THE CAVE

US, 2005, 97 minutes, Colour.
Cole Hauser, Morris Chestnut, Lena Headey, Piper Parabo.
Directed by Bruce Hunt.

With a title like The Cave, you know what you are in for. And that is exactly what you get, competently crafted for scares, action and thrills.

The setting is Romania, the Carpathian mountains (and we know who used to live there). Under one of those churches with frescoes on the outside is a mysterious series of caves with new species of creatures. (The press notes quote experts as saying that such caverns were found in Romania in the 1990s.)

After a prologue in the 1980s, where greedy church robbers get their comeuppance, an expedition with every modern gadget and computer program, comes to explore. You know there are going to be frightening creatures. You know that most of the cavers are going to be killed off (a bit unfair with the Australian being the first one to go!). You know that a man and a woman will survive (though you may be wrong on which man) and you know there were will be a sinister ending to remind us that the menace will continue. And so it does.

Depending on your interest in caves and methods for scaling walls, climbing and crawling and your capacity for battles with creatures, you will enjoy the film or find yourself unengaged.

1. The title, the enclosed world of the cave, attraction, fear? The creatures?

2. The Romanian settings, the mountains, the countryside? The interiors of the cave, large and extensive, the water? The musical score?

3. Audience expectations, the dangers of the cave, the creatures, the members of the expedition successively killed off?

4. The prologue, the 1980s, greed, the church with the external frescoes? The mosaics, the trapdoor? The treasure? The creatures and the collapse? The explorers and their fate?

5. The professor, the 20th century, expeditions, caves? The biological studies of creatures? The plans for exploration? The contact with Mexico, the team in Mexico, their underwater work, their equipment, characters?

6. The team, computers, the range of equipment? Jack and his leadership? The different roles? Their arrival in Romania, meeting the professor’s team? Jack and his assistant? Peter, meeting Katherine?

7. The entry into the cave, the explorations, the mystery? The collapse and their being trapped? Searching ways to get out? The details of the caves, the confined spaces, the water, light, wind?

8. The plan to get out, the groups? The creatures attacking? The use of the equipment, the equipment being destroyed, the successive deaths?

9. The visualising of the creatures? Their attack? Monstrous? The explanation of their being parasites, consuming the dead? Infecting the live people and the effect?

10. Jack, leadership, his being infected, his eyes, his reactions? Part parasite? Part human? His rescue of the gear, sacrificing his life?

11. The various clashes, the radio man and his death, Briggs and his being impaled? The further exploration?

12. The climber, her ascending the cliff, being menaced by the creatures, reaching the top, her fall, her death?

13. Peter, his relationship with Jack, supporting him? Attraction towards Katherine? Their working together? The black partner, his leadership? Their surviving?

14. Jack, the parasite taking him over, rescuing the gear, helping the others?

15. How well delineated were the characters, as personalities, men and women, their skills, interactions, crises?

16. The water, the escape?

17. Peter and Katherine, the survival – and the irony of Katherine being infected, going into the crowd and Peter losing her? The parasite at loose in the world?

THE UPSIDE OF ANGER

US, 2004, 119 minutes, Colour.
Joan Allen, Kevin Costner, Erica Christensen, Kerri Russell, Evan Rachel Wood, Alicia Witt, Mike Bender.
Directed by Mike Bender.

A guess would be that many reviews offered the quip, ‘if this is the upside of anger, how much more miserable could the downside be?’.

This is a film about women’s anger, about Terry and her four daughters. The youngest, Popeye, is making a video collage of images of anger and tells us in the introductory voiceover that before her mother became angry and resentful and alcoholic, she was a sweet woman, a nice woman. The film does not show us this side of Terry at all. What we see is a woman who has been deserted by her husband with his secretary, not even trying to cope, letting the anger consume her from inside. That superbly intense actress, Joan Allen (The Crucible, Nixon, Pleasantville, The Contender, Yes) is distressingly self-destructive as Terry.

Kevin Costner has the kinder role as former baseball champion, now DJ and talk show host, who steps in to support Terry. Costner returns to his former charm and makes a pleasing balance to Joan Allen and shows himself a thoughtful father figure.

The voiceover is by the youngest daughter, Evan Rachel Wood (Thirteen, Down in the Valley). The focus is also on Erika Christensen’s Andy who disappoints her mother in not going to college, getting a job at the radio station and starting a liaison with the older producer. Kerri Russell and Alicia Witt are the other two daughters. All do good work in their roles.

When you eventually think that the anger is irredeemable there is a plot twist that makes all the characters as well as the audience do a re-think and reassess the effect of consuming anger and its futility.

1. The title of the film, the focus on anger, Popeye’s initial explanation? Bitterness and resentment? The consequences, change in personality? Terri’s anger, the daughter’s anger?

