BRIGHT LEAF

US, 1950, 110 minutes, Black and white.
Gary Cooper, Lauren Bacall, Patricia Neal, Jack Carson, Donald Crisp, Gladys George, Elizabeth Patterson, Jeff Corey, Taylor Holmes
Directed by Michael Curtiz

Bright Leaf is a Gary Cooper vehicle. Patricia Neal and Lauren Bacall were rising stars at the time. It is Warner Bros bestseller material of 1950.

The film focuses on a southern town, the stranglehold of the Singleton family on the town, Brant Royle (Cooper) as a rebel. The industry of the town is tobacco - and the revolution in cigarette-making.

The film is entertaining - in the atmosphere of the times. It is a Michael Curtiz film, big on emotion and action. (The material, of course, is sanitised for 1950 - with Lauren Bacall playing a woman who has inherited a boarding house which is obviously a brothel.) The material for later mini-series and the grand bestseller treatment.

1. Popular melodrama of 1950? The Warner Bros style? Based on a popular bestseller?

2. Production values: big budget, black and white photography, re-creation of the 1890s? Musical score?

3. The impact of the tobacco industry at the end of the 19th century? The tobacco harvest of Virginia and other states? The industrialisation of cigarette-making? The automation at the end of the 19th century? The threat to the elitist families and companies? The newcomers and their plans, breaking into the market? The 20th century history of cigarettes? Their popularity in 1950? Their being pictured in movies? The changes during the latter part of the 20th century? Popular attitudes towards tobacco and cigarettes?

4. A strong Gary Cooper vehicle? His screen presence? His playing Brant Royle? His background, the wrong side of the tracks, the family considered trash? The past history with the Singleton family? The ousting of the family by Major Singleton? His coming back, the meeting with Sonia? The boarding house, her girls? The contrast with Margaret? Sonia and her love for him? Margaret and her aristocratic attitude, concealing her dislike? The interactions with Major Singleton, the discussions, the threats, the risk to business? The interactions with John Vardon and Chris Malley? Friendships? His ideas, motivation? Money, building of the factory? His success? Margaret and his choices, emotions? Love-hate? The confrontation and the buying of the company? Death? Margaret and her voting? Laura and Margaret? The build-up to the confrontation? The burning of the crop? Leaving?

5. The re-creation of the South in the 19th century, the change in the 1890s? The place of the Singletons, their home, traditional family, attitudes, racist? Elitist?

6. The supporting characters: John Vardon, Chris Malley, medicine, support?

7. The portrait of Sonia, the bordello described as a boarding house? The sanitising of this theme? The girls? Sonia and her relationship with them? Management? Her love for Brant? Rejection?

8. The contrast with Margaret, as a Singleton? Her relationship with Tabitha? With her father? The attitude towards the Royles, her aristocratic poses, her wanting to charm Brant? Revenge?

9. The 19th century and industrial progress, wealth, the emergence of individuals? The attitude of post-World War Two America and the welcoming of this kind of film and its themes? Emotional conflicts? Authentic love versus place in society, questions of conscience and business sense, achieving ambitions and dreams – sufficient? Loyalties? The image of the American hero?

THE HEARTBREAK KID

Australia, 1993, 95 minutes, Colour.
Claudia Karvan, Alex Dimitriades, Nico Lathouris, Steve Bastoni, Doris Younane, William Mc Innes.
Directed by Michael Jenkins.

The Heartbreak was written by director Michael Jenkins and Robert Barrett. They received the best screenplay award at the Montreal Film Festival.

Michael Jenkins began directing in television in the late 60s and worked in the 1970s with various series. His first feature film was the Matt Dillon vehicle, Rebel. He also directed a version of David Williamson’s play, Emerald City as well as the film Sweet Talker. However, he made quite an impact with his television series including The Dirtwater Dynasty, The Leaving of Liverpool, Blue Murder and Wild Side.

This film is set in the Greek community in Melbourne and highlights the pressures of the adult generation in Greek families on the younger generation, especially their protective attitudes. The strong religious background is presented, the traditions of the Greek Orthodox Church, especially about marriage.

The film focuses on school and a young student, played by Alex Dimitriades (Head On) who has a relationship with one of his teachers (Claudia Karvan). Dimitriades is a strong screen presence and Claudia Karvan had emerged at this time as one of Australia’s leading actresses on screen and on television (The Big Steal, The Nostradamus Kid, Broken Highway). The subject-matter is difficult, especially in the cases of sexual harassment and relationships that were emerging during the 1990s. This film focuses on the effect of the relationship on the student and on the teacher.

The film was popular and successful and led to Jenkins developing a television series, Heartbreak High (which initially starred Dimitriades).

1.The tone of the title? Indication of themes?

2.The Australian background, multicultural Australia? The European migrants after World War Two? The contrast with the later-comers from Asia? The mix in the suburbs of Melbourne? Homes, cultural styles, education difficulties, religious background and its influence, the issues of language at home and at school?

3.The Melbourne settings, the city itself, the suburbs? The wealthy areas, poorer areas? The school itself, the ovals? Authentic atmosphere? The musical score?

4.The comic tone of the film? The comic touches about families, school? The more serious aspects, dramatic? The combination? A credible story in credible situations?

5.Issues of marriage, communication? Saving face and propriety? Engagements? The Greek families, language, customs? Dimitri and Christina and the family attitudes? The possibility of marriage?

6.Christina, her character, at school, her work? Her background? Her efforts at control? Teaching history, the essays, her interactions with the students? Nick and his help? Her relationship with the staff? Her input at staff meetings? Soccer and the coach? Her own family? The reaction to the situation? Reaction of Nick’s father?

7.Nick, his age, soccer playing, relationship with the other students? The matches and success? In the yard? The injury? His friends? The encounter with Chris? home, his sister? The meal sequences? His relationship with his father? The soccer, the deal?

8.Dimitri and his style? The meal sequences? The counsellor? The house, the dates?

9.Nick’s parents, their reaction to the situation, inviting the priest home, the advice of the priest? Women’s place in the Greek home? Their reaction to Christina? Dimitri and Christina, the reaction? The religious implications? Evdokia and her contribution, reactions?

10.The nature of the affair? The choices on the part of each? The motel date? Their discussions? Initiative? Evdokia? The house? The end of the affair?

