorney and his attitude, wanting evidence, wanting to save the lives of the jurors no matter what? The SWAT team and their wanting to go in, the lead with the television camera, Jacob seeing it and shooting at it? The plan for a mistrial and his seeing through it?

9.The twenty-four hours, Jacob pleading to Stark to get the evidence? Stark’s discussion with the defence counsellor and his having done nothing? Looking at the tapes of the arrest?

10.The chance mention of the anonymous phone call, tracking down the reporter, tracking down the phone, tracking down the charge sheet? Going to the house, chasing the young man? The truth about the robbery, the blackout?

11.Stark and his assistant retracing the steps, searching for the surveillance film, finding it? The realisation of what had happened, seeing the husband on the screen? The clock stopping?

12.The truth about the relationship between Demond and the wife? The affair for a year, their meetings, his giving her the necklace, Stark finding it in the house? The change in the attitude of everybody towards Demond? His father satisfied?

13.The portrait of the jurors, the redneck man, his taking the pencil, later using it, stabbing Jacob? The shooting and the death of one of the jurors? The accusations against the husband, his calling out and getting the SWAT team to come in, the machine guns, Jacob’s death?

14.Stark and the vindication of the investigation? The TV information that he would be prosecuting the husband?

15.Farfetched – but enjoyably so? The heightened American violence with guns and sieges? The nature of justice, race issues, class issues? The investigation – and the solution within twenty-four hours?

WAG THE DOG

US, 1998, 97 minutes, Colour.
Dustin Hoffman, Robert de Niro, Anne Heche, Dennis Leary, Willie Nelson, Andrea Martin, Kirsten Dunst, William H. Macy, John Michael Higgins, Woody Harrelson, Craig T. Nelson.
Directed by Barry Levinson.

A sardonic political satire, with acute contemporary US overtones, which shows when there is a presidential sex scandal, call in the spin doctors to manufacture 'truth' in the media, preferably a war, and your election is won. Sometimes the comedy here has one gasping in disbelief as well as laughing. It does not paint a complimentary picture of the US and does not let up even at the end.

David Mamet is a skilful playwright and his sharp dialogue is often hilarious. Dustin Hoffman enjoys himself as a Hollywood producer, full of cliches as well as hype inventiveness. Robert de Niro also enjoys himself as the genial but ruthless Mr Fixit. There is an entertaining supporting cast including Willie Nelson composing and conducting patriotic country and western songs and Woody Harrelson as the fake hero.

Compared with Primary Colors it lacks some finesse and writing polish, but, if you want your anti-American sentiments reinforced, you won't be disappointed. US presidential fact and fiction.

1.The impact of the film in the late 90s? The political situation? Republicans and Democrats? The presidency of George Bush, the presidency of Bill Clinton? The Gulf War and its aftermath? Clinton and the sex scandals and Monica Lewinsky? Important for 1998? Its relevance now?

2.The title, the novel The American Hero? Its irony? Wag the dog and the comments about the strength of the dog and the strength of the tail which wags the dog?

3.The Washington DC settings, the White House and the bunkers? Hollywood, the mansions and studios? The crossing of America?

4.The musical score, the patriotic song composed for the campaign, The Ballad of Old Shoe?

5.The importance of satire, black comedy? Plausible, considering the events of the 1990s? The reality of wars, invasions, the reasons for invasions, spin doctors, the use of the media, fabricating footage? The status of America’s interests? Elections and rigging of elections? Advertising and campaigns, slogans? Headlines? Television campaigns, talk shows, interviews? The Monica Lewinsky context?

6.The satire on spin, invention, rumour, using the media, the plausibility of this kind of fabrication? The public, its response, the strong patriotism? Throwing the shoes on the trees? The elections, the polls? The loyalty to the American president?

7.The opening, the advertisement and the slogan about changing horses, the president, Senator Neal and his opposition? The situation, the sex scandal in the White House? The president’s visit to China? The eleven days to the election? The staff in the bunker? The press conferences, the indication of rumours about no bomber three? The general flying to Seattle…?

8.Connie, the mystery man, his influence in the White House, the Mister Fix-It?, in himself, assured, as played by Robert de Niro and his style? The talker, persuasive, challenging the staff to think laterally? The working with Winifred? His double-talk? The situation, finding a solution, deciding that there should be a war, the talk about B3s, the denial of rumours, the general to Seattle, his think tank? The press conference, the delaying of the president in China?