2. The Michigan setting, the city, affluence, homes and grounds, the radio station, the university, the wedding? The musical score and songs?

3. A film of interiors, Terri’s home, Denny’s home? The focus on the different rooms, the number of meals, the radio studio?

4. The structure of the film: the funeral, Popeye’s voice-over, going back three and a half years? The situation, Terri’s anger, its effect on her, the time passing – and the strange gaps in continuity?

5. The portrait of Terri, Popeye saying that she was nice but the audience never seeing this, her husband leaving, going with his secretary, her resentment? The amount of drinking? Her antagonism with her daughters, their not thinking that she loved them? The tension at meals, the preparation of the meals? Denny and his coming to the door, drunk, inquiring about the property development? His staying? Terri not ringing Sweden for her husband? Hadley and her sarcasm, going to college? Andy, not going to college, wanting the job, her fierce reaction against this? Her stopping Emily and enrolment in the dance institute? Concern about Popeye? Her initial antagonism towards Denny and his motivations? The development? Her sudden ringing up about sex and his hiding? The further phone call, each of them coming over, the cars in the street? The sexual relationship, the affair? Her hating her husband or not? The continued drinking, difficult to get up in the morning, her slovenly dressing?

6. Her handling the crises with the girls, Hadley and her going back to college, the announcement of her engagement? Andy, not going to college, the shouting match? Andy and her finding her in the bed with Shep? Her unspeakable rage? Emily and her illness, going to the hospital, snapping at the doctors? Putting on a cheery face for Emily’s return? The graduation, Hadley’s news, her drinking at the meal with the in-laws? Her behaviour at the wedding, referring to Hadley’s face as plump? Dancing with Denny, satisfied watching Denny with her daughters? Shep, the interchange, slapping him? Her not talking to Denny after his outburst against her in the bathroom? Meeting Shep in the supermarket and the interchange?

7. The finding of her husband’s body, her grief? The realisation that he had not abandoned her? The funeral? The end of the film, bringing her anger to some kind of resolution? With Denny? With her girls?

8. Denny, his baseball background, drinking? Curious about the disappearance of Gray? Coming into the house, the meals, seeing Terri in the shower? His presence with the tension? Hiding when Terri came over? The affair? His acting as a father figure to the girls, dancing with them at the wedding, genial towards Gordon and the bungee jumping and Popeye’s admiration, the hospital and Emily? His own anger and outburst against Terri and her not speaking to him?

9. Denny and his work at the radio, not talking about baseball? His relationship with Shep, with the other members of the staff? At the station, mentioning Terri and her listening after asking him not to mention her? The question about contracts, threats? His owing Shep, getting Andy the job? His final angry outburst against Shep?

10. Shep, the radio producer, the Emmys, the local talent, the job, running the station, with Denny, with the other deejays? Not wanting to employ Andy, seeing her, the affair, being found in bed? The wedding and the interaction with Terri and her slapping him? Meeting her in the supermarket, justifying himself, explaining the attraction of younger women and their response to him, taunting Terri with her bitterness? The final fight with Denny and his breaking with him?

11. Hadley, her laughing at her mother, the scene with the dog licking the chicken and serving it for the meal? At college, the graduation, the family’s pride, announcing her engagement, her mother not knowing? The meal, her mother talking about her, drinking, embarrassment? The wedding, her resentment against her mother’s comment on her face, pulling in her cheeks during the ceremony? Pregnant again? The in-laws, her husband, genial, the parents and their coping with the situation?

12. Andy, age, not wanting to go to college, eager for the job, reporter? Enthusiasm, with Shep, promotion at work, the relationship with him? Her matter-of-fact way of breaking off the relationship?

13. Emily, wanting to dance, her stress, love-hating her father, collapse, hospital? Her dancing on-stage and the family’s pride?

14. Popeye, her age, making the video, the visualising of her inserts about anger? Attraction towards Gordon, explaining he was gay? The bungee jumping, pot? Gordon’s father, his bungee jumping on the tree and crashing into the house? His presence at the end?

15. The character of Gordon, young man, bungee jumping, oppressed by his father, gay, the crash?

16. The film and its thesis about anger, the irony of its ultimately not being justified, its consuming people, psychological and physical illness, resentment? The possibilities of resolution and an upside?

SPREAD

US, 2009, 97 minutes, Colour.
Ashton Kutcher, Anne Heche, Margarita Levieva, Rachel Blanchard, Maria Conchita Alonso.
Directed by David Mackenzie.

Spread is a film about a twentysomething, unemployed, idling in New York, being subsidised by women for whom he is a toy boy. Ashton Kutcher seems to fit this role quite well. Anne Heche appears as the major woman who employs him. Margarita Levieva portrays a waitress with whom he falls in love – but who also disillusions him.