11.The soccer background, school? The discussions, the fight? “Honour”? Nick’s father, Dimitri? The parents?

12.Nick and his choices, the confrontation with his father? Going out, the soccer field? The hospital?

13.Christina, the impact of her choices, her leaving, her feeling free?

14.The resolution for the two-year gap, the promise? What future for them?

15.Audience response to the occasions of teacher-student relationships? Exploitation, consent, seduction? Moral and ethical issues? Professional issues for staff and management?

BASIC INSTINCT 2

UK, 2006, 114 minutes, Colour.
Sharon Stone, David Morrissey, Charlotte Rampling, David Thewlis, Hugh Dancey, Flora Montgomery.
Directed by Michael Caton- Jones.

Well, you would hardly be expecting classic and literate drama for this sequel to the celebrated (notorious?) police thriller of 1992! In its day, it was a touch shocking with its story of an ice-cold (ice-pick wielding) novelist who seemed to be living out her plots before she wrote them, a daredevil personality with the touch of the nymphomaniac (for both sexes). It made a star of Sharon Stone and everybody talked about the scene where she crossed her legs.

This time she crosses her legs a lot, but merely as reminders of her signature gesture. But, she still has murder on her mind. She is still sexually provocative. She is still the coldest of personalities. And Sharon Stone seems to be enjoying herself posing and posturing, lying and telling the truth when it suits her. Catherine Tramell is still writing novels – and testing out her plots beforehand. Stone has made her one of the screens baddest girls (and has told the press that she would like to direct Basic Instinct 3).

Which is something of a prelude to saying that I enjoyed it very much. Of course it is high melodrama, sometimes overwrought, with a glacially vicious leading lady. But, it is a very smartly written screenplay, one of the best in terms of audiences being able to read into it what they wish because it offers plenty of clues and plenty of ambiguity. Catherine Tramell could easily have committed the murders. She had opportunity and motive. But, then, it could just as possibly have been the detective who is pursuing her obsessively, determined to get her. And, by the end, as she shrewdly draws the scenario, it could have been the psychiatrist she has been manipulating the whole film. She makes a very plausible case for this. So, depending on whom you believe and why, you have your own villain.

The setting is contemporary London, making much of the new buildings in the City of London, with the opening speeding and crash into the Thames at Canary Wharf (just near where I was watching it) and a lurid excursion into Soho at night (just near where the press previews usually screen).

Sharon Stone plays the completely amoral woman, with no conscience and no feelings except for herself. David Morrissey plays the self-confident psychiatrist who treats her but is really being ‘treated’ by her. He diagnoses her as a risk-addictive personality, prepared to be more and more daring. In some ways, he moves towards excessive risk-taking himself. David Thewliss is the relentless detective and Charlotte Rampling (who might have made an excellent Catherine Tramell in the past) is also a psychiatrist.

Pot-boiling, perhaps, but cleverly done.


1.The status of the film as a sequel? Standing alone as a drama? Audience expectations? The interest in Catherine Tramell? Criminal thriller, a sex crime thriller? A thriller of manipulation?

2.The London settings, Canary Wharf, Soho, central London and the city? The new buildings? Apartments, offices, the use of a variety of locations? The atmospheric musical score from the original film? Songs?

3.The smart screenplay: audiences being able to read into each character what they wished? Each of the three central characters capable of doing all the murders, motivations? With the screenplay indicating that each of them could have been the criminal?

4.The psychosexual aspects of the screenplay, the blend of the pop and the serious? Psychiatrist and the skills needed for psychiatry? Skills of listening, talking, eliciting information from clients? Highlighting aspects of personality? In control – or not? The role of the client? The client reversing the role and eliciting responses from the psychiatrist?

5.Sexuality in the film: implicit, suggestive, explicit scenes? The effect of each? The blackness of the explicit scenes? The psychological power of the suggestion? The language of the film, innuendo, suggestion? The blunt talk of Roy Washman and his language? Sexuality for men and women, women as the femme fatale, the vamp? In control? Love/lust/liking – or not? The power of seduction? Playing the emotional games? Sexualising issues and behaviour? Men and their psychology, love and lust? Control, power? Ethical issues? Commitment to passion? Consequences? Men and seduction and as seduced?

6.The theme of the film about risk addiction, as explained by Michael Glass in court, the danger, the edge? Always wanting more? Risk as an addiction? The explanations, the psychology? As applied to Catherine Tramell? As applied to Michael Glass himself?

7.The film as melodrama, in the tradition of film noir, a more explicit femme fatale? The man as the victim? The importance of posing and postures on the part of Catherine Tramell? Sharon Stone’s skill in presenting this kind of character? The expectations from the melodrama genre – rather than the serious psychological drama?

8.The opening, the speeding car, the drugs, the footballer, the sexual activity, the crash, Catherine’s decision, letting the footballer die, his struggles and bewilderment, her explaining to Washburn that her own life was more important? Her passionate statement?

9.Catherine Tramell and Sharon Stone, making the character her own? The impact of Basic Instinct? The idiosyncrasies (and the film referring to its predecessor, the visual imagery, the crossing of legs etc?), the passing of thirteen years? Her experience, the glacial personality? Her ability to charm, her ability to discard? Her capacity for attracting men, drawing information from them, playing with it, using it, destroying them? Her love for risk, the addiction? Her living the plots of her novels? Their coming to fulfilment? Her move to London, enjoying the city? The liaison with the footballer? The psychological assessment by Michael Glass, her decision to go to Michael, the interviews, her playing with him? Cigarettes and rules? In the court, listening to his assessment, her lawyer and the advice, Michael watching her being interviewed and filmed on television? The information about the drug dealer, his perjuring himself, her being set free?

10.David Morrissey as Michael Glass, stern and upright? A character in himself? Respectable, a professional, his hopes for the chair, his reviews of psychology books, his friendship with Milena, his meeting the professor? His work, forensic assessments, testimony in court? His friendship with Roy Washburn? The interview with Katherine, her control? Her coming to see him in his office, wanting to be client, his refusal? Taking her on? The importance of the theme of confidentiality – and as it affected his past and the killing murdering his girlfriend? His reputation, his answers in court, his dependence on Roy Washburn, on Denise? His trying to refer her to Milena?