9.The decision to go to Hollywood, the flight, his discussions with Winifred? Stanley Motss, his mansion, sun lamp, the spiel to him, his self-opinion, his career, producing the Oscars, not getting an Oscar? His watching the television, condemning the president, the campaign? His asking for the press conference to say particular words – and their immediately being said? His decision to be involved, the discussions about what he was to produce, its being a pageant? His enjoyment of production, Grace as his assistant, their sharing jokes, his ringing up his friends in order to get them to come? Connie playing along with him? Winifred amazed?

10.The arrival of Stanley’s friends, Johnny Dean and his composition work, the Fad King and his brainwaves and marketing, Liz Butsky and her ideas? Their conference, sharing of ideas, brainwaves? Connie and the war? The hiring of the girl, wanting a kitten, deciding to do everything digitally? In the studio, the director, Stanley as producer, making decisions, insterting the village, inserting the music, the fire, the bridge? The merchandising? The comment on the Gulf War and the clever bombs smart going down chimneys and the way that this was replayed on media and influenced public opinion? The reliance on images? The survey of images from Iwo Jima, Churchill’s V for Victory, the little girl in Vietnam?

11.The shoot, Tracy and her work, unable to tell anybody about it, the performance, its being presented on TV, the voice-over commentary about the rebellion, the Muslims, the fundamentalists and the uprising against the United States? The declaration of war on Albania? (And the specious reasons given about Albania, the Albanian desk, the motivation for war, especially fundamentalism and terrorism – and the relationship to Iraq and Iran at the beginning of the 21st century?) The press conference, the ceremony commemorating the Albanian festival and the president giving his coat? The journalists fomenting the rumours by asking questions based on rumour?

12.The composition of the patriotic song, Johnny Dean conducting it, the idea of Old Shoe? The song, the composition, the janitor helping Johnny Dean? The song itself, planting it in the Library of Congress archives? Its being played, becoming a bestseller?

13.The CIA following Connie and Winifred, the discussion, the single-mindedness of the CIA, the deal – and the irony of Senator Neal declaring the war was over? Doing a better deal with the CIA?

14.The new song, Stanley and his getting more ideas? The prisoner behind the lines? Old Shoe – and searching the records for a name like Shoe? The planting of the record? The finding of Schumann? The promises to the American public? Their support and patriotism about Old Shoe? Tossing the shoes on the trees and the lamp-posts?

15.The campaign, the news, patriotism, the throwing of the shoes, the throwing of the shoes onto the basketball court?

16.Shoe himself, mad, on the plane, Winifred and her bewilderment? It seeming that everything was over? The accident in the plane, the madness of Shoe (and his rape and imprisonment, his medication, getting the medication)? The shooting, his shooting himself? The bright idea about the funeral, the solemnity of the funeral, the polls?

17.Stanley and his wanting the credit, watching the funeral, his creating the whole pageant? His being upset, wanting to tell people? Connie and his reaction, sinister? The picture of his mansion – and the breaking news that Stanley had died of a heart attack?

18.American satire, America’s ability to satirise itself? The wit and ingenuity of the screenplay? The strong cast giving life to this kind of satire? American response? Response around the world?

THE SCARLET BLADE

UK, 1963, 83 minutes, Colour.
Lionel Jeffries, Oliver Reed, Jack Hedley, June Thorburn, Michael Ripper.
Directed by John Gilling.

The Scarlet Blade is a story set in the English civil war, the end of the civil war, just prior to the execution of Charles I.

The focus is on a royalist family, the Beverlys, where Edward and his brother Philip have survived the Battle of Preston and are leading a kind of Robin Hood-like group in the forests against the Roundhead forces. These are led by Lionel Jeffries who had turned sides and his lieutenant, Captain Tom Sylvester (Oliver Reed) who had also changed loyalties.

There are the expected actions sequences as well as confrontations between Loyalists and Roundheads as well as romance, betrayal, executions.

The film is entertaining in a matinee kind of way with Lionel Jeffries having a star role as a severe Roundhead. He was soon to make a number of comedies including Two Way Stretch as well as star in Camelot. Oliver Reed was at the beginning of his career and within five and six years was to appear in Oliver in Women in Love.

Writer-director John Gilling had a succession of popular short features alternating between action adventures like The Bandit of Zhobe and The Brigand of Kandahar and horror films like Panic and Trog.

1.Audience knowledge of the English civil war? Charles I and Cromwell? Loyalists and Roundheads? The film interesting without audience knowledge of history?