The film is interesting only if the characters mean something to the audience. The way the film is written, very much for an audience in its twenties, may not appeal much beyond that particular niche audience. It is the familiar story of the playboy who eventually has some kind of experience that jolts him back into reality – but in 21st century Los Angeles this will not be fulfilled. The film is an American film by British director David Mackenzie (Young Adam, Asylum, Hallam Foe).

1. Audience interest in the characters? Situations? Amoral–moral point of view?

2. The Los Angeles settings, ordinary Los Angeles, affluent Los Angeles? Mansions and apartments? Clubs? Diners? How realistic? Musical score?

3. The voice-over from Nikki? Talking about the easy life – and it all coming true for him? His personality, his appearance, his dress, the braces? The bizarre colours? Flaunting an image? His relationship with women, their falling for him, his meeting them afterwards, remembering or not? The parties? His friend Harry and their discussions, urging Harry on, Harry and his criticisms, breaking with Harry? His encounter with Samantha, her leaving the party, coming on to her? Her succumbing? Their life together, the sexual relationship, idle, in the pool, ordering breakfast, cooking? Her going away and trusting him? His having other women, his being caught? Her reaction to him, the on-and-off relationship, their using each other? His plea when he was kicked out? The character of Samantha – the forties Los Angeles businesswoman with everything she wanted, and expecting it? Her later toy boy?

4. Nikki, wandering, the encounter with Heather, coming on to her, her resisting him? Their meetings, talking, the relationship? The revelation of the truth about her? Her boyfriend, the encounter, engaged, married? Nikki and the effect of Heather on him? Discussions, wanting to change? Going to propose? How genuine? The disillusionment to find that she was married?

5. The young woman who gave good advice, his discussions with her, a sensible anchor for him?

6. The other characters, the people of Nikki’s own age, their lifestyle, partying? The older women? Clients?

7. A picture of Los Angeles – part of the underside? The perspective and the moral tone? Moral issues and judgments?

SKIRTS AHOY

US, 1952, 109 minutes, Colour.
Esther Williams, Joan Evans, Vivian Blaine, Barry Sullivan, Keefe Brasselle, Billy Eckstine, Dean Miller, Margalo Gillmore, The De Marco Sisters.
Directed by Sidney Lanfield.

Skirts Ahoy will be enjoyed by Esther Williams fans. Once again she is full of energy, vivacious, a strong screen presence – whether out of the water or in the water (which she is several times in this film with occasions concocted by Esther herself and the producers – including some underwater swimming with two young children).

However, the film will be enjoyed mainly by those who like the old films from the golden years of Hollywood. It is particularly out of date at this time. It represents the post-war interest in the armed services, the anticommunist feeling of the period. While it does have some emphasis on women’s role in the armed forces, there is a song about women needing men as well as a final speech by the commander who stresses the aspect of women and the development of friendship in the navy – rather than any feminist stance.

That being said, it is a cheerful movie with somebody saying that the navy looks something like an entertainment event. There are musical numbers, swimming episodes, romance, and a very different atmosphere regarding discipline in training from a film like Private Benjamin.

The supporting cast is bright, especially Vivian Blaine (from Fox musicals as well as Miss Adelaide in Guys and Dolls) with Barry Sullivan giving a solid presence as the lieutenant commander doctor on the base. There are episodes with Billy Eckstine singing in a restaurant and an impromptu item at a navy concert, introduced by Keenan Wynn, with Debbie Reynolds and Bobby Van doing a variation on Abba Dabba Honeymoon.

This is the kind of musical and comedy entertainment that was very popular in the early 1950s, done with MGM panache and style?

1. An entertainment for Esther Williams fans? For those who like the golden years of Hollywood? MGM musicals?

2. The brightness of the film, colour, musical score, songs and dances, guest stars? The swimming episodes? The thin plot?

3. The title, women in the navy, the armed forces? The role of women and the changes after World War Two? The intimations of coming feminism? Yet the acceptance of the relationships between women and men and the dominance of men? Esther Williams’ character as more assertive than usual and her encouragement of her friends?

4. The introduction to the three characters, Mary Kate and her being abandoned before the wedding, Whitney Young and her not going through the wedding? Una Yancy and her missing out on her boyfriend? The decision of the three to join the navy?

5. The traditional films about joining the navy, arrival, the speeches, the marching, the rooms and bunks, the friendship, the women together? Whitney and her arriving late, her discussions with Commander Stauton? The easing into the life?

6. Up in the morning, the drills, the work? The comedy about the water for the work and the song and dance routine? Comic style?

7. Mary Kate, homesick? The decision of Una and Whitney to help? The discovery that people could be sent home because of homesickness? Whitney and her plea to the board? The irony of Dick turning up, Mary Kate’s antagonism towards him, their discussions, his fondness for her? His thinking that she was indecisive and weak, determining her resolution, deciding to stay?

8. Dick, abandoning Mary Kate at the altar, coming to visit? His sudden arrival in the navy, singing the song at the dance? His apology to Mary Kate, their dancing together? Happy ending?

9. Una, trying to get in touch with her boyfriend? His being in other places? The finale and her getting her posting, his arriving and she going? Everything rectified for a happy ending?

10. Whitney and Pop, the issue of the lollipops (and the ending with the De Marco Sisters all throwing their lollipops down the drain)? His friendship with Whitney, appreciating her kindness, the discussions, giving her advice, dancing with her, the farewell?

11. The three girls going into town for leave after being given special permission? Paul Elcott and arrival, discussions with the previous doctor, the wariness about the women’s community at the base? The girls in town, finishing up at the same restaurant, the song and dance routine? Their finding the club, changing from male-only? Their seeing Paul, his being in mufti, offering the cigarette lighters? Whitney and her discussions with Paul, his response, the audience knowing what was happening but Whitney not? The dinner, the military women and their reactions, Whitney and the comeuppance? Being hauled in, Paul coming as a witness for her, explaining the situation away, her gratitude? His reading her file, her running away from marriages? His stern reaction? The distance between them, Whitney and her mooning around at the dance? Her deciding to confront Paul, the truth, her apology? His change of heart? At the station, in love with her? Arrangements for the future?

12. A popular piece of popular entertainment – very much of the 50s?

KILLERS

US, 2010, 93 minutes, Colour.
Ashton Kutcher, Katherine Heigl, Tom Selleck, Catherine O’ Hara, Martin Mull.
Directed by Robert Luketic.

Killers! Mr and Mrs Smith, Knight and Day. There are several precedents for Killers – which is less spectacular than Knight and Day but just as far-fetched and even more absurd, but at suburban level.

Ashton Kutcher looking buffed and burley is Spencer, a spy who wants out, especially when he encounters holidaying Jen (Katherine Heigl) in Nice (where he is about to blow up a helicopter). Romance ensues. Unfortunately, she was soundly asleep when he confesses his profession, so it is more than a surprise to her when, after three years of marriage, his boss contacts him again, is found dead in a hotel, and, suddenly, all the neighbours are out to kill Spencer. The last part of the film is a whopping neighbourhood watch assassination attempt that does defy belief.

With Tom Selleck as Jen’s rather buttoned up, former pilot, father trying to protect her and Catherine O’ Hara as her critical mother, nice but in her cups most of the time, there are some amusing moments. Katherine Heigl does a variation on the screen persona that has stood her well recently (Knocked Up, 27 Dresses, The Ugly Truth) and Ashton Kutcher is radiating charm that may or may not attract its targets.

Robert Luketic directs comedies with vigour (Legally Blonde, Monster-in-Law) but all he has to do here is to keep the romantic fluff moving and film the action with pace that might make it momentarily believable.

1. A romantic comedy? 21st century screwball? Parallel universe – and absurdly farfetched?

2. The plausibility, the farcical aspects, especially in the culmination, more than an absurd touch?

3. The American settings, the quiet American town, homes, the building site, very neat suburbia and streets, block parties? Audiences identifying with the location?

4. The introduction in Nice, its beauty, exotic touches, the old city, hotels and restaurants, the sea? Romantic vacationing spot? Audiences not normally in Nice?

5. The special effects and stunts, in Nice itself, the helicopter explosion, the chases, the assassination attempts, the fights?

6. The title and the ironies? Spencer and Jen? The neighbours?

7. The introduction to Jen’s family, the father and Tom Selleck’s style? The pilot, protecting his daughter, being exact? Catherine O’Hara’s? comedy as the mother, her drinking, critique of her daughter? Jen as put-upon, dumped, the parents’ comments, the rooms and protection?

8. Katherine Heigl as Jen, with her parents, being dumped, her efficiency at work, Spencer in the lift, following him, nervous, agreeing to go out with him, early at the restaurant, buying the new dress, the tag, ducking under the table because of her parents, the conversation there, at home, getting out of the dress?

9. Spencer and his job, Ashton Kutcher credible as the spy? The introduction, arrival in Nice, his partner, the double deals? The job, meeting Jen, going swimming, on the boat, the explosive on the helicopter? His return, telling Jen the story of his work and she asleep? Falling in love with her? Meeting his boss, wanting to get out of espionage?

10. The transition to three years of marriage, the happy couple, Jen and her job, her boss, the briefing and the need to go to San Francisco? Going home, the surprise birthday party, worrying about Spencer?

11. Spencer and his job, meeting the neighbours, Harry and his jokes, the surprise party? Harry and the sleepover, his vulgarity, the surprise of his attack?

12. The contact with his boss, Mr Kornfeldt and his seeing the message? Spencer and his search, finding the corpse of his boss? Going home, Harry and his waking up, the fight, his death, the chase? The girl at the office and her attack? All the neighbours and their joining in the attack? The amount of the bounty?

13. Jen going to the airport, her return, the truth, her reaction? Spencer’s protection, her being upset and leaving? The return, saving Spencer?

14. The absurdity of the situation, every neighbour involved, in the house, upstairs, the different friends? The block party and the attempts?

15. Mr Kornfeldt, the confrontation, shooting? The truth about his being a spy? Mrs Kornfeldt and her taking everything in her stride – and with a drink? The final sorting out of the issues, the promises – and a happy ending?

KELLER – TEENAGE WASTELAND

Austria, 2005, 90 minutes, Colour.
Elisabetta Rocchetti, Ludwig Trepte, Sergej Moya, Georg Friedrich, Birgit Doll.
Directed by Eva Urthaler.

Keller is subtitled Teenage Wasteland. This is what this film is about. Written by a young woman in her twenties, the film focuses on two bored sixteen-year-olds, Sebastian and Paul. They drink, steal, even though they attend a private school. The film shows the lack of moral values, the wasteland that is Austria, parents, schools – especially being ineffectual in having some kind of restraining influence on the young teenagers.

While well acted and well made, the film is both grim and pessimistic.

1. The film as written and directed by a woman in her twenties? Her perspective on male adolescence? Problems? The film as her first film? The competence and craft, the authority with which she has made the film?

2. The Austrian city settings, the streets, transport, shops, apartments? The old factory, the basement? The musical score and atmosphere? The contemporary music background?

3. The title, the focus on the factory, the cellar, basement? The added English title, the focus on teenagers, the comment on it being a wasteland – figuratively, literally?

4. The structure of the film, the focus on Paul, his loneliness, his reaching out to Sebastian? Their being together, the growing bonds, the mutual dependence, the weaker and the stronger, the leader and the follower? The experience with Sonia? The abduction, the consequences, the imprisonment? Their own relationships, family? Georg and the dog, the final intervention, the violence? The consequences for Sebastian, Paul and his identity, Sonia as a catalyst? How credible?

5. The director’s comment on sixteen-year-old males in contemporary society, the boy with his alcoholic mother, absent father, his inability to communicate well with his mother though his care and love for her? Her inability to be a parent for her son? The contrast with the affluent boy, the absent parents, the audience never seeing his family? Whether he was telling the truth or not? The life of the teenagers, at school, out of school? Activity, boredom, taking risks? The lack of a moral compass and guidance? The shoplifting, the honest boy, the dishonest? The confrontation with Sonia, following her, stalking, eavesdropping? The sudden abduction and the consequences? Their moving towards a kind of moral depravity, violence, sexual ambiguity? It inevitably leading to some kind of violence?

6. The character of Paul, age, his mother, at home, the pharmacy? His being out and virtually unaccountable to her? The fact that we saw his mother and the scenes at home? His speaking to Sebastian? Sebastian’s response? Sebastian showing him the factory, the basement? Their hanging out together? The pornographic magazines and the posters on the wall? Indications of adolescent sexuality? Paul and his being honest in the supermarket, the confrontation with Sonia? Seeing Sonia afterwards, following her? His compliance with Sebastian taking her? The violent attitudes? His not knowing what to do, unable to make the moral decisions that he knew were right? The boys together, on the tree trunk, Sebastian in the water, the Spin the Bottle, the exchange of T-shirts? Sebastian visiting him at home, his being ashamed, Sebastian’s good manners especially towards his mother? Going back, trying to help the girl, yet being cruel at the same time? The sexual issue, the masturbation? His indecision, deciding to help? Believing Sonia, going to the apartment with the key, Georg and the pursuit by the dog? His being caught, not knowing what to do, Sebastian and the gun, the shooting? His freeing Sonia, stopping Sebastian assaulting her? The sexual experience, its meaning for his identity, sexual curiosity? His going off – where?

7. The contrast with Sebastian, isolated and lonely, needing a friend, his response to Paul’s outreach? Showing off with the shoplifting? Challenging Paul’s values? The pornography magazines, the explanation of his father and the boat? His father selling companies? His being a leader, dominating Paul, Paul wanting to be liked? The confrontation with Sonia in the supermarket, following her, his hitting her, tying her up? His cruelty, begrudging her the water and Paul giving her the water? Her urinating and his comments? Paul giving her the blanket, Sebastian taking it away? His time with Sebastian, the relationship, imagining Paul sexually? The homosexual attraction? His frustration, the Spin-the-bottle, the T-shirt, with the T-shirt in his bed at home? His jealousy of Paul, the masturbation and his being upset? His violence, finding the dog, shooting it, the confrontation with the man, his shooting him after the man challenging him and Sonia shouting? His intention of violent assault? Paul pushing him away – and his last being seen helpless, tied up on the ground?

8. Sonia, her age, working in the shop, dropping the bottle, her confrontation with Sebastian, the stolen bottle, his replacing it? The relationship with the boyfriend, the rough sexual violence, her going to the laundry, the abduction, her being imprisoned, not screaming, pleading, unable to help herself, thirsty, cold, urinating? Her persuading them to take her outside – and her attempted escape? Persuading Paul to go to the apartment? Chris, his being violent towards her, her shouting about shooting him? Her reaction to his death? The sexual encounter with Paul?

9. Chris, relationship with Sonia, going home, the rough sexuality, his violence, ousting her? Looking for her with the workmate? Finding Paul, the dog, the chase, his being hit, tied up, the shooting of the dog, his taunting Sebastian, especially about sexuality? His being shot?

10. The mother, helpless, alcoholic, dependent, loving her son, his care for her, her welcoming Sebastian, her courtesy? Ineffective?

11. A pessimistic picture, gloom? Real and surreal? The symbolism of sexuality at the end – strong enough for the themes of Paul finding himself? A comment on contemporary youth?

THREE BLIND MICE (ED McBAIN’S THREE BLIND MICE)

US, 2001, 85 minutes, Colour.
Brian Dennehy, Debrah Farentino, Mary Stuart Masterson, Rosalind Chao, John Doman, Glenn Plummer, Jason Beghe, Cindy Oliver.
Directed by Christopher Leitch.

This is a film based on the Matthew Hope novels by Ed Mc Bain. Brian Dennehy, convincing in the role, is not the actor one might imagine while reading the Matthew Hope novels.

The Hope novels are set in Florida and this film captures the atmosphere of south Florida. It is a murder mystery. It is set amongst the affluent of the area and the justice department of the state. It also focuses on the Vietnamese refugees and their settlement in that part of the United States.

The film opens with the death of three young Vietnamese who had been acquitted of attacking a wealthy woman. Her husband, a Vietnam veteran and a trained assassin for the American military, threatens to kill them. What emerges is a rather complicated story, the husband, of course, being innocent. However, the final twist is perhaps a bit more farfetched than one might have imagined.

John Doman and Debrah Farentino are the couple. Mary Stuart Masterson is the prosecutor brought in from the northern states. Glenn Plummer has a role as a private investigator for Matthew Hope. There is a very pleasant performance from Rosalind Chao (on so many of the Star Trek series) as a translator with a personal interest in Matthew Hope.

Standard material, interesting because of the background of Ed Mc Bain, different from his 87th Precinct novels. Director Christopher Leitch made Teen Wolf 2 and Courage Mountain in his early career but concentrated on television material.

1. An entertaining murder mystery? For the television audience? Adaptation of Ed Mc Bain’s novel?

2. The Florida settings, the affluent mansion, the justice department, Matthew Hope and his world? The world of the Vietnamese migrants? Musical score?

3. The title? The three men who were killed? The opening, their deaths, the playing cards? The television information about their acquittal? Their alleged assault on Josie Leeds? Her husband’s threatening to kill them?

4. Matthew Hope, his friendship with Leeds? The background of their time in Vietnam? Leeds as a trained assassin, his skills at his job? Hope defending him as a lawyer in Vietnam? Their friendship? The friendship with Josie? His interview with Leeds, asking about his guilt or innocence, taking on the case? Urged on to by Josie?

5. Carter Simmons, his role as prosecutor, his political ambitions? His being in Boston? His return, intervening in the conversation with Patricia Demming? His wanting the case solved quickly? The credibility of the revelation of his relationship with Josie, his brutality towards her, her love for him, his committing the murders?

6. Matthew Hope and the encounter with Patricia, the crash? Their discussions? Her strong stances, her skills and training? The sharing of evidence? Her wanting to promote a deal? Her reaction to Carter Simmons’ intervention?

7. Matthew Hope at work, his daughter working for him, her skills in getting information, her wanting him to listen to the serenity tapes in the car? His relying on Warren Chambers for information? His going to the proprietor of the dock? The information about the car? The number of witnesses? Going to the Vietnamese witnesses? Meeting Li Mei Chen? Their friendship, the work together? Her dismay at the killing of the old man?

8. Warren, his ability to get information, the girl at the bar, the proprietor of the dock? Taping the voices and checking them out? His going to Josie’s house, encountering her brother and his suspicions? His following Matthew, saving him when Carter Simmons attacked him?

9. Josie, her role, encouraging Matthew? The revelation of the truth, her inconsistencies, the flashback of what happened – and her fabrication? The reality? Her making Leeds a victim? Her defying Hope, her arrest? Carter Simmons and the jockey, the murder of the old Vietnamese? The reason because of the numberplate, the Vietnamese alphabet, solving the problem and identifying it? His getting into jungle gear, making Hope crash, the jungle pursuit, Warren Chambers saving Hope?

10. A gallery of interesting characters? The investigation and the techniques? The murder mystery – with the touch of the farfetched?

THE GREAT DIAMOND ROBBERY

US, 1954, 70 minutes, Black and white.
Red Skelton, Cara Williams, James Whitmore, Kurt Kasznar, Dorothy Stickney, George Mathews, Reginald Owen, Harry Bellaver, Connie Gilchrist, Steven Geray, Sig Arno.
Directed by Robert Z. Leonard.

The Great Diamond Robbery was Red Skelton’s last feature film. He then moved into television. He had a successful career in films for fifteen years at MGM and for twenty years on television. This is one of his more restrained roles.

The film is directed by Robert Z. Leonard, who began acting in 1911, directing in 1913, directing The Great Ziegfeld, the Oscar winner for 1936. He continued to film many of MGM’s productions over the coming decades, some routine, others stood out like Pride and Prejudice.

The film shows Red Skelton as an expert diamond cutter, an orphan left on a park bench who is desperate to find his parents. He encounters a conman who not only drums up parents for him, but also leads to a gang of crooks who are interested a two million dollar diamond.

Red Skelton plays the genial little man, the eternal optimist. Cara Williams is the hardboiled daughter of Dorothy Stickney who pretends to be his mother. George Mathews is good as the would-be father. James Whitmore is the crooked lawyer, Kurt Kasznar and Harry Bellaver are the conmen criminals.

The film has some pleasant comedy, some romantic touches, a focus on the committing of a crime – with some slapstick as well. A pleasing last film for Red Skelton.

1. Red Skelton as a comedian, his film career? This film as his last?

2. The New York settings, the apartments and homes, the diamond company? Central Park? Musical score?

3. The focus on Ambrose, his skill as a diamond cutter, his relationship with Bainbridge Gibbons? Gibbons and his financial needs, his wanting the diamond cut, his employing Mr Sahutsky and giving him sedatives? His employing Mr Van Goosen? Ambrose and his comments that they did not know how to cut the diamond? Gibbons pushing Ambrose out of the way?

4. Ambrose and his status as an orphan, going to Central Park, sitting on the bench, his birthday, putting in an advertisement? His discussions with the genial and friendly man at the park? His background history? His drinking, unwittingly, with the woman in the bar? Her handing him over to the police? Mr Remlick and his ambulance-chasing? Imposing himself on Ambrose? Listening to his story, promising to find the parents, taking his deposit, thinking he was an easy touch? Going to his friend Duke, Duke and Emily and their clashes? Agreeing to be the parents? Maggie unwilling to be the sister but fulfilling the role?

5. Ambrose and his introduction to the family, believing everything? Their being nice to him? Making a few mistakes? Emily becoming more motherly? Duke and his friendliness? Uncle Herb and Uncle Tony turning up? Tony suave and considerate? Herb the standover tough?

6. The plan to rob the diamond? The participation in preparing Ambrose? Getting the information from him, bringing the cutting material to the house? Ambrose backing out because it was stealing?

7. Ambrose going to the club, seeing Maggie dance, defending her against the drunken man? Her losing her job? Her being touched? Going for the walk, his gift of the diamond? Making it for her? Her low opinion of herself?

8. The plan, tying up Emily and Maggie? Going to the office, the police, the security guard letting them in? Ambrose and his preparations, concentration, about to cut the diamond? Emily and Maggie getting free, the phone call, getting through Remlick? Stopping him?

9. The slapstick comedy of Ambrose and Maggie escaping, the crooks pursuing them? The police rounding them up?

10. Mr Bainbridge, Maggie and Ambrose swallowing the diamonds – and going to the delivery? The recovery of the diamonds, the proposal, the happy ending? A film with a nice feeling?

EVELYN PRENTICE

US, 1934, 79 minutes, Black and white.
William Powell, Myrna Loy, Una Merkel, Rosalind Russell, Isabel Jewell, Harvey Stephens, Frank Conroy.
Directed by William K. Howard.

Evelyn Prentice is one of those films that Hollywood likes to make with the names of a woman: Stella Dallas, Mildred Pierce, Norah Prentiss, Hilda Crane…

Evelyn Prentice is played by Myrna Loy, the wife of one of the best defence lawyers in the city (William Powell). He is very busy at his job, unable to pay much attention to his wife and daughter. A conman, also a poet (Harvey Stephens) decides to target Evelyn Prentice and strikes up an acquaintance with her, she writes him letters, he decides to use these for blackmail so that they would be misunderstood and her reputation ruined. When she goes to get the letters back, there is a scuffle, she fires a gun and assumes that she has killed him. Soon another woman is arrested, his regular girlfriend (Isabel Jewell). Evelyn Prentice is so concerned that she urges her husband to defend the accused woman. The culmination of the film is in the courtroom, with a confession by Evelyn Prentice but with a strange twist concerning the evidence, the murder is not quite a clear-cut as was thought.

William Powell and Myrna Loy had appeared in The Thin Man and were to appear in several of The Thin Man series as well as fourteen films together. Una Merkel is the chatty best friend, Rosalind Russell appears in a minor role, playing suave and sedate rather than the lively character she was in later films, as a femme fatale.

The film was directed by William K. Howard, a director of small films except for Fire Over England, the Elizabethan Story with Flora Robson as Queen Elizabeth.

1. An entertaining drama, court drama, murder mystery?

2. Black and white photography, the American city settings, affluence, prisons and the court? The musical score? The short running time?

3. The title, the focus on Evelyn? Myrna Loy, Evelyn’s character, love for her husband, feeling neglected, socialising, her love for her daughter? Friendship with Amy? The chance meeting with Lawrence Kennard? The discussions, seeing him again, socialising, the movement towards more intimacy? Her writing letters? Her feelings for her husband, his going to Boston, the watch with the inscription “To Nancy from John”? Her suspicions? The plan for the trip? Her going to Kennard, to get the letters back, his blackmailing her, her seeing the gun, pulling it on him? The audience not seeing what happened but hearing the shot? Her assuming that she had killed him? The newspaper headlines? The injury to her lip? Her husband’s questions? Her confiding the truth to Amy? Her urging her husband to defend the accused woman? The arrival of Mrs Blake, the comparisons to the other woman with Evelyn? Going to the court, encouraging her husband? Her wanting to confess the truth, listening to the prosecutor summing up? Her confessing the truth, the judge’s response, her husband reading the diary? The cross-examination, her telling the truth? The sudden change of evidence, the two shots, the fact that she had not killed Kennard? Her going home, with Amy, with her daughter, thinking that John had rejected her, the image of the broken vase by the daughter, fixing it? The reconciliation between the two, the trip, the future?

4. John Prentice, his skills as a defence lawyer, with Mrs Harrison? Her behaviour towards him, on the train, the advance, the watch? John and his integrity? His neglecting his family, calling in for the socials, with his daughter? His interest in the trip, the possibilities of being with his wife and daughter? Evelyn and her persuading him to take on Judith Wilson’s case? The interviews in the prison, his right-hand man and getting the evidence, ultimately finding the diary, reading it in the court? His reaction to Evelyn’s confession, trying to get a stay, his cross-examination, her confession, the evidence of the two bullets, the inconsistencies in Judith Wilson’s answers? His cross-examining her, getting her to confess, then his plea for the brutality exercised on her by Lawrence Kennard? Her acquittal?

5. Lawrence Kennard, targeting women, his charm, the poetry, going out with Evelyn, the letters, the blackmail, his death? His treatment of Judith? Of the other women?

6. Judith, her love for Kennard, trying to be good to him, her exasperation? In jail, her saying she did not kill him, the discussions with John Prentice? In court, the cross-examination, the truth? Her being freed?

7. Amy, her French affectation, friendship? Confidante for Evelyn? Being told the truth, accompanying her to the court?

8. The court sequences, the determination of the district attorney, elections, his hard-hitting speech against Judith Wilson? His reaction to what had happened, withdrawing the charges?

9. Family drama, troubles between husbands and wives, careers and home life? The aspect of the murder mystery? Courtroom drama?

THE GREAT ZIEGFELD

US, 1936, 185 minutes, Black and white.
William Powell, Myrna Loy, Luise Rainer, Frank Morgan, Fanny Brice, Virginia Bruce, Reginald Owen, Ray Bolger, Ernest Cossart, Nat Pendleton.
Directed by Robert Z. Leonard.

The Great Ziegfeld won the Oscar in 1936 for best film. Luise Rainer also won the best actress award for her performance as Ziegfeld’s wife, Anna Held. She was to win the Oscar the succeeding year for The Good Earth. (She is praised especially for the phone sequence towards the end when she rings her ex-husband and congratulates him on his new marriage. Other nominees that year included Carole Lombard for My Man Godfrey, Greta Garbo (whose acting style Luise Rainer seemed to parallel] for Camille and Irene Dunn for Theodora Goes Wild.)

The film is a huge and long extravaganza. The TCM version includes the music for the overture, for the intