SCHNEELAND (SNOWLAND)

Germany, 2005, 142 minutes, Colour.
Thomas Kretschmann, Julia Jentsch, Maria Schrader, Ulrich Muhe.
Directed by Hans W. Geissendoerfer.

Schneeland (Snowland) is based on a novel by Elizabeth Rynell. It was adapted for the screen and directed by veteran German director Hans W. Geissendoerfer. Geissendoerfer made a number of significant films from the 1970s including an adaptation of Ibsen’s The Wild Duck with Jean Seberg, the Patricia Highsmith story The Glass Cell, Edith’s Diary, another Patricia Highsmith story, Boomerang Boomerang, Gudrun and Justice.

The film is epic in style. The setting is Sweden – in the winter months, a true snowland. The film works at two time levels. The contemporary scene shows a young woman, a writer who has lost her husband in an accident and sent her children off with her sister, driving into the snowy countryside with the possibility of ending her life.

Instead, she takes shelter in a house and finds records of a woman who had died there but delves into her life of sixty years earlier. This is a romantic part of the film, focused on the young woman, Ena, dominated by her cruel and abusive father. She cannot leave him, lives in isolation. However, a stranger, minding the flocks, comes into her world during the summer months and she falls in love with him. She also gets the courage to confront her father – which leads to his death. It also leads to the tragic death of the mysterious stranger.

The film makes the parallel between the two women, their isolation, their grief, their energy and longing for life. There is an optimistic tone because, even though tragedy is prevalent in her early life, Ena survives to marry and to have a family.

The film shows hope also in Elizabeth gaining a new lease of life by her learning about Ena. The film is very much the translation of a long novel to the screen, classical in its style.

1. The scale of the film? Entertainment? Impact? Serious themes of redemption?

2. The Swedish settings, the snowland itself, the snow, the storms, the seasons, the summer, the bleak beauty, the treacherous nature of the terrain?

3. The 21st century and the cars, computers etc? The 1930s, the town, the farm, the horses out in the fields, the tent? The musical score?

4. The presence of death: Ingmar, the mother, the father, Aron, Ina? But for others, death to life?

5. The themes of sin and redemption, the killings, the prayer, the hope for new life after forgiveness? Atonement?

6. The interconnection of Ina and Aron’s story, then the connection with Elizabeth?

7. Elizabeth as mother, wife? Her breakdown? Her writing, wanting her husband to comment? Their love for each other, the aunt’s comment about his being able to help her? The children? The news of her husband’s death, the children going, her depression? Driving into the bleak open spaces, getting out of the car, her experiences in the snow, the tree with her initial and her husband’s? The struggle, finding the house? Discovering Ina’s body? Settling into the house, looking around, discovering memories of Ina, reading the letters and the diary? Wanting to bury her, preparing the cross? Her writing Ina’s story? Her experiencing the cold, the howling, the isolation? Yet Ina transforming her?

8. Ina’s story, her life with her mother and father, the death of her brothers and sisters? The hard work? Her father and the flogging? The scene of his sexual abuse? The mother helpless in bed, capitulating to the father? The effect on Ina? Her daily routines, the hard work? Helping her mother, washing her mother, her mother’s death? Her preparing her body for burial? Her twentieth birthday, her resolution? To stand against her father, making him fear? His brutality, chasing her, calling her Satan, his fall? Her caring for him, the detailed aspects of cleaning for him? Cooking? As a strong woman in herself, her going to town, the shop, meeting the baby-sitter and the memories of the past, the mention of killing? Her seeing Aron, the quiet visits, leaving him food? Their talk, their love, the winter passing, his return, their sexual liaison, his wanting to marry her, her burning her clothes, going with him? The confrontation with her father, killing him – and the blade without any blood on it? Her grief at Aron’s death, Salomon and his wife visiting her?

9. Ina having a life after the death of Aron, a long life, family and joy?

10. The portrait of the father, his disappointment in his wife, the death of his children, his antagonism towards Ina, the strap and beating her? The sexual abuse and his dominance? The mother and her helplessness, not being able to intervene, yet telling her daughter to live outside herself during these times of suffering? His wife’s death and his reaction? His continued work, taunting Ina, his fall and injury, his lying in his filth, her cleaning him? Yet his hostility? Trying to walk again? His antagonism, knowing that she was going away? His gradually getting up? Aron’s visit? The final confrontation, his death?

11. Aron, his arrival in the snow, with his dog? The later telling of the story to Ina, his mother, his killing his stepfather? His going away, wanting to atone, the crucifix and his prayer? His being welcomed by the family, the toys for the children (and their later being seen by Elizabeth)? Looking after the horses, his life out in the wild, his seeing Ina, relating to her, coming back after the winter, the sexual relationship, the marriage proposal? His plan for the trip, the dog returning, his dying in the ice?

12. Salomon, the welcome to Aron, giving him the work, his visits and talk, the dancing by the fire after the drinking? The wife, caring for Aron, reading the Genesis scripture and the image of Adam and Eve naked, at the end, her not wanting him to travel, her grief? Salomon and his wife visiting Ina to tell her the news?

13. The people in the town, the shop, the old baby-sitter? Highlighting the isolation of Ina and Aron?

14. Themes of life, rugged life, hard work, living with nature, the life cycle? Yet the spiritual dimensions and exploration of themes?

KAMATAKI

Canada/Japan, 2005, 110 minutes, Colour.
Matt Smiley, Tatsuya Fuji.
Directed by Claude Gagnon.

Kamataki is a fine and beautiful film. The director, Claude Gagnon, is married to a Japanese wife and spent a decade there during the 1970s. He is able to look at his own native French- Canadian culture as well as that of Japan and the interactions between an eastern and western culture.

The film focuses on a young man, well portrayed by Matt Smiley, who is suicidal after the death of his father. His desperate mother sends him to his uncle in Japan, an uncle with whom his father had fallen out. The uncle is portrayed by Tatsuya Fuji, a veteran Japanese actor.

The uncle is a potter, using the ancient art of kamataki. The film portrays the detail of pot-making and uses it as a way of calm, meditation as well as an opportunity for responsibility, especially keeping the fire at the right heat in order for the pots to set. The situation gives the young man an opportunity to reassess his life, see his French- Canadian background in perspective as well as understand something of his Japanese heritage.

The portrait of the old man is a mixture of wisdom and humour. It shows his different relationships with women, a different standard from that that the young Canadian man expected. The young man then has to learn the nature of relationships, of love and commitment.

The Japanese settings are beautifully photographed, contrasting with the icy opening in Montreal.

The film explores values, the spiritual journey, the meeting of cultures and mutual understanding. Kamataki won the Ecumenical Prize at the Montreal Film Festival, 2005.

1. The quality and acclaim of the film? Its impact? Entertainment? Insights?

2. The director, his background in Japan, his wife? His Canadian background? The meeting of the two cultures? A blueprint for the future?

3. The Montreal opening, the river, the letter of the mother to her brother-in-law? The explanation of her request, Ken’s attempted suicide? The contrast with the end, Ken and his tranquil fishing in the river? The letter at the beginning, Ken’s letter to his mother at the end?

4. The portrait of Japan, the beauty? The countryside and roads? The old and the new? The mountains and rivers? The house, the workplace, the kiln? The interiors? The contrast with the city, modern? The uncle’s hideaway with the razor display? The score and its blend of new world and old, Canadian rock, American songs, Japanese traditions?

5. The title, the focus on art, craft, tradition, ritual, the sacred and beauty?

6. Canada and its experience of migrants? Of migration to other cultures? Canada and the possibility for alienation, searching for cultural and family roots? The experience of grief? Suicide? The need for help, the new world? The puzzle of a new world, with its differences and difficulties? The possibility of transformation, the human influence, cultural? Taking on of responsibility? Loving and being loved?

7. The elemental nature of the film: the emphasis on earth, the clay, potting, the clay and forming vessels and beauty? The air, its purity? Fanning the fire? The fire, the kiln, the creation of beauty by the furnace? Water, the St Laurence, the Japanese rivers, the healthy water in the countryside, the purity of water?

8. The focus on fire, the balance between too strong and too hot, breaking and burning? Interior fire, balance, producing beauty? Even with flaws – as was the beautiful vase?

9. The sense of the sacred, the blessing for the ritual, the Buddhist background, Zen, balance, images and contemplation? The woman telling Ken not to spit on sacred ground? Ultimate union and integrity?

10. Ken and his story, aged twenty-three, his background in Canada, Canadian mother, Japanese father, his devotion to his father, attempted suicide? Going to Japan, at the station, meeting his uncle, having to get rid of the cigarettes? His staying, meeting the women, becoming an apprentice, the detail of his work, the puzzle about the art and his staring at the vases? His having to carry the water down from the mountain, his uncle’s comment on the purity of the water? The firing of the kiln, his work, rest? The pleasure of being shaved, fishing with his uncle?

11. Going to the exhibition, having to wear a suit? His feeling of alienation, discussing the art with the American girl, her enthusiasm? Going to the bar, his uncle and the woman at the bar, Ken and his disdain, lack of respect? His uncle’s rebuke? His having to accede to the woman, his refusal, his condemnation of his uncle? The uncle and his sexual experience? Ken and his drinking, arguing, wanting to leave, driving, pulled over by the police, his uncle telling him about the fine, his being sorry? His uncle allowing him to make mistakes? This as a turning point for Ken?

12. His second phase, becoming an apprentice again, feeling that he owed his uncle something? The making of the clay objects, talking with his uncle, the American girl, sharing the room, talking with her, his watching her as she showered, her commonsense remarks? The issue of sex, his non-response, the talk about being gay, his inability to feel? His comments on the old woman and the brash comment of the young about older people and sexuality?

13. The firing of the kiln, the many days, the film’s measured pace, the rituals, the religious blessing at the beginning? Keeping vigil, taking shifts? The routine, work, rest? The Zen of having the wood ready to throw into the furnace, keeping the furnace at the right temperature? The uncle being sick, the old lady bringing meals, staying and watching? Ken and his diligence, success, his dance of exhilaration? His uncle’s gift of the razor, showing him the exhibition? Sharing with him?

14. The issue of the water, Ken discovering the water in the house was good, his uncle explaining about carrying the water and being healthy? About his own lack of health as he came, the change in his face, his becoming healthy? Ken’s puzzle about the half-moon art, the explanation of the message? The voyeur experience with his uncle and the old woman? Receiving the half-moons, the slow ritual and respect with which he went to the older woman, the camera cutting away? His exhilaration, stripping off, leaping into the water? The Zen of sexuality – his not feeling anything, the passionate evening with the American woman, the more measured and balanced experience with the older woman? The possibility of relating – and the postscript with the young girl?

15. The portrait of the uncle, both the sage and the fool in the best sense? His art, skills? The clash with his brother and his not remembering the detail? Meeting Ken, the cigarettes and the rules? The rituals of the house, meals? The language – speaking English, the women and their joking about speaking English, Ken gradually learning some Japanese? The experience of shaving – being shaved for pleasure? His singing and karaoke style? ‘Summertime’ and Gershwin? The art, moulding the clay, firing the kiln? The exhibition, in the bar, the sex, his explanations to Ken? His warning about the fine, forgiving him, admitting the stakes? The American girl, her work as an apprentice, her skills? The brash American, his pouring the tea and spilling it – with the message about having an empty cup in order to be filled? Feigning his sickness, saying he trusted Ken? His response to the success of the firing, admiring the handicraft? The aftermath, the razors, listening to the American music, the Canadian songs? His advice for his nephew? Saying he loved him?

16. The sketch of his wife, the older Japanese woman? Japanese hospitality, courtesy? The old woman and her secret lover and the sign, the uncle going to her? Their bringing the meals, keeping vigil?

17. The American girl, learning, open to Japan, the language, the skills, enjoying her work? The discussions with Ken, the encounter – the farewell at the station?

18. The sketch of the brash American, the American offering advice, not listening, not appreciating the Zen lesson, going and being angry?

19. The postcard at the end, the touch of sentiment, Ken explaining to his mother playing the drums, with the girl, the bicycle ride? This for his mother and in her language and expectations?

20. The final scene, Ken alone, his sense of peace and identity, fishing as his uncle did? His transformation and future?

SILENTIUM

Austria, 2004, 117 minutes, Colour.
Josef Hader, Simon Schwarz, Joachim Krol, Maria Kostlinger, Udo Samel.
Directed by Wolfgang Murnberger

Silentium is an Austrian thriller based on a series of crime thrillers written by Wolf Haas.

The film also has the advantage of being filmed in Salzburg, and shows a great deal of the beauty of the town and its environment. However, the subject matter of the film is particularly grim and begins with a suicide, the son-in-law of the Salzburg Festival president. His wife, thinking that her husband was murdered, hires a rather down-and-out private eye, Brenner. Brenner is an Austrian equivalent of the seedy private eyes of so many American novels and films. He is an eccentric character, a former policeman, looked on with suspicion by members of the force but involving himself in all kinds of detection work, even doing a touch of vigilante clean up of hoodlums around the city.

The film also has a complicated subplot because the man who committed suicide has given information to the press about sexual abuse at the school in which he was educated. The film focuses on a genial priest at the seminary, Father Fritz. However, he emerges as one of the most evil characters in the film, a sinister presence. Not only has he been personally abusive of the boys, he has also acted as a pimp for Filipina maids to be used as prostitutes by visiting celebrities. This includes one of the opera singers for the Salzburg Festival.

Brenner goes to the school, infiltrates and uncovers a web of evil and secrecy. There are various complications, of course, in this kind of private eye thriller and there is a sinister handyman at the college.

Needless to say, the complications are unravelled to the audience’s satisfaction. The film, though very well done, leaves a nasty feeling in its aftermath.

Josef Heder is excellent as Brenner. Joachim Krol is expertly sinister as Father Fritz.

1. A crime thriller? Political overtones? Ecclesiastical overtones? The combination?

2. The beauty of Salzburg and its environment, the opera and the festival, the streets, homes, the countryside? The institutions? The musical score and the opera?

3. The title, its inscription in the bathroom area of the institution? Silence about the crime, the note to the handyman? Cover-ups and silence?

4. The background of sexual abuse in the church in Austria, the accusation against the Cardinal of Vienna? The accusations in the film against the Cardinal of Salzburg? Accusations, reputation, the cover-ups?

5. The critique of the church, its institutions, in the 1970s? Later? Schools, boarders, shower areas? Sexual prurience, abuse? Authentic cases or not? The authorities and their responses? Suicides, murders?

6. Father Fritz, an embodiment of evil, smiling evil? His clerical dress? With the old men in the showers, helping them? Interviewing Brenner, offering him counselling and help? His relationship with the staff, the children in the school, building the sports fields? The revelation of the brothel, the women? The Filipino girls working and disappearing? The smuggling? The cook and the handyman? Their deaths? His being instrumental in the arrest of Brenner for his friend’s murder? His disappearance, in the house in Petting? The taking of Brenner, his staying and watching the opera, the confrontation in the bath area, turning on the hot shower, the confrontation with the handyman, his shooting him, his having the plastic bag over his head, his painful death?

7. Brenner, his past, contacts with the police? The private eye? Stopping the woman shoplifting, her attack on him, his losing his job because of her reputation and her father? In the underground, watching the kids dealing drugs, threatening the boy? Going to his large friend’s house, drinking, the drugs, the raid? His going to the suicide site, his views on suicide? Meeting the widow, her giving him the job? His infiltrating the institute as a derelict man, observing, meeting Father Fritz, working on the sports field, the attack of the model plane – and the old priest who couldn't speak?

8. Life in the institution, the old men and the showers, the meals? The children? The Asian staff, their arrival, the nuns, their being welcomed? The mass, the cardinal and his talk? The interruption after the finding of the body in the game?

9. The festival, the widow and her work for the festival, the rehearsals? The president, her father? The opera star, the rehearsals and performance? The star, his sexual appetite? The interruptions to the opera and Brenner and Bertie causing chaos?

10. Brenner, his friendship with Bertie, enlisting his help, the working together, gathering information, the old priest and his anxiety wandering the corridors, giving them the map for Petting? Their going to Petting?

11. Brenner, his friend’s death, his being arrested, bashed by the police, the police chief and their discussions, his being let go?

12. Going to Petting, finding the house, the opera star, the young girl, the older woman? The sexual behaviour, the confrontation?

13. The two killers, their continued appearance, their killing the victim of sex abuse? Their pursuit of Brenner, the parking lot and the chase, the trick to elude them? In the house, their wanting to kill Brenner and Bertie at the suicide site – but their jumping?

14. The president of the festival, his ownership of the house, his wanting to get rid of Brenner? His hired thugs? His relationship with his daughter, social standing? The final party after the opera, the production of the suicide note and the daughter thinking the case was closed? The picture of Salzburg society, at the opera, their not knowing how to respond to the disruption, the final chorus? The party afterwards?

15. Brenner and Bertie, the case being closed? Brenner and his migraines – and continually going to the pharmacist to get relief? His explanation about travelling back and forth? The irony of the lift from the pharmacist?

16. The final comment about numbers, seventy and the number of times for forgiveness? Sixty-nine and its sexual connotations? The irony that the murder of the abuse victim led to the unmasking of the Filipino racket?

THE HAMSTER CAGE

Canada, 2005, 93 minutes, Colour.
Patricia Dahlquist, Jillian Fargey, Scott Hylands, Carly Pope, Alan Scarfe, Tom Scholte.
Directed by Larry Kent.

The Hamster Cage is a Canadian film that has a potential to alienate almost all audiences. It was written and directed by Larry Kent, born in South Africa, but doing most of his film work in Canada.

The film is a contrived situation along the lines of such stories as Pasolini’s Teorema. It is also modelled on such stories as family reunions and bickering in the Who’s Afraid of Virginia Woolf style.

The film focuses on two children, who both rival each other in the academic world, the daughter being far more successful than the younger brother. Their father is to receive the Nobel Prize for Physics and they return home for a celebration. While the surface is normal, the family begins to unravel very quickly. The focus of attention is Uncle Stanley (portrayed by Scott Hylands who appeared in many Hollywood films and telemovies of the 70s and 80s). It appears that he is a paedophile, has abused his niece, has turned up for the celebration with one of his university students, a Candy- Lolita type of person who is exploiting her studies via a relationship with the lecturer.