2.The re-creation of the 17th century, the armed forces, the stately homes and mansions, the aristocracy? The forests? The battles? The atmosphere of the transition from the monarchy to the commonwealth?

3.The title, Edward Beverly and his signature? The rebels in the forest? Their raids? The capture of Edward? The confrontation with Colonel Judd? Sylvester?

4.The Roundhead forces: Colonel Judd, Captain Sylvester, the other officers? Their confronting the Earl of Beverly? Torture, interrogation and execution? Occupying the house? Searching for Charles I? Colonel Judd and his personality, his relationship with his daughter? The plotting with Sylvester? The raids, his reactions? Major Bell and his interrogations? The decisions about the uprising, the confrontation with Edward? Bell and his informing about Sylvester, the confrontation with Sylvester and shooting him? The final attack, Colonel Judd and his accepting his daughter’s rebellion, seeing Edward and Claire as gypsies in the forest, letting them be?

5.Sylvester, the underling, infatuation with Claire, ready to betray sides? His seeming loyalty, supporting Edward, going to meet him? Claire’s rejection, his change of heart, the information, the betrayal? The confrontation with Judd, Judd shooting him?

6.Edward as the hero, his father’s memory, in the forest, his followers, the raids, the derring-do? Philip and his support? Edward being captured, whipped, interrogated? Philip and the attack and his death?

7.Claire, the clash with her father, curtseying to the king? Her plan in helping Loyalists escape? Captain Drury and his help (and Sylvester letting him be)? The falling in love with Edward, helping him, helping him escape?

8.The Beverly family, Philip and his loyalty, their sister, her capture, her being freed?

9.The standard presentation of the armies, the Loyalists and the tradition of the monarchy, Cromwell and his rebellion?

KILLERS OF KILIMANJARO

UK, 1959, 91 minutes, Colour.
Robert Taylor, Anne Aubrey, Gregoire Aslan, Anthony Newley.
Directed by Richard Thorpe.

Killers of Kilimanjaro is entertaining matinee nonsense, set in East Africa at the beginning of the century. It is a star vehicle for an ageing Robert Taylor (with his frequent director Richard Thorpe). The film was produced by Albert Broccoli, with a story by Richard Maibaum (both later to collaborate on the James Bond films). There is a score by William Alwyn. The film has lavish Cinemascope and colour, location settings with plenty of African flora and fauna.

1. Matinee entertainment? The historical background of railways in Africa? The colonial opening up of Africa?

2. Cinemascope photography, colour locations, the atmosphere of the ports, of the scenic beauty of Africa, the score?

3. East Africa and the railways? The tribes? The pioneers? The colonialising attitudes from Europe? Clashes and exploitation?

4. Robert Taylor, sturdy as Robert Adamson? His arrival, the difficulties in the port, clashes with Ben Ahmed? Friendship with Pasha? Jane Carlton and her going with him on the expedition? Hookey as the company clerk? The difficulties, the attacks on them in the city? The train journey and their in-genuity? The attack of Ahmed’s men? The trek, the animals, the tribesmen, Ahmed’s servants? The discovery of Jane’s father’s death? Her fiancé, alcoholic and delirious? Adamson in control? The building of the railway? The pitched battle with Ahmed’s men? Final heroics? Pasha imitating Adamson?

5. Jane as heroine, sturdy, participating in the adventures, her fiancé ill, her love for Adamson?

6. Anthony Newley’s comedy as Hookey, participation in the adventures, the light touch?

7. Ben Ahmed and his power, wanting to own the railway, the efforts at sabotage, his troops and ser-vants, the missions against Adamson, the pitched battles, his death – and his exhorting the white man’s way to Pasha?

8. Pasha and his following of Adamson, from the boat, hiding away, part of the expedition?

9. The various minor characters – the gallery from the matinee-style film: the captain of the ship and the crew, the thugs in the town, Ben Ahmed’s assistants, the people on the railway line, the tribe and its chief, the witchdoctor? Saxton and his alcoholism and delirium?

10. Perennial popularity of this kind of history-based action adventure? Echoes of the colonial period?

THE SQUID AND THE WHALE

US, 2005, 81 minutes, Colour.
Jeff Daniels, Laura Linney, Jesse Eisenberg, Owen Kline, Anna Paquin, William Baldwin.
Directed by Noah Baumbach.

An intelligent and thought-provoking film.