11.Catherine and her hold on men, with Adam Towers, after the case, the interview, the revelation of the affair? His death? The liaison with Denise, her comments about Denise – true or false? The murder of Denise? The professor, his being charmed by her, her getting all the information, feeding it to him, information about Michael? Her sessions and behaviour, her moods, breaking off the interview? The psychosexual discussions and her knowledge of herself, her knowledge of him? The effect?

12.The party, Milena and meeting the professor, Catherine being pleasant? The interview with the professor, his having Catherine’s information about the past case, the threat? Milena trying to save the day? Michael going to Milena for feedback? Leaving the party with Michelle, the night, the sexual encounter – the phone call, his going to Denise, Adam’s death, his reaction, the cigarette lighter and his throwing it away, the interrogation by Washburn?

13.Washburn and his role of professional? Of the police? Harsh, language, threats, vindictive against Catherine? The assessment? In the court? Towers’ death, his investigations, Denise’s death, the suspicion on Catherine? Her story? Her feeding Michael a story about Washburn’s trying to seduce her? His corruption? His believing it? The drugs and taking him for analysis, Washburn’s explanation, the article in the magazine and the journalist explaining it was about Washburn? Towers being a threat to him? Michael and the dilemma as to whom to believe? His going to Milena’s to save her, Washburn’s arrival, the confrontation, Michael shooting him?

14.Adam Towers and his ambitions, interviewing Michael, the opposite style of personality, the issue of the past, his magazine? His being a celebrity? His sending the journalist to question Michael? His relationship with Denise? The revelation of his relationship with Katherine? The brutality of his death? Michael handling it with Denise, the lighter, the interviews with Washburn?

15.Denise and Michael’s relationship with her, the break-up, his visiting her while researching, her blaming him for the divorce? Her relationship with Towers? Its being exposed? Her ringing him in the night, the murder, the later meeting? The argument in the pub, his following her into the washroom, finding her dead? The revelation about a relationship with Katherine?

16.Milena, her relationship with Michael, talking with him, giving him feedback, the ethical issues? The introduction to the professor? Giving advice, going to the interview? Trying to save his reputation? The end, Catherine present, her siding with Catherine?

17.The Soho sequences, Michael stalking Catherine, the sleaziness of Soho, the sexual encounter with the man, his later being found dead, her drug supplier, the interrogations by Washburn?

18.The impact of his relationship with Catherine, his trying to understand himself, giving in to passion, the affair? Taking the drugs from her refrigerator? Her explanation of it being for health? Washburn’s version? Michael’s dilemmas as to whom to believe?

19.his reading the novel, his following it through, his fears for Milena, going to save her? Ringing Washburn?

20.The showdown, Milena siding with Catherine? Washburn arriving with the police, Michael shooting him? The police arresting him?

21.The ending, Michael in the wheelchair, in the institution, Catherine’s visit, her giving him the gift of the book, the inscription? Her taunting him? Giving the possibilities that he actually was the murderer and that this was a cover, she was a scapegoat? The possibility and plausibility that Catherine did the crimes, that Washburn did them, that Michael did them? His final enigmatic expression?

RENT

US, 2005, 135 minutes, Colour.
Anthony Rapp, Adam Pascal, Rosario Dawson, Jesse L. Martin, Wilson Jermain Heredia, Idina Menzel, Tracie Thoms, Taye Diggs.
Directed by Chris Columbus

Rent was one of those Broadway musicals, like Hair, that dramatised the social questions and issues of the times. One of the difficulties with this kind of play is that it can date because it is so anchored in the ethos of the period or the location in which it takes place. Rent has been seen on stages throughout the world and is still popular, after ten years, in New York. Many of the younger audiences of the 1990s found that the music and the rhythms were theirs and that the lyrics as well as the plot and characters were what they could identify with. Older audiences sometimes found it too ‘modern’ a rock opera and too loud, drowning out for them the problems that were being explored.

Now, Chris Columbus has achieved a long-held ambition of brining Rent to the screen (after directing the first two Harry Potter films). He has made an effective job of it and has been able to blend the stylised aspects of any musical with a sense of realism in New York streets and apartments. The film opens with the main characters standing, spotlit, on a bare stage and singing the theme of time passing, the 525,600 seconds in a year. We accept that it is a stage musical on screen. But, then it goes out of the theatre and immerses us in the harsh life of New York, 1989-1990.

Jonathan Larson, who died unexpectedly just before Rent opened, based his scenario on Puccini’s La Boheme (something like what Oscar Hammerstein did with Carmen Jones, although he kept Bizet’s music as well). This Bohemian lifestyle is not Paris but New York, a world of painters, songwriters, performance artists, teachers, dancers, strippers, transvestites, addicts, dealers, muggers, AIDS-infected men and women and people involved in the variety of sexual relationships. The music and songs bring all these issues to the fore but always in the context of time passing, dependence and love, betrayal and anger, the imminence of death. The film ends with near-death experience, a sad death and a funeral ritual.

Six of the eight central characters are from the original cast and bring an enthusiasm and dedication to their work. Film star, Rosario Dawson, as Mimi is a new addition. They all communicate an intensity and strong personalities, even when they are unlikeable.

One of the difficulties is that while Bohemian types and artists (and would-be Bohemians) are making stands, many are simply angry and using protest and revolution to manifest their anger rather than having a firm belief in the ‘free’ life and lifestyle. This comes up when the documentary maker who is narrating the story sells his footage to the TV networks and then signs a lucrative contract before denouncing himself as ‘selling out’. This ‘them and us’ stance seems more than a little phony in the context of a show on Broadway or a multi-million dollar moving exalting the Bohemian way. The characters come across as ‘counter-cultural yuppies’.

1.The popularity of the stage musical? In the United States? New York? Around the world? The audience appeal? Younger audiences identifying with it? Older audiences not identifying with the characters, lifestyle – or even the music?

2.The range of awards, including the Pulitzer Prize? Touching the nerve of the 1990s? For the younger generation? For the 1980s AIDS generation?

3.The success in opening out the stage musical? The prologue with the characters on-stage, singing in the theatre in the spotlight? The use of the streets, New York locations and landscapes? Alphabet City? Apartments, warehouses, restaurants? An authentic feel despite the stylised musical?

4.The use of Puccini’s opera, La Boheme? The transfer to the bohemian life of New York in the 1980s? The parallels? Meaning? Death – and near-death experience and coming to new life and hope?