The father, about to receive the Nobel Prize, is also eccentric and self-centred. He dislikes his son entirely, wiping him off as a loser, but is very fond of his daughter. On the other hand, his alienated and fussy wife of many decades cannot stand the daughter but dotes on the son.

Stanley brings a number of gifts and when they are opened they bring back memories of the past and the various conflicts and abuses. In a fit of anger, the daughter kills him – but, like the plots of stories like The Trouble With Harry and Weekend at Bernie’s, the problem is disposing of the body. This time the corpse is not quite dead and there follow quite a number of attempts to bury him, see him rise from the dead again, attack them, and their attempts to kill him off. In the meantime he has returned to the meal table and continues his unmasking.

The film then reveals the dark secrets of all the characters – all of whom have an obnoxious past. There is also a huge eruption of violence.

Many audiences find that paedophilia and sex abuse is beyond the pale for black humour. However, those who feel that there are no limits on what can be satirised may be intrigued by the presentation of the characters and their behaviour.

1. The impact of the film? Comedy, offensive?

2. A black comedy, satire? In its topic, treatment, characters, farce and irony? Could the film be seen as a comic psychodrama?

3. The visual style, televisual style, the focus, the lake, the house, interiors? The score?

4. The title, the experience of mechanised experiments?

5. The attitude to paedophilia, the film’s stance, the rationalisations by paedophiles, the glossing over of responsibility? Paedophilia and its effect, consequences and punishment?

6. The dysfunctional family, the introduction to Paul and Lucy, the good services? Their meeting, the lake, talk, the past, the prospects for their scholarships, resolution?

7. Lucy and Paul, brother and sister, the bonds between them, the rivalry, Lucy and her success, Paul and his lesser success?

8. Philip and his winning the Nobel Prize? A wilful man, staying in his room, underwear, the phone connection with his wife, wanting the drink brought to him, intolerant and arrogant? Lucy and his love for her, Paul and his disdain and insulting him? The story of taking him into the woods when he was six, firing at him, leaving him to chance in the woods? Candy’s arrival, the discussion, her flattery, his lecherous attitudes, the talk and the sex? His despising his wife, going through the polite motions? The meal, Stanley’s visit, the talk with him, his lack of interest in Stanley’s career? The gift, the picture of the broken-down shed, his recounting the story, their father as abusive to Stanley, Philip and his interpreting that he was unlovable by his father? His finally taunting Paul with the gun, his death?

9. The mother, thirty years in the marriage, cooking the meal, communication with Philip by phone? Her memories, the ballet, looking at the ballet shoes gift? The story of Philip’s breaking her legs, her career ruined? Her having her children, bringing them up? The memories of Rudolf Nureyev – and the room as a shrine? Her being upset, ringing the bells? Her demonstrative love for Paul, intensity? Disdain for Lucy? The meal, the stories? Her passionate kissing of Paul, her being shocked at his suggestions? Falling over the railing and being killed?

10. Stanley and his bringing Candy, his various gifts? Seeking out Lucy, her being in the toilet, his explanation about his paedophilia, healing, the panties, the rationalisations? His being attacked by Lucy, battered, carried in the wheelbarrow, buried? His reviving? Twice? His coming to the table, his death? The story of the abuse in the shed, Philip’s grief after his death?

11. Paul, his relationship with his mother, with Lucy? The butt of his father’s attacks? Preparing the meal, Lucy spitting in the salad? His glee about Lucy’s killing Stanley, helping to carry him away, their return to the drinks, Stanley arriving again, battered and buried? Rising again? The gun as the gift, the story?

12. Lucy, her love for her father, her mother’s ignoring her? Blaming her? In the toilet, Stanley’s talk, her revulsion, anger and killing him, feeling that she was on a high, disposing of him, burying him again?

13. Candy, the name, the references to Lolita, her being twenty-two, the way that she was dressed as a schoolgirl, provocative, her consciousness of this? Coming with Stanley, her praising him as a genius? Sexual excitement with geniuses? Her course, creative writing? Visiting Philip, the sex, her writing down the stories? The family’s despising her? Her eagerness in listening to the stories, writing them down? The end, her being tied up, let go, the guns, her running to get her notebook?

14. Paul explaining to Lucy that their mother knew about the abuse all the time? That bringing them together, the long sequence of the kissing? Their being together? The satiric presentation of incestuous relationship?

15. The effect of black comedy, satire and its attack on its targets? This film as offensive, lacking in taste, a comedy about paedophilia – is this possible?

MISS MONTIGNY

Belgium, 2005, 100 minutes, Colour.
Sophie Quinton, Ariane Ascaride, Johan Leysen.
Directed by Miel van Hoogenbemt.

Miss Montigny is a Belgian slice of life. It is set in the industrial area of Belgium called the Black Country because of the mines which were flourishing in previous decades but are now closed. Prospects for life in the town seem to be very drab.

Sandrine is a nineteen-year-old who works in a supermarket, getting people to sample cheese. At home she is pressurised by her ambitious mother. Her mother had previously been in the Miss Montigny contest and now wants her daughter to succeed. While Sandrine allows herself to be pressurised, she really does not want to enter the competition but would prefer to set up a beauty parlour with a friend. Meanwhile, her boyfriend has moved to Brussels.

The film is a character study and benefits by the persuasive performance of Sophie Quinton. She had appeared to great effect in the Dardennes Brothers’ film The Child. Her mother is played by veteran actress Ariane Ascaride, wife of director Robert Guedigian in whose films she appears.

The film becomes very serious when the mother and daughter clash, when a friend backs out of the beauty shop plan because of pregnancy, when she is excluded from the competition because of her inabilities.

The film ends with a climax at the beauty pageant, supported by the mayor, a festive occasion – and her estranged father joins her mother in the hall. However, there is a surprise turn of events – and ultimately Sandrine makes the option to move away from the town and go to join her boyfriend in Brussels.

The Belgian film industry made a number of films in this vein, especially the films of the Dardennes brothers. While this sometimes has a lighter touch than their films, it is still a critique as well as a slice of life highlighting grim aspects of Belgian society and prospects for the future.

1. A slice of life? Belgian life? Dreams and reality?

2. The Montigny setting, an industrial city, mines closed? The shops, beauty parlour? The effect of the closures, the dinginess of the town? The hall for the pageant?

3. The title, the competition? Sandrine and the quest, her not wanting to participate, being forced to go in? The other girls? The end, her withdrawing, getting her freedom by withdrawing even though she had many votes?

4. Sandrine in herself, her age? Work at the supermarket, giving out the cheese samples, her dress? At home, the beauty parlour, her skills? Gianna and her friendship, partnership for the shop, looking at the site? Her hopes? Her mother and her help, the down-payment on equipment? The difficulties, the mother helping out, hoping the contest would give the money?

5. The contest, the announcements by car in the streets? Sandrine’s mother and her hopes, building up the contest, the compere – and the singing of “Pretty Woman”? The role of the mayor?

6. Sandrine and Paul, their relationship, his having to move to Brussels, inviting her to go with him, her staying at home? Gianna, her love for Dimitri, her becoming pregnant, the plans for the wedding? Amina and her brothers, the pressures, a woman going in a contest? The bashing? The other contestants?

7. Sandrine’s parents, at home, her father, quiet, his leaving, living with someone else, Sandrine going to see him at work, the plea to come home, his return, especially for the contest?

8. Sandrine’s mother, her life, disappointments, hard work? The character detail in building up her mother? The contest, the practices? Her clashes with her husband? The down-payment on the equipment? Sandrine not telling her that she had withdrawn? The dress, the sash?

9. The practices, Sandrine and the measurement, her being out of the contest, the operation on her bust? Her not telling her mother, the mother finding out, going round and getting Sandrine reinstated?

10. Sandrine and the detail of her daily life, day by day, the loss of friendship with Gianna, talking with Amina? Watching Dimitri? Her needs, identity, the fight with her mother? Her anger?

11. The contest, her participation, the others and their performance, her singing the song and its impact? The hoopla of the results? The mayor? Her not winning, her parents’ disappointment, the story of her pulling out, her parents having to accept it?

12. Her mother’s reaction, upset, having to let her daughter go?

13. Sandrine going, to live with Paul, going to Brussels, finding freedom and herself? What future?

YAZI TURA (TOSS UP)

Turkey, 2004, 104 minutes, Colour.
Kenan Imirzalioglu, Olgun Simsek.
Directed by Ugur Yucel.

Toss Up is a small-budget but striking Turkish film. It shows young men in military service, the dangers, and injuries from an exploding mine. The two young men return home, disillusioned after their war experience. The film tells the contrasting story of the two men and how they coped.

One of the men is from Istanbul, who wants to set up a railway station snack bar when he can raise the money. This involves him in shady dealings with money lenders. The other man returns to the mountains of Anatolia, missing a leg, seen as a war hero, but extremely angry. His fiancee and friends treat him differently and this has devastating effects on his reaction to people. His return climaxes in an earthquake, based on an actual 1999 Marmara earthquake, and he rescues his father. In the meantime, the man in Istanbul gets further enmeshed in violent gang interactions.

The film is a grim look at life in contemporary Turkey, the opportunities for young people, the effect of military service, the damaging effects of an inability to be incorporated back into Turkish society. While the focus is particularly Turkish, the film works quite well for a world-wide audience because of its universal issues and themes.

1. A portrait of Turkey at the beginning of the 21st century? The involvement in wars? The experience of earthquakes? The aftermath of war, hopes and dreams, shattered? Poverty?

2. The visual style of the film, hand-held camera, blurred images showing psychological states? The immediacy of impact of the digital camera work? The musical score?

3. The opening, the war, the swirling and blurred screen, the work of the soldiers, the mines, the injuries? The recurring images of this episode during the war? The beginning with the truck in the snow, the end with the truck in the snow?

4. The title, fate and the two young men, bonded together in their injuries and the war, their separate ways, hopes, dreams being shattered? The authentic atmosphere, credibility?

5. Cevher, his return home, wanting to build the veterans’ food stand at the railway station, his involvement in crime, collecting money, his brutality, cutting the head off the debtor? His relationship with his father and his father’s despair, his uncle? His relationship with his girlfriend? The friends in the town, the fellow veterans, the shop? Spending the night with his girlfriend, the earthquake, rescuing his father, his uncle’s death? The character of the uncle? The aftermath, the arrival of his half-brother and his mother from Greece? His not knowing about their existence, his anger? His spurning of Toeman as homosexual? His father wanting to bring them together, his having to speak to the brother, his unwillingness? His drug taking and forcing his girlfriend with the drugs? The drug boss and giving him the drugs, going to the family house and being welcomed there? The funeral of his uncle? The prospect of his half-brother going home, wanting to talk to him, explaining his history, what he didn’t know? The pain of separation in Athens? The aftermath, meeting in the club, Toeman walking home, his rescuing the transvestite, being brutalised, Cevher hearing this, rescuing his brother, slitting the throat of the assailant? Carrying his brother to safety? Surrounded by the police? The proclaiming that he was a veteran, the medal, having lost his hearing in one ear for the sake of the country? The result?

6. Ridvan, losing his leg, the return journey in the car, the train? Into Anatolia and the snow? The contrast with the heat of Istanbul? His mother, washing him, her continued care, worrying that he was out late? Going to see his fiancee, her hesitation? The fiancee’s family, the mother hostile, the father-in-law forbidding the marriage? Having forbidden the drinking? His wandering the town, in the bars, the stories told about him and his injury? His hopes of being a football player and their being dashed? No work? His feeling sorry for himself, the artificial leg? His friend, the clash, his drinking, going to the potter, talking with him? Incurring hostility wherever he went? The meal, the two friends, telling his story and the memories of the girl in high school, seeing her as a terrorist, saying that he killed her? Their not believing him? The discovery that his best friend was going off with his fiancee? Her phone call? His mother searching for him, his despair? His shooting himself?

7. The woman from Greece, returning to Istanbul after the news on the television, the impact of the earthquake? Her son, his memories of the past, meeting friends, the uncle, his father and the reconciliation? His story about sexual abuse, his homosexuality and behaviour? Trying to talk to Cevher, his rescuing the transvestite, his being injured, his being rescued by his half-brother?

8. The people in Anatolia, the friends, trying to be sympathetic towards Ridvan, his drinking, their exasperation? His friend listening to him, going off with his fiancee? The sketch of the fiancee?

9. The people in Anatolia, the world of drugs, crime? Cevher’s father asking him not to become a criminal, his agreeing? His saying that this was his nature?

10. The end of the film, the recapitulation of the dreams of each man – and our seeing them dashed?

LE BOSSU

France, 1998, 115 minutes, Colour.
Daniel Auteuil, Fabrice Lucchini, Marie Gillain, Vincent Perez, Philippe Noiret.
Directed by Philippe de Broca.

Le Bossu is an interesting and entertaining swashbuckling adventure. It was made by Philippe de Brocca who made a number of action adventures and comedies, especially in the 60s and 70s with Jean- Paul Belmondo. This time he has a very strong French cast starting with Daniel Auteuil as a budding swordsman who is involved in many a fight, clashes with the Duke of Nevers, but joins him in an attempt to rescue his little daughter. When the duke is murdered by his cousin, the Count Gonzague (Fabris Luchini in an excellently villainous role), the swordsman escapes with the little girl and joins a travelling circus. The daughter herself becomes an expert at the sword. The rest of the film is the final confrontation between the swordsman, the daughter and Gonzague who is now ruling in France. The swordsman disguises himself as a hunchback adviser, finally revealing himself and the truth.

The film is very well acted and also has cameos by Vincent Perez as the Duke of Nevers and Philippe Noiret as King Philippe.

1. A popular French story? The 19th century tradition? The film versions and tradition? Action, swashbuckling? The light tones? The serious themes?

2. Philippe de Broca and his career of decades, making action classics, comedies?

3. The re-creation of the period, sets, décor, costumes? 1699 and the 17th century? The musical score?

4. The title, chivalry, duels, weapons? The scenes of the fencing school?

5. Daniel Auteuil as Lagadere? His embodying the spirit of the 17th and 18th centuries? His sword skills and seeing them exercises? His admiration for the Duke of Nevers? The encounters with him, the fencing practice? At the court of Philippe de Orleans? His place at the court, his style, personality, loyal and at the service of his rulers?

6. The Duke of Nevers, as a person, personality? His skill with his particular ‘thrust’? With Gonzague, the guards? His rank, taking Lagadere? The journey, the ambush and his death? The revelation of his relationship with Blanche? Her pregnancy?

7. Gonzague as villain, sinister personality, his dealings with people, intrigue, with Nevers? At the court, his financial skills, ambitions? His using Peyroees? The plan for the ambush and its execution?

8. The aftermath of the duke’s death? His approaching Blanche, her silence, his abducting her? Lagadere taking the baby? His motivation for anger and revenge? Their joining the players and the lifestyle of the travelling group?

9. The passing of the years, life with the players? Aurore and seeing Lagadere as her father? The attack, seeing the thrust? The revelation of the truth? Lagadere and his return to society? The molestation, his using the thrust? Gonzague knowing the truth?

10. Gonzague, his banking skills, his holding Blanche and her being a recluse? His ambitions? Wanting to destroy Lagadere?

11. Lagadere and his disguise, becoming the hunchback, insinuating himself into Gonzague’s good graces, Gonzague depending on him for advice? The overall plan, his love for Aurore?

12. Aurore, her being deported, Lagadere freeing her? His exposure of Gonzague?

13. The drama and the tensions about identities, the unmasking, the final fight, Blanche, Aurore, the castle? The emphasis on the swashbuckling climax?

14. A glimpse of French history, the entertainment mode, the mythic style, the confrontation between good and evil?

BEWITCHED

US, 2005, 98 minutes, Colour.
Nicole Kidman, Will Ferrell, Michael Caine, Shirley Mac Laine, Jason Schwarzman, Steve Carrell.
Directed by Norah Ephron.

A really pleasant surprise.

With the fashion for remaking popular television series of decades past for the big screen, expectations are often low. Can a series really be updated? Will it keep the spirit and entertainment value of the original? How will it cope with audience nostalgia, the memory of the past? According to the press notes and the quotes from the cast, Bewitched must be one of the most widely seen series and one that delighted so many people.

Director Nora Ephron has a very good record in making popular romantic comedies. She made both Sleepless in Seattle and You've Got Mail. Writing with her novelist sister, Delia, she creates an atmosphere that combines sentiment and humour. With Bewitched, they have an even better idea for bringing the series into the 21st century. It is a 'what if...?'.

What if the studios were re-making Bewitched for television to revive the fortunes of a star whose career is in trouble and he insisted on casting an unknown as Samantha (to keep him securely centre-screen)? The even better 'what if...?' is the idea that the unknown actress really is a witch. How would 'real life' resemble the series? So far, so good.

The next great idea is the casting. Will Ferrell has had a successful career as a comedian and an impersonater on the popular Saturday Night Live. His transition to the movies in such enjoyable films as Elf and Anchorman means that he can do both serious and funny - and his funny can be both charming and obnoxious. The Ephron sisters give him plenty of opportunity for his comic talent.

However, the star is Nicole Kidman. She has been a star, in Australia twenty years ago as a child actress, and in the last decade proving she is very versatile. Think Moulin Rouge and her Oscar-winning performance as Virginia Woolf in The Hours. Here she is at her delightful best.

She resembles the original Samantha, Elizabeth Montgomery, in looks, in the comic light touch and in her ability to wiggle her nose before some magic moments. She is Isobel, a young witch who is trying to escape her family and community, eager to become human and normal, not relying on magic tricks and spells to get along. Because her self-esteem is so low, she wants to get a job. Ferrell sees her wiggle her nose and she is cast.

One should add that Michael Caine has a very good role as Isobel's suave warlock father and Shirley Mac Laine is an actress with an overpowering ego who portrays in the series. (We are shown a scene with Agnes Moorhead to remind us of the old days.) Caine has a lot of good ironic lines and Mac Laine (who has been an enthusiast for experiences beyond this realm) parodies herself.

What is surprising is how often there are good laughs right throughout the film. Sometimes it is funny lines (often at the expense of television and American taste). Sometimes it is slapstick pratfalls. Sometimes it is the humorous situations, especially when Isobel discovers that the star that she wants to fall in love with because he needs her is on an ego-trip and she exercises her arts and spells. Ferrell has a good scene where he is supposed to say a line about his love for a dog and goes through a variety of funny variations.

Bewitched is not going to be on anyone's list of the greatest films of all time. However, it is a very pleasing way of passing 100 minutes.

1. The popularity of the television series over many decades? Repeats? Audience familiarity? The stars, the themes of witches, magic? The musical score?

2. This film using clips from the old series to ground the remake? Taking the plot and atmosphere from the original? The tribute to Elizabeth Montgomery and the stars?

3. The decision to make the film not as a remake but as an update, rethinking? The issues of casting it, producing it? And what if the actress were in fact a witch?

4. The quality of the comedy, verbal, visual? Will Ferrell and his range of impersonations, the good and bad Jack? The slapstick? Nicole Kidman and the situation, her spells, her timing? Dialogue and with, the comedy of Michael Caine and Shirley MacLaine? Poking fun at television, agents, Hollywood?

5. The film as bewitching and beguiling? Nicole Kidman as Isobel, the issue of her self-esteem, not wanting to be a witch, her relationship with her father, wanting to save Jack, falling in love?

6. Audience interest in witches, magic? The light touch, the unreality of witchcraft when presented comically?

7. Isobel and her aims, not to be a witch, to be normal, to have human experiences? Her buying the house, making it available? The magic touches inside the house? Breakfast and her moving the clock? Her new car? Her father’s appearance, her relationship with him? Their discussions – the rain, the umbrella, one last trick? Her bewilderment about television cables and needing magic to connect them?

8. Isobel as ingenuous, charming, the light touch, her appearance, clothes, manner of speaking, discovering human experiences, having to open cans? Her friends, her jumping up and down with excitement but not knowing why…? Getting the actress role, television? Her watching programs on self-esteem, buying books about self-improvement? And her twitching her nose?

9. The situation for Jack, his career in a rut, the glimpses of his previous films, the continuous reference to failure? His relationship with Richie? Richie as the dominant agent? The meeting about Bewitched? His being meek, Richie urging him to be tough, laying on the toughness, the bargaining, wanting an unknown to star? The audition, Isobel’s improvisation – but her being real and they being in admiration? Jack seeing her twitch her nose in the bookshop? Persuading her to do the audition? The groups and their acclamation? Her accepting the job? The press conference, Jack introducing himself, hogging the limelight, the small attention given to Isobel? Iris and her arrival and taking over?

10. The shooting of the series, the crew, their attitude towards Jack, the focus of every scene on him? Isobel and her being put aside? Iris and her strong presence? Isobel overhearing the conversation between Jack and Richie, misinterpreting it? Her decision to one-up him? The importance of the scene with the dog, the variety of jokes, the variety of voices that Jack had to use? His inability to control himself? His response to the surveys and their acclaim for Isobel and not for him?

11. Nina, her work with Jack, disliking him? (Echoing the girl at the restaurant despising him at the beginning?) Maria, her becoming a friend with Isobel? The sharing of attitudes, the sharing of dislikes of Jack? The aunt’s arrival, her hex on Jack? Her having to swallow?

12. Jack as obnoxious, the dog line, the coffee and his bullying? Isobel quitting?

13. The reverse, Jack being nice, Isobel returning? His exercising his charm? The comedy of the change of attitude?

14. Nigel, his situation, a warlock? His turning up at unexpected times, his discussions with his daughter? Flirting with Maria? The arguments, the differences with Isobel’s mother? Meeting Iris, her spells, his flirtation? The comic romance?

15. Richie, the Hollywood agent, his macho beliefs and style, putting pressure on Jack, his comeuppance?

16. The glimpse of the writers, the director, having to pander to Jack? The ratings?

17. The end, Isobel and Jack as nice, home, the gifts, the meal, the talking? The device for Isobel’s spells and the rewinding of what had happened?

18. Uncle Arthur, the TV past, the nightmare, his advice?

19. Six months afterwards, happy ever after? An engaging comedy?

BAD NEWS BEARS

US, 2005, 105 minutes, Colour.
Billy Bob Thornton, Greg Kinnear, Marcia Gaye Hardin, Sammi Kane Kraft.
Directed by Richard Linklater.

While there is always a place for a re-make (always hoping that the remake will do something different or special with the original material), Bad News Bears is not an immediately obvious candidate for re-doing. After all, there have been so many variations on the theme over the last thirty years (from Mighty Ducks to Kicking and Screaming), that it runs the danger these years of being too well-worn.

Anyway, here it is again (after the original, with Walter Matthau had two sequels of its own). The plot is still the same. The range of awkward kids is the same (well, they come from a greater racial mix this time). The obnoxious coach is the same (Greg Kinnear). There are the practices, the rivalries, the tensions within the group, the increasing victories and the final match – which actually supports the theme that playing the game is more important than winning. As with Walter Matthau in the past, one reason for seeing the film is Billy Bob Thornton as the alcoholic coach. This is a far less flamboyant performance as an obnoxious and crass-mouthed interacter with kids than Thornton’s Bad Santa. His timing is good. His remarks sardonic. But, at heart, this is a nice and sentimental story of making good.

Director Richard Linklater usually makes talkative relationship films (Before Sunrise, Tape, Before Sunset) but is taking time off to relax with a studio production – he must love baseball too.

1. The popularity of the original film? Baseball theme? Hopeless players? Grumpy coach? The sequels of the 70s? The reason for a remake in 2005?

2. Southern California, families, homes? The rich and the poor? The cultural mix? The place of baseball? The baseball field? Restaurants? Authentic feel?

3. The work of the director, his Slacker films, his discussion films? Taking time out for love of comedy and baseball?

4. The title, the team, the fact that when they were firing they wanted to be bad news to the opposition?

5. Baseball, the Little League, the importance for children playing? The role of the coaches? Parents and their support? The baseball spirit, competitiveness? Skills? The comedy on these themes?

6. The focus on Morris Buttermaker, Billy Bob Thornton’s presence and style, deadpan, low key? Alcoholic? His remarks, jokes? His passing out? The soft-hearted coach? His work as a pest exterminator, with the rats, the family? His job giving him financial support? His lonely life?

7. Liz, the approach, taking on the team? Her legal background, wealth? Her son Toby? Her being impressed by their success? Taking Morris to dinner, coming on to him? The sexual encounter? Toby finding him in his home? The break with Liz?

8. The players, the Saturday team? Not having any skills, no hope? Their presenting themselves to Morris, their names, their backgrounds? Their practice sessions, ineptness? The beginning of play, the match, Morris forfeiting? Continued play, Morris and his decision to go to find Amanda, going to the market, her mother and the past relationship? Her age, her selling things? Her being persuaded to come and play? Her skill at pitching? The attraction of Kelly Leek, his joining the squad? The continued improvement, training, spirit? The season and their wins?

9. Roy Bullock, coach, Morris’s taunts, fun about his tight shorts? His own son and pressure? The alienation from his wife? His comments, insulting Morris? The build-up to the games, the irony of the final match? His humiliation of his son, sending him off, his wife taking the son away from him? Defeat?

10. The various members of the team, Hooper and his being in a wheelchair, sorry for himself, finally going on and catching? Toby and his not being skilled, given the opportunity, proving himself? Lupus and his complete inefficiency? Tanner and his cheekiness, anger? The twins? Their Hispanic background? The Asian – and his computer? The Muslim and his running away from his father, his being advised to be injured and not running, his changing his mind, his father’s pride? Kelly Leek, the rough type, Roy Bullock’s antagonism? The attraction towards Amanda, his skills with the bat?

11. The matches, the way they were filmed, the excitement, the Bears moving up the ladder? The final game, Morris and his change of heart, not so competitive, Hooper on the field, Amanda resting her arm? The defeat – and the celebration and his saying that winning wasn't everything?

12. The humour associated with the sport? The spirit of the sport? Not wanting to win at any cost – and the critique of the American gung-ho spirit?

BAD NEWS BEARS

US, 2005, 105 minutes, Colour.
Billy Bob Thornton, Greg Kinnear, Marcia Gaye Hardin, Sammi Kane Kraft.
Directed by Richard Linklater.

While there is always a place for a re-make (always hoping that the remake will do something different or special with the original material), Bad News Bears is not an immediately obvious candidate for re-doing. After all, there have been so many variations on the theme over the last thirty years (from Mighty Ducks to Kicking and Screaming), that it runs the danger these years of being too well-worn.

Anyway, here it is again (after the original, with Walter Matthau had two sequels of its own). The plot is still the same. The range of awkward kids is the same (well, they come from a greater racial mix this time). The obnoxious coach is the same (Greg Kinnear). There are the practices, the rivalries, the tensions within the group, the increasing victories and the final match – which actually supports the theme that playing the game is more important than winning. As with Walter Matthau in the past, one reason for seeing the film is Billy Bob Thornton as the alcoholic coach. This is a far less flamboyant performance as an obnoxious and crass-mouthed interacter with kids than Thornton’s Bad Santa. His timing is good. His remarks sardonic. But, at heart, this is a nice and sentimental story of making good.

Director Richard Linklater usually makes talkative relationship films (Before Sunrise, Tape, Before Sunset) but is taking time off to relax with a studio production – he must love baseball too.

1. The popularity of the original film? Baseball theme? Hopeless players? Grumpy coach? The sequels of the 70s? The reason for a remake in 2005?

2. Southern California, families, homes? The rich and the poor? The cultural mix? The place of baseball? The baseball field? Restaurants? Authentic feel?

3. The work of the director, his Slacker films, his discussion films? Taking time out for love of comedy and baseball?

4. The title, the team, the fact that when they were firing they wanted to be bad news to the opposition?

5. Baseball, the Little League, the importance for children playing? The role of the coaches? Parents and their support? The baseball spirit, competitiveness? Skills? The comedy on these themes?

6. The focus on Morris Buttermaker, Billy Bob Thornton’s presence and style, deadpan, low key? Alcoholic? His remarks, jokes? His passing out? The soft-hearted coach? His work as a pest exterminator, with the rats, the family? His job giving him financial support? His lonely life?

7. Liz, the approach, taking on the team? Her legal background, wealth? Her son Toby? Her being impressed by their success? Taking Morris to dinner, coming on to him? The sexual encounter? Toby finding him in his home? The break with Liz?

8. The players, the Saturday team? Not having any skills, no hope? Their presenting themselves to Morris, their names, their backgrounds? Their practice sessions, ineptness? The beginning of play, the match, Morris forfeiting? Continued play, Morris and his decision to go to find Amanda, going to the market, her mother and the past relationship? Her age, her selling things? Her being persuaded to come and play? Her skill at pitching? The attraction of Kelly Leek, his joining the squad? The continued improvement, training, spirit? The season and their wins?

9. Roy Bullock, coach, Morris’s taunts, fun about his tight shorts? His own son and pressure? The alienation from his wife? His comments, insulting Morris? The build-up to the games, the irony of the final match? His humiliation of his son, sending him off, his wife taking the son away from him? Defeat?

10. The various members of the team, Hooper and his being in a wheelchair, sorry for himself, finally going on and catching? Toby and his not being skilled, given the opportunity, proving himself? Lupus and his complete inefficiency? Tanner and his cheekiness, anger? The twins? Their Hispanic background? The Asian – and his computer? The Muslim and his running away from his father, his being advised to be injured and not running, his changing his mind, his father’s pride? Kelly Leek, the rough type, Roy Bullock’s antagonism? The attraction towards Amanda, his skills with the bat?

11. The matches, the way they were filmed, the excitement, the Bears moving up the ladder? The final game, Morris and his change of heart, not so competitive, Hooper on the field, Amanda resting her arm? The defeat – and the celebration and his saying that winning wasn't everything?

12. The humour associated with the sport? The spirit of the sport? Not wanting to win at any cost – and the critique of the American gung-ho spirit?