It will not be to everyone’s taste. It is a glimpse of a surface-successful family and then it probes beneath the surface, dramatising the selfishness and ugliness, the potential for good that is squandered. Some of the ugliness is heard in the language and seen in some bizarre behaviour of the children.

In fact, The Squid and the Whale is one of the most potent films concerning the influence parents have on their children, where role-modelling and expectations have a pervasive effect. And, when the parental behaviour is destructive, this is absorbed by the children both consciously and unconsciously.

The Squid and the Whale runs for only 81 minutes but packs the short running time with a great deal of plot and detail. The screenplay was Oscar-nominated and won many 2005 awards in the United States. It is autobiographical. The writer-director, Noah Baumbach, turned 17 in 1986, when this film is set.

The place is Brooklyn and the film opens with a family tennis match which immediately lets us know where the tensions lie, both in words and in body language. Bernard, the professor father, is a controller. He always wants to dominate, to win and is not above serving directly at his wife. 16 year old Walt is his partner and is obviously emulating his father, absorbing gratefully every word of praise. Frank is twelve and loves tennis. He also loves his mother who can’t measure up to Bernard’s aggressiveness and walks off. The plot is summed up in an ordinary but insightful scene.

When the parents inevitably break up, Walt takes his father’s side. Walt is in danger of becoming a clone of his father. Bernard is a published author. He is also arrogant, name-dropping, elitist, fostering his son’s blind admiration. Frank is afraid of his father and closer to his mother. A complicated joint custody where the sons spend alternating days with father and mother only aggravates the situation.

This is not comfortable viewing. It gets more uncomfortable as Walt tries to develop a relationship with his girlfriend but is awkward and ignorant. Frank imitates his father’s crass and impatient language and becomes obsessed with the physical and sexual changes he is experiencing. Bernard is oblivious of the problems. Joan is unable to help. There are some telling scenes when the principal calls in the parents to discuss Frank and a teacher reveals that Walt has stolen the song which won him a competition prize.

We don’t hear about the squid and the whale until Walt goes, unwillingly, to a counsellor and finally remembers a time when he was happy: when his mother took him to the Natural History Museum and he looked at the tableau of the squid and the whale, shielding his eyes from their battle and consoled by his mother. This is obviously a symbol of his parents’ battles. But, recognising this is the beginning of some enlightenment and a possibility for hope.

Jeff Daniels has never been better as the self-important Bernard. Laura Linney is always good. Jesse Eisenberg is the key to the film as Walt and he is utterly believable as is Owen Kline as Frank.

This story could happen – is happening – in any street in our cities. It is a challenge to our understanding and to our response to people with emotional family problems.

1.The impact of the film? Brief, focused? Strong characters? Complex relationships? Love, hurt and betrayal?

2.The Brooklyn 1986 settings, the apartments, the streets, tennis courts, restaurants, school? Atmosphere of authenticity? The musical score? The use of Pink Floyd’s song, ‘Hey You’? For Walt, for the themes of the film and Walt’s character?

3.The strength of the dialogue, the many awards for the screenplay? Blending literate and crass? Arrogant and elitist? The comments on philistines? The audience judgment on each of the characters and their mental attitudes, intellect, condescension?

4.The title, Walt’s experience: the memories with the psychologist, the happy memories with his mother when he was young and before his brother was born, the visits to the museum, watching the tableau of the squid and the whale? The finale of the film? The image of his parents and their fighting – and having to shut his eyes because he was frightened of this tableau?

5.The strong cast, believable performances? Audiences identifying with characters? Sympathising with them? Repelled by others? The complexity of each character, the good and the bad, the right and the wrong?

6.The film’s comment on divorce, poor marriages, parental role models and the effect of children? The children absorbing the role modelling, consciously or unconsciously? The emotional response, imitating the parents, close to the parents or dismissing them and condemning them? Parental expectations and living up to them? The effect of abnormal behaviour leading to abnormal behaviour by the children? The shadow side of the children, breaking out, in language, behaviour? Treatment of others? Attitudes and the repeating of the pattern of the parents?

7.The opening, the tennis match, Bernard and his domination, urging Walt on, attacking Joan? His dismissal of Ivan? The control by Bernard? Wanting to win? The transition to the meal table, the conversation, Walt identifying with Bernard, Frank and his love for his mother? Establishing the edge in the family?

8.The portrait of Bernard: his age, experience, seeing him at the tennis match, his domination, control? Teaching at school, the encounter with Lily, the flirtatious talk? His early books, his early success, book readings etc? His not being able to be published in more recent times? His continual name-dropping? His arrogance for example about Dickens and Tale of Two Cities as lesser works? His disdain of people? His criticism of the psychologists in public schools and their not having degrees? His innate jealousy? Jealousy of his wife? His condemnation of Ivan and calling him a philistine? Not wanting Frank to be a tennis pro like Ivan? His wanting to have hits with Ivan – and Ivan beating him? The revelations about Joan and his knowing the truth all the years? His claiming that he did everything to help the marriage? Did he? His explanations of what he did – to cooking burgers? The meanness and his saving of costs? The comic touches in restaurants and letting Sophie pay for instance? His discussions with Frank, picking him up, forbidding his pro tennis career? His being with Walt, boasting, inviting him to school, commenting on novels, people that he had met? Fostering an elitist attitude in Walt? The clash with Joan, especially about suggesting an ending to her story? The verbal and physical violence? His novel being rejected and his lying about it? The conference with the principal about his children? His excusing them? The discussion about the marriage break-up, the division of property, the issue of the cat, his preparing the schedule of the shuffling between houses for the children?

9.The portrait of Joan, pleasant, at tennis, dominated by her husband? The seventeen years of marriage – and her memories of her affair before the marriage, being charmed by her husband? His previous marriages and explanation of the annulment, the difficulties with his second wife? Bernard beginning to despise Joan, the jealousy with her writing? Her success – and people complimenting her on her story? Her love for her children, Frank and his devotion towards her, Walt and his disdain? At the tennis match, at the table, her writing, the revelation of her affair, Bernard telling the children? Walt’s reaction and condemnation of his mother? The clash and the fights with Bernard? The break-up, her keeping the house, the issue of the cat, the timetable? Her hiding her books under Frank’s bed?

10.The portrait of Walt, his age, arrogant, playing tennis well, his father’s approval, the discussions about Kafka and other authors, his pontificating about F. Scott Fitzgerald (and its later being revealed that he had not read them)? His composing the song, taking it from Pink Floyd, singing it with Frank, the performance for his parents? The performance at school? His winning the competition? At school, with fellow students? The announcement of the break-up, his anger, wanting to keep it secret, discussing it with his friend – and finding that the friend’s father had had an affair with Joan? The prospect of Lily coming to the house? His infatuation, keeping her tissue? The friendship with Sophie, the meal with her parents, being considered humorous, going to the movie and having the meal with his father, the sexual encounter, the effect on him, she explaining she was a virgin, he the same? His rude comment about her freckles? His being bewildered by all that was going on in his life?

11.The portrait of Frank, his age, at the tennis match, wanting to be a pro like Ivan, his father’s explanation of what a philistine was and his claiming to be a philistine? His love for his mother? His crying over the break-up, telling his friend? His difficulties with his father, not wanting to be in his house? The masturbation sequences, especially in the library? His language – and imitating his father? Running away, his father bringing him back? His drinking alcohol? His being absorbed with himself?

12.The two homes, the division of time, the effect on each of the boys? Their abnormal behaviour? Walt and the competition and the aftermath and his being exposed as taking the song? His justification that it was the kind of song he would have written? His confrontation with his mother after the performance, her slapping him? Bernard and Lily, in the house, his catching them together, his bewilderment? His break with Sophie – for the wrong reasons? His father urging him to play the field? His mother trying to be kind? Frank and his unhappiness and wanting to run away?

13.Bernard and the infatuation with Lily? Joan and the relationship with Ivan, Frank coming in and catching them, their going away together? The tension when Bernard and Joan met, in the house? The criticism? Their going to the principal’s office and learning what their two sons were doing?

14.The clashes, Walt and Lily? His running away, putting his head in the water in the lake? His telling his mother? Walt taking responsibility for Frank? The discussions between Bernard and Joan, and the break-up of the marriage, Joan ringing Bernard’s father? Bernard and his attempt to reconcile, then threatening to sue Joan?

15.Walt and the psychologist, his arrogant attitude towards him, eventually telling the story of his mother, going to see the squid and the whale?

16.Bernard’s collapse, his worrying about what it looked like? Walt in the hospital? His wanting more pillows? His father pleading with him to stay? Walt and his weeping, going, going to the museum and standing before the squid and the whale?

17.The themes of parents and role modelling, dominating parents, the setting up of expectations? Their lack of self-knowledge? Intellect and heart? The effect on children – the future?

LE TEMPS QUI RESTE

France, 2005, 85 minutes, Colour.
Melvil Poupaud, Jeanne Moreau, Valeria Bruni Tedeschi, Daniel Duval, Marie Rivier, Christian Sengewald, Louise Anne Hippeau.
Directed by Francois Ozon.

Francois Ozon is becoming a prolific director, a film a year in recent years. And it is impossible to predict what he will come up with next. He has done the musical 8 Women, the psychological crime thriller, Swimming Pool and the disintegration of a marriage, 5x2.

With Time to Leave – more accurately and literally, The Time that Remains – Ozon says he is in process of making a trilogy about death. Sous le Sable was an effectively sombre film about loss and grief and he intends to make a film about the death of a child. In the meantime, this is the final months of a young photographer who has cancer.

Romain (Melvil Poupaud) is an abrasive man. He clashes fiercely with his motherly sister, alienates his boyfriend, has on again, off again moments with his parents. When he receives the news of his illness, he takes leave from work, stays alone, reflecting. The only person he tells is his empathetic grandmother, a warm performance from Jeanne Moreau. He does take pictures of his sister and children after he reconciles with her on the phone. He does help arrange a job for his boyfriend. Most strangely, he is asked by a kindly woman he meets at a café (Valeria Bruni-Tedeschi?, star of 5x2) to father her child since her husband is sterile. He does this, not in any calculating way. Rather, this surrogacy involves him with the human race in a way that he has not up till now. He does have something, someone who will mark his presence in the world.

Ozon is particularly sensitive to the emotions of his characters and the complexities of their relationships. It is true here. He includes an unusual scene in a church where Romain lights a candle and remembers a gross prank with his friend and a dawning of his sexual orientation. This is a film about mortality that affirms life.

1.The films of Ozon? The range of films and styles, subjects?

2.Ozon’s sensitivity to people, to relationships, to gay men, to issues of illness and death?

3.The Paris settings, Romain as a photographer, his eye’s view of Paris? The apartments, the streets, the clubs and cafes? The transition to Brittany? The beaches? The beach house? The doctor and the medical settings? The musical score – and religious motifs?

4.The title, the time remaining for Romain with his illness? The time remaining for his relatives and friends and their time with him?

5.Romain, as a personality, likable or not? Self-centred, self-absorbed? His age, career, achievement? His relationship with Sascha, its ups and downs? The gay man and his behaviour and attitudes? Fidelity and commitment – or not? His work as a photographer, his career? His physical collapse? The visit to the doctor, the diagnosis, his handling the news? His decisions about his illness and what he would do? His farewells? His retracing his life’s journey? His refusing chemotherapy?

6.His not telling others about his illness? The effect on them after when they learnt the truth? Whether they would feel guilty, regrets? His continuing isolation, loneliness, time to reflect? Wanting to recapture the past and its meaning? His cruel attitudes, merciful attitudes and kind? The possibilities for reconciliation?

7.The portrait of his family, Sophie and the tensions with her? Her character, her children? In the park? The power of the phone call? Her attitude towards his photographing her and the children? His relationship with his mother, her sensitivity towards him? The father, the drive? His challenge to his father, his father’s past affairs? The fact that his parents did not divorce? His father accepting him? Their talk, the embrace?

8.His relationship with Sascha, Sascha as a personality? The sexual encounters? His ousting him? Hurting him? His character and the future? The meeting, getting a job? Sexual activity or not? Raimon photographing him sleeping?

9.The world of the gay clubs, sexuality, style? The possibility of AIDS?

10.The visit to his grandmother, her strong personality, talking with him, the bond between the two, the memories of her treatment of him in the past? The truth? His nearing death? His sleeping, his farewell to his grandmother? Jeanne Moreau as the grandmother, strength of performance, the back-story giving depth to the character?

11.Meeting Jany and her husband? Their talking, the later encounter? The decision to propose the surrogate parenting? His attitude towards children? His change? The discussions of the matter? The character of Jany, the character of her husband, the effect of this experience on each of them? The sexual encounter, the impregnation? His will and the meeting? The purpose of this act of kindness? His humanity? His taking his place in the human race? A trace of his existence? An air?

12.The continuing illness, the importance of his visit to the church, the religious connotations, morality? His memories? The role of religion?

13.The sequences on the beach, his swimming, the effect of the water? His death?

14.The effect of his death? The themes of terminal illness, especially for a person in his thirties, professional man, a man alone? The reality of cancer? Themes of hope, life, human dignity?