5.The rock operetta, the 20th century parallels to the classic opera? The heightened story and characters? The stylised presentation and sets? The characters in song, the lyrics? Artificial and communicating? Rent and the style of contemporary music, the songs? As illustrating character, plot, issues? Message?

6.The range of songs, the 525,600 minutes? The seasons? The emphasis on time? On the now? On illness and death? Love, betrayal, hurt? Protest? The end of the millennium? The defence of stances? Illustrating the main characters? The opening, the voices? The collage at the end, Angel’s Funeral – and the image of Angel over America?

7.The bohemian lifestyle? How authentic, how artificial? People involved with the arts, anti-commerce, anti-media, anti-sellouts? Yet this being idealistic? The characters, in fact, being kind of counter-cultural yuppies? Their emphasis on freedoms, the different manifestations, individualism, lifestyle? The place of drugs, addiction, dealers? The role of sex and sexuality? Commitment? Transvestites? Same-sex relationships, of both men and women? Presenting this bohemian lifestyle? Advocating it or not?

8.The character of Mark, the narrator, his shooting the film, the scenes from his film, documentary, the documentary documenting life over one year? Ordinary life, the streets? The dealers? Protesters and police? Brutality? Filming his friends? Filming the support group and getting their permission? His songs, self-assertion, writing the bike in the street? His relationship with Maureen, its collapse, her dumping him for Joanne? Yet going to fix the sound system for her concert? The clash with Joanne, the Tango Maureen? The imagination of a stylish tango group? Sharing the apartment with Roger, supporting him? Friendship with Mimi, encouraging Roger? Getting some money and going to the restaurants – when normally he had no money? Ben and the past sharing of the apartment, his change of attitude, taunting Ben? The protest, his filming the night, filming the police, selling it to the television station, its being used for the news? The offer of the contract, his going with Joanne and signing the deal? His continuing to work for television – and his considering that he had sold out? His finally finishing the film? Angel’s death, showing it after the funeral?

9.The character of Roger, his health, addiction? In the apartment, the clashes with Ben? Friendship with Mark? Seeing Mimi, her inviting herself up, the drug issue? His reform? Going to the support group? His angers? His later jealousy of Ben and the past relationship with Mimi? Her drugs? His songs? The protest, his anger with Mimi? The collapse of the friendship, his going to Santa Fe, driving, life in Santa Fe, his return?

10.The character of Ben, his past sharing with the group, his marrying Wolf, the threats to their apartment, the building of a cyber centre, his temptation to them, to prevent Maureen protesting, wanting to build a facility where they could work on their films and music? The protest itself, the meal afterwards, his defence of himself? Mimi and the past relationship? His locking the doors, taking all their possessions? His returning them – and Mimi intervening for them? His not being able to reconcile with the group?

11.Mimi and her character, her life, the S&M dancing, the club? The past relationship with Ben? The drugs, her addiction? Flirting with Roger? Coming up to his room, getting the drugs back? Her life and dancing, seeing her perform? Her relationship with Roger, the change? Going to the protest? Her being hurt by Roger and his song, his apology? His leaving, her disappearance? Searching for her? Ben and her intervention to get their possessions back? Her collapse, bringing her to the loft, her dying, Roger singing his song? (And the song being particularly startling, her reviving, the near-death experience, seeing Angel and coming back?

12.Collins and his character, his being an academic, having AIDS, getting the key, being bugged? Angel coming and helping him? The relationship with Angel, their being together, gay love? The protest? The songs illustrating his character? Going to the group with Angel? Their explanations and talking? Angel’s hospitalisation, death? The funeral and his speech?

13.Angel, transvestite, Brooklyn, helping Collins? Tough and able to face up to thugs in the street? The relationship with Collins? The clothes, his passing as a woman? Going to the group, in the subway? The protest? The illness, AIDS, hospital, the group supporting him in hospital? Death and the funeral? His fact being the final image of the film?

14.The support group, the leader, each introducing themselves? Their work, talk? Illness – and the collages of meetings with various individuals disappearing?

15.Maureen, the voice in the background? Her relationship with Mark? Her dumping Mark, the relationship with Joanne? Calling her Pookie? Her demands on Mark? Loud, the portrayal of her protest, her performance, songs? The mayhem? The aftermath in the restaurant? The relationship with Joanne, Joanne wanting commitment? Maureen going with Mark and Joanne to the TV office, flirting? Her continued flirting, even at the engagement party? The engagement, the support of her parents? Her songs? Her being at the funeral?

16.Joanne, her character, Harvard-trained lawyer, professional? The relationship with Maureen? Helping with the setting up of the protest concert? The clashes with Mark? The Tango Maureen scene? The protest itself? Helping Mark for his contract? Her anger with Maureen’s flirting? The engagement party, her parents? Her angers?

17.The two groups of parents, putting on the expensive engagement party? Their speeches? Acceptance of their daughters’ sexuality?

18.Illness and death? Angel dying? Mimi not dying? Their gathering for the funeral? The song, the speeches?

19.The end, a year having passed, the use of the Christmas and New Year season? The contrast of the two years? The final hope at the end?

THE PAROLE OFFICER

UK, 2001, 93 minutes, Colour.
Steve Coogan, Lena Headey, Stephen Dillane, Om Puri, Steven Waddington, Ben Miller, Emma Williams, Jenny Agutter, Omar Sharif.
Directed by John Duigan.

Steve Coogan is from Manchester and studied acting there at the Polytechnic. The Parole Officer is often very funny (but a warning that some of the jokes are a bit earthy, off-colour or however one describes sex jokes in the British context)

Coogan is a whizz at impersonations (he was one of the Spitting Image voices). He also creates characters, like Alan Partridge, and, once inside the character, he is transformed and can act and talk as if born that way.

In The Parole Officer, he is a kindly but naive officer with penchant for saying the awkward or wrong thing and putting people off. So, being led to expect a comedy about a ditherer, I found the film turned into a mixture of The Lavender Hill Mob and a modern US action show (though Steve Coogan smashing into rather than through bank windows is not exactly your Bruce Willis even if the end results of good overcoming evil are the same).

Coogan can be very funny with his remarks, with his slapstick pratfalls and the consequences of his gawky character. He has surrounded himself with a great supporting cast, especially the other members of his gang, Om Puri (showing an unanticipated sense of comedy), Steve Waddington and Ben Miller, Emma Williams. Stephen Dillane is a nasty crooked cop while Lena Headey is an attractive detective. And in the
middle of this Omar Shariff materialises as a Houdini-like ex- criminal. Jenny Agutter is his wife.

Coogan co-wrote the screenplay with Harry Werner and they have worked in a good plot as well as a character-driven comedy, jokes and plenty of Manchester landmarks and atmosphere. It has been directed by Australian John Duigan who is much better known for his serious films, including Romero, the film of the
martyred bishop of San Salvador.

This is not the great British comedy but, for those who enjoy their comedy with broad strokes and a touch of the vulgar, this is entertaining.

1.British comedy? The tradition of the Ealing Studios and other British low-key comedies? Brought into the 21st century? Characters, situations, visual comedy, verbal comedy with the more earhy touch?

2.Steve Coogan and his screen and television personas? His writing, acting? The variations of events and characters, awkward, naïve?

3.The use of Manchester, the buildings, the streets? Manchester as a character? Homes, police precincts, clubs, offices, streets? Authentic? The musical score?

4.Coogan’s portrait of Simon Garden: the title, the introduction, his awkwardness, waiting, his indiscreet remarks to the secretary, his falling off the chair, going before the board, answering the complaints, his clients giving testimony, also critical of him? His good-natured advice about going straight, half way up the mountain and not giving up? His decision to move to Manchester? His friendship with the police? With Emma?

5.Going to the club, the strip joint, the drugs? Background to Kirsty and her speeding, her crash? Inspector Burton at the crash, at the club? The drug deals, corruption, his persistence? His strangling the man? Simon and his eating the crisps, his physical condition, witnessing the murder, being caught, diverting their attention, running away? His being arrested, Burton framing him for the murder, threats, especially about life in prison?

6.Burton and his corruption, his allies, his using Kirsty and getting the drugs? At the club, the deals, the dealers wanting to oust him? The killer? His threats? His being given the medal? His interviews, the discussions with Emma? Going to Simon’s house, the search, the head in the refrigerator, later in the pot? His arresting the group? The ceremony, the confrontation and the showdown, his taking the hostage, his arrest?

7.The various thugs, at the club, the corrupt police?

8.Simon and Emma, the friendship, going out, at home, meeting all his friends, her suspicions? Her turning against him – and participating in the police search of his flat? Her seeing the truth, delaying the police, helping him escape, especially when he was in the chandelier?

9.Simon and his clients, in themselves? George and his being a serial bigamist? Jeff and his being slow on the uptake? Colin and his being able to work in electronics? Simon going to them, trying to recruit them, their wariness? At his house, the details of the plans? Their particular contributions?

10.The visit to find Victor, meeting Victor’s wife, the tours and their taking them? Victor suddenly arriving during the break-in, his help, his disguises, going with the money and his wife?

11.The time in prison, the desperate need to get the video from the bank vault? Kirsty and her getting out, taking the vehicle, crashing into the wall? The protesters and their bikes outside the bank? Across the roof, using the toy vehicles, getting caught on the statue, the balloon rectifying the situation? The alarms going off all over the city? Their getting in, getting out – and Colin and his fear of leaping? Simon and his being trapped, the chandelier, his finally getting out, their all riding away on bicycles?

12.The team, Victor’s help, discussions about keeping the money? Emma and her bright idea – pretending to be a hostage, Simon and his taking her in to the ceremony, his awkward remarks and her having to correct him? The confrontation with Burton, his getting the gun, Emma having taken out the bullets? His confession, arrest?

13.A satisfactory happy ending?

LITTLE VOICE

UK, 1998, 97 minutes, Colour.
Jane Horrocks, Brenda Blethyn, Ewan Mc Gregor, Michael Caine, Phil Jackson, Jim Broadbent.
Directed by Mark Herman.

Mark Herman made a successful and entertaining movie with Brassed Off. Here, he goes again to Yorkshire, to a small seaside town, with its collection of eccentrics who include a blousy and loud mother (Brenda Blethyn really playing in your face), her almost pathologically shy daughter, Laura - LV, Little Voice - (Jane Horrocks), shy phone technician (Ewan Mc Gregor), nightclub owner, Mr Boo (Jim Broadbent) and a desperate ageing agent (Michael Caine), and some assorted neighbours and club patrons.

As a slice of life, Little Voice, presents us with fairly familiar material. The acting, although Brenda Blethyn is meant to get on our nerves and does, gives it a great deal of strength. But, where it is different, is that Little Voice, also almost pathologically devoted to her dead father and his record collection, is able to mimic Garland, Dietrich, Piaf, Monroe, Bassey. And Jane Horrock's renditions, especially at her concert, bring the film alive.

Michael Caine does well with the agent, scenes of pathos as well as of opportunism and a drunken rendition of 'It's Over' which is literally his swansong. Ewan McGregor?, in a very gentle role as a carrier pigeon lover, provides the images of flight and freedom which bring the film to its quietly unexpected ending. It is a portrait of struggling human beings.

1.A slice of UK life? Yorkshire, small country seaside town?

2.The transition from stage to screen, the use of locations, real settings? The songs and their staging?

3.The songs of popular singers like Judy Garland, Marilyn Monroe, Shirley Bassey, Edith Piaf, Marlene Dietrich? The evergreen songs? Little Voice’s renditions at home, in concert? The popularity with audiences, especially at clubs like the one here?

4.The title, the reference to Lorna everyone calling her L.V., Little Voice? The character and her non-speaking? Almost pathological shyness? Her devotion to her dead father, his appearing to her? Her love for him, his records (and the memories that he took refuge with them when his wife was critical? Her continual clashes with her mother? Their inner angers? The visit of George and Billy? Looking out the window at Billy leaving? The phone, his visit, the phone call? Her timidity and silence with him? Ray’s visit with her mother? Her singing upstairs and Ray hearing it? The proposal to sing? Their going to the club, rehearsals, her gawkiness, hesitation and pauses? Her eventually singing, belting out the songs? Her popularity with the audience? Her not wanting to go again, staying in bed? Her mother’s desperation? Ray and his anger? The faulty electricity? The fire in the house and Billy coming to her rescue? Her going to him to feed the pigeons, the pigeons as an image for understanding Little Voice? Her anger with her mother and telling her off? Her having to let go of her father? A future with Billy?

5.Marie, her appearance and style, her manner, make-up and clothes, her incessant talking, bawdy, Always talking at Little Voice, the details of their life? Marie going out, friendship with Sadie across the street, always loud? George and Billy’s visit, the flirting? Meeting Ray? The dates, attraction, dancing with him, her dependence on him? Misunderstanding his attraction to her when he was interested in Little Voice? Her having to accept change and accept her daughter’s singing? Her disparaging remarks, at the club, with Mr Boo? Her response to the songs, applause? The next day, her inability to get Little Voice to go? Sadie and the ironing of the dress? Little Voice and her telling her mother about the truth of her life? Her talking, her husband? The fire and the destruction?

6.Ray, Michael Caine as the ageing agent, his ineffectiveness, with Mr Boo? His meeting Mari, flirting, the date, the style? Hearing Little Voice, his proposal, arranging everything? The night, success, Mr Boo hearing and being pleased? The audience response? Getting the London agent to come despite himself? His drinking, waiting, going on stage and his rendition of the song? Insulting the audience, insulting Mr Boo, insulting the agent? His collapse?

7.Mr Boo and the club? His presence on stage and off? The type of entertainment? His clientele? The old-fashioned acts? His friendship with Ray, his meeting Mari? His worry about LV’s not turning up and not singing? His acting as compere and keeping the show going with jokes? His being insulted by Ray?

8.The whims of the agent? In London? Responses, listening over the phone to LV’s voice, his coming to Yorkshire, his impatience and leaving?

9.Sadie, as a character, friends with Mari, living across the street, interest and advice, ironing the dress? At the club, applauding?

10.The electrician, flirting with Mari, taking the girl to the concert, making the mistake about his wife?

11.Billy, shy, his work, his pigeons, the loss and his search, his seeing Little Voice looking out the window, his return, the fire, talking with her, understanding her and her needs, the rescue, with her and the pigeons?

12.The ending and some optimism and hope?

FAILURE TO LAUNCH

US, 2006, 97 minutes, Colour.
Matthew Mc Mc Conaughey, Sarah Jessica Parker, Zooey Deschanel, Justin Bartha, Bradley Cooper, Terry Bradshaw, Kathy Bates.
Directed by Tom Dey.

The title is a phrase to denote that the son has not left the family nest, even if he has a good job and is in his mid-30s. He is still there with his parents – and they really want him to launch.

Matthew Mc Conaughey is the breezy boat salesman who finds that his devoted parents look after him so well that there is no reason for him to go elsewhere. He has two slacker-like friends who seem to be in a similar unlaunched situation and encourage him. Meanwhile his parents hear from friends that there is a woman who has a system to make all systems go – from home. They hire her – and, of course, you know what happens. But, not without some romantic interludes along the way before disaster occurs. He finds out. Will they, won’t they? And what are parents for, and friends, except to bring to star-crossed lovers together.

On that slender but light plot, Failure to Launch builds a pleasant romantic comedy. Matthew Mc Conaughey gives his performance yet again. Sarah Jessica Parker (recuperating after being the hate-object of everyone in The Family Stone) walks supremely confident through her system – until she falls in love. Clearly, she and he have to do a lot of re-thinking about their life-styles and their values before the happy ending. Kathy Bates is the mother and Terry Bradshaw is the interestingly unconventional father.

Despite all the critical jokes about the film based on its title, it did take off and has proven popular.

1.Popular romantic comedy? Variation on a theme? The appeal? Audience age?

2.Authentic situations: homes, bars and restaurants, gymnasiums, on the sea, sports and outdoors, apartments? lifestyle? Musical score, songs?

3.The title and the indication of theme, men living at home with their parents into their 30s, the parents going on to the internet to find a headhunter to get them out? The girlfriend?

4.Tripp and his story, mid-30s, his job selling lots, his friends, their life together, discussions together about life, the film opening with his date, and at home,? his father coming in, the girl going, parents making a commentary? His technique for getting rid of girlfriends who want to take him seriously? The comfortable life with his parents – meals, the washing done? The situation with his parents, more desperate that he leave?

5.The parents, their manner, attitude towards their son? Knowing what he was doing with the girls? At the party, discussion with their friends, the information about Paula?

6.Tripp with Ace and Demo? Their activities, sports, mountain climbing? The different lifestyles? Ace and his being awkward, letting Tripp fall off the fountain? Their attitude towards women, dating? Their lifestyles? Ace and his work, his computer genius? In the basement – the revelation later that he had bought his apartment from his parents? Demo and his travelling the world, a certain independence from his parents even though his parents’ home was his base? Their being with Tripp, getting a shock when his mother wanted him to do things for himself?

7 The parents meeting with Paula, her methods, he guaranteeing that he would be out? Her arrival with Tripp, the parents’ shock, the meal? The irony of Ace seeing Paula in the restaurant with another client? His blackmailing her to get a date with Kit? His telling Demo, Demo telling Tripp? Tripp and his setting up the meal, his revelation of the truth, his anger?The blow up?

8.Tripp and Paula together, the various dates, going out, the plan, the various steps, her checking things with Kit? On the yacht and her quick thinking with the owner, trying to sell it? The day of learning something from Tripp? The bonding? Going home, the meal, his discerning the look in her eye, her staying the night? The revelation of the truth, blow up? Their antagonism towards each other? The effect on each, his missing her while angry? Her feeling bad and wanting to go back to Colorado? Her discussions with Kit?

9.Paula and Kit, showing the apartment, Kit’s style, life? Paula’s bluff talk about her inability to relate? The deals? Kit and Ace, her shutting the door, changing her mind, the relationship? Going out? Paula catching Kit and Ace at the apartment?

10.The good planning to bring the couple together again, Tripp’s parents, Kit, the date, tying Tripp up in the cupboard, Paula finding him, the plaster over his mouth? Untying him? Their talk? The camera and everybody watching? The nephew – and the background story of Tripp’s relationship with the boy’s mother, her death, her looking after the boy, taking him to sports, his advice? His watching the television with Tripp’s parents? Everybody in the restaurant applauding?

11.The portrait of the parents, Tripp out of the house, changing the house, the father taking over Tripp’s room, his naked room, his discussion with his son? His mother and her fears that her mother would not like her after all the years? Tripp reassuring her?

12.Tripp’s finally being launched, out of the house, with Paula and a happy ever after?

ANIMAL

France, 2005, 100 minutes, Colour.
Andreas Wilson, Emma Griffiths Malin, Diogo Infante, Ed Stoppard.
Directed by Roselyne Bosch.

Animal is a futuristic science fiction film with echoes of Dr Jekyll and Mr Hyde. It was written and directed by Roselyne Bosch, producer and writer (1492). This is her feature film debut.

The film presents work in an unnamed European university with lavish scientific facilities. A Swedish scientist is employed as a molecular biologist and has discovered a way of altering genes, so that he can eliminate the genes responsible for human aggression. He has been researching on animals – and when a wolf escapes and does not attack people, he teams up with an animal keeper to take the wolf back for further research.

But, as with Stevenson’s story, the sincere scientist is a victim of his own and society’s hubris. He wants to test his theories on a human subject and decides to experiment on himself. In the transformation, he becomes a menace to his now girlfriend and threatens her. He also behaves erratically, killing the laboratory chief and is appointed in his place. When things get out of hand, when deaths are discovered, he is confronted – and escapes into the mountains.

The film is interesting in terms of films about scientific development, about bioethical issues. It also serves as a thriller – and is filmed in interesting surroundings both in the university and in the mountainous countryside.

There is some hope at the end – but, as with all good science fiction films, there is a cautious warning that this kind of accident and this kind of abuse of authority could happen again.

1. A film about science, the near future, fiction or fact?

2. The title, the animal in humans, the animal nature in nature? The image of the wolf at the beginning, the experiments with the wolf, aggression, non-aggression – the scene in the department store with Santa Claus? The shooting of the wolf? His regaining his aggression? Going out into the wilds? The experiments in laboratories with animals? Humans testing themselves?

3. The Portuguese settings, the Pyrenees scenes? The ultra-modern facilities, interiors and exteriors? The celebration of New Year’s Eve? The musical score? The setting as generally European, combining many elements?

4. The international cast, the film made in English?

5. Thomas, his age, his experience, studies? Swedish background? His love for his sister, the Hunter and his attack on her, her blindness, Thomas and his care of her? His motivations for his experiments? His working with his assistants, the girl and their relationship, her giving up on him? Julius and his friendship? The new boss, his dominance? The issues of grants and research?

6. Audience knowledge of DNA, scientific experiments, the work of biologists? Biologists and their looking at facts, the human system, not interested in the soul or consciousness? The film as beginning like a modern Frankenstein story and turning into a Dr Jekyll and Mr Hyde story?

7. The Hunter, as a person, the collage in his room about his serial killings, violence, the women? His attitude towards killing, towards the women? Sexuality? His being lucid, rational? Tough? His life in the prison, the comforts, the suntan etc? The visit by Thomas, his scepticism, the nature of the tests, his fear of needles, the needle in the eye? The prospect of his changing? His being unwilling, the actual change? The advances of the doctor in the prison, his tying him up and escape, the disguise, walking out of the prison? Going to the New Year’s Eve fair, the attraction of the girls – but his not being able to attack them? His going to visit Marie, his sparing her, wanting someone to tell the story, his compassion for her? His attitude towards Thomas, wanting him to change, keeping the syringe? Taking the image of the dancer, going out, the confrontation by the police, his death?

8. Thomas and the wolf, seeing it on television, phoning Justine, meeting her, going with her to set the wolf free – and the irony of its later coming back, seeing him on the road, the attack, and his crash? The relationship with Justine, sexual? The Hunter and his taunt? The Kendo training and his defeats, the transformation and his defeating his boss? Their confrontation, doing the deal, the boss wanting the finance and profits? Going into the pit-bull area, his being mauled and his dying? The funeral? Thomas being appointed the new man in charge, his arrogance towards people, Julius and his confronting him and leaving?

9. Going with Justine into the forest, their relationship, the storm, the news about the Hunter being free, his manic driving, Justine getting out and returning with the truck, Thomas pursuing the Hunter through the fairgrounds, the Hunter disguising himself? His going to the laboratory, the countdown to the transformation of the blood? His burning the laboratory?

10. The confrontation with Justine, threatening her, his jealousy? Their driving to the border, the wolf, his crash?

11. The irony of the woman in coma, her needing the blood transfusion, his blood being judged as clear, the transfusion – and seeing the woman afterwards? Kind? His sitting on the cliff, his diary? The trying to assess what he had done?

12. The character of Justine, her work with the wolves, loving nature, attracted towards Thomas, her being invited out by the boss, the relationship with Thomas, going into the forest with him, her fear, his manic driving, the final confrontation?

13. The scientists, the boss and his greed, profit-making? Experimental companies and their takeovers? The appointment of heads, research assistants, grants?

14. The film as science and science fiction? The transition to thriller? How effective the combination of each genre?

MIMIC

US, 1997, 115 minutes, Colour.
Mira Sorvino, Jeremy Northam, Josh Brolin, Giancarlo Giannini.
Directed by Guillermo del Toro.

Mimic is a horror thriller, a combination of such B-budget films of the 1950s like Them with the myth of Frankenstein and the creation of monsters.

This time the setting is New York City and the New York subway. The monsters are cockroaches – scientists have prepared a virus which eliminates them, only, of course, to produce a super bug which menaces the human race.

Mira Sorvino and Jeremy Northam appear as doctors. An international cast includes Giancarlo Giannini, Josh Brolin and F. Murray Abraham.

The production design is interesting, as are the special effects. However, in retrospect, the particular interest is in the work of the director Guillermo del Toro. He had previously directed the interesting horror/drama Cronos in his native Mexico in 1993. In 2001 he made a very fine film in Spain about the civil war with the touch of the occult and ghosts, The Devil’s Backbone. However, he then moved to comic books which his particularly enjoys and made Blade 2 as well as Hell Boy. He has Hell Boy 2 in production.

In the meantime, he returned to Spain to make a film about Spain in the post-civil war era during the time of World War Two. He draws on the experience he has gained in working in the comic strip epics and created a fantasy world in the midst of a stark and violent world of war. The film was Pan’s Labyrinth.

1. The work of Guillermo del Toro, his science fiction? His interest in horror films?

2. The popularity of films about menace, giant insects, plagues in cities? Monsters lurking in subways? Scientists, heroes and heroines? How well combined in this thriller?

3. The title, the experiments with the cockroaches, the warding off of the danger of plague, the creation of hybrid mimics in the laboratory, their getting out from the laboratory and creating havoc?

4. The special effects, the creation of the giant insects, the human dimension? Lurking in the subways, the battles in the subways? The musical score?

5. The opening: the plague, the cockroaches, the scientific explanation? The deaths, Susan as scientist, Peter as policeman? Their combination, finding a solution, creating the mimic? The professor and his wariness?

6. The aftermath, success? The transition of three years? The mysterious happenings, the preacher, his confrontation in his room, falling on the sign, his death, being drawn down into the subway? Chuy and his watching, identifying the victims and their shoe sizes?

7. Susan and Peter, their relationship, his skill as a policeman, brusque manner? Her skill as a scientist? The boys coming to her with the specimens, his investigating the mystery of the dead minister? The discovery of the giant specimen, the baby, its biting Susan’s finger? The opening up of a new plague?

8. The investigations, Peter and Josh and their working together? Peter and Susan going into the subway, Leonard and his hostility, blocking them, their getting permits? The professor and his rebuke of Susan for her experiments?

9. The exploration of the subway, the finding of the pods? The boys and their discovering the nest, their being killed? Chuy and his going down, his disappearance? The exploration, the finding of the monstrous mimics, the explanation, the scientific background? The terror, Josh and his trying to get out and his being dragged down? Leonard and his shouting and fears? Susan and her being taken by the winged insect? Peter and his being trapped? The rescue of Susan, Leonard? The knowledge that they were attracted by blood, Susan and her piercing her hand and saving Chuy? Their covering themselves with the insect liquid? Susan and her getting out, saving Chuy? Peter and his getting out, being reunited? The professor and his offer of support?

10. The character of Manny, looking after Chuy, mending the shoes, cleaning the shoes in the subway? Chuy and his knowing what was happening? Manny and his helping, going down into the subway, his helping the group, his death?

11. The popular ingredients for this kind of scary menace film? How well handled, fear, plausibility? Audiences identifying with the scientist and the policeman? The inherent evil in the mimic insects?

RYNA

Romania/Switzerland, 2005, 93 minutes, Colour.
Dorothea Petre, Valentin Pepescu, Mathieu Roze.
Directed by Ruxandra Zedine.

Ryna was directed by Ruxandra Zedine who studied in Switzerland, in New York as well as in Prague. She directed a number of short films and this film, made in her late twenties, is her directorial feature debut.

The film is set in a remote area of Romania, a small town on the Danube River which relies on industry from the fish in the river – but is in danger of contamination. Ryna is sixteen years old, her father runs a service station. Because he had wanted a son, he has brought her up like a boy – making her look like a boy, forbidding her girls’ clothes, forbidding her her own life.

In the house is her grandfather who takes a benign interest in her and on whom she relies.

When a survey team comes from France to examine the implications for health on the inhabitants of the town, she befriends the French statistician. She acts as a translator and also gives him information about her own life.

Her father is suspicious. This precipitates a crisis for her – which means a confrontation between the authorities, a corrupt official with whom the father is doing financial deals, and the father himself. Ryna is able, at last, to emerge from the restrictions of her life and plan a life for the future. In that sense, while the film is very drab in its setting as are the lives of the people in this part of the country, there is some kind of hope at the end, some breaking free.

Dorothea Petre is very good as the young Ryna – the centre of the film as well as the strength of audience identification with the characters and situations.

1. A Romanian slice of life? Portrait of a young girl? The tragic implications?

2. The portrait of the town, the drab look, the drab way of life, post-socialist Romania? The Danube, the delta and the sea? The world of fishing? The world of the garage? The town itself, the jollity of the fair? The musical score?

3. The portrait of Ryna: age sixteen, her father wanting a boy, treating her as a boy, overalls and short hair? Yet her wanting to be feminine, looking in the mirror, the earrings, piercing her ear, the dresses, the doctor’s wife offering her the dresses? Her suffering from haemophilia? The constant work in the garage? Her relationship with her father, his dominance, drunkenness, severity, strictness in not allowing her out? Her mother, patient, looking after the house? Her grandfather, his age, wisdom, help? Her enjoying outings with him? The haircut and the boys with binoculars? Her loving to take photos, in the fields, the cow? The racket in damaging the cars and fixing them? Going to the Frenchman on her bike? Driving the car? His request for the photos? Her complying, the measurements and his experiment? The mayor, her refusing his advances? Her picking up her father and driving him home after his drinking? The routine at home? Wanting to go to the fair, putting on the dresses, dancing with the Frenchman? Her being raped by the mayor? The aftermath? Her father’s reaction, her grandfather’s sensitivity? Her mother’s letter? Her not telling who raped her? On the road to Bucharest – but leaving her camera behind to start a new life?

4. The portrait of the father, his work, overbearing with his wife, wanting a boy, his treatment of Ryna? Cutting her hair? Not allowing her out? His attitude towards the grandfather, spurning him? The racket of damaging the cars – going the rounds with Ryna? Twelve cars to fix? His demands, his anger with his wife? Her leaving? His fishing, having to fend for himself? Drinking every night, playing the guitar and singing, Ryna driving him home, sleeping dead drunk? Not remembering whether he hit her or not? The issue of the licence, his anger, the new garage? The deal with the mayor, giving him the car? Driving home and the episode of the rape? His being abandoned by Ryna?

5. The picture of the grandfather, old, memories of the past, at meals, going to sleep, wise and kind?

6. The Frenchman, the car breakdown, his experiment, with the children, the measurements, the photos? At the fair, dancing with Ryna? The accusation against him? His assistant and his crass attitudes?

7. The doctor, his care for Ryna and her haemophilia, the question of the rape, calling the police? His wife and the kindness with the dresses?

8. The mayor, drinking with the father, his lust, with the family at the fair, the deal about the licence, the drive, the rape, his coming to the hospital, his being afraid?

9. The postman, his infatuation with Ryna, their time together, the mayor and his catching them, Ryna and her taunting him by taking the car and making him run? The postman and his telling the father about her being at the fair, his knowing who raped her, her kicking him?

10. A grim portrait of life and a country town? The Romanian flavour of the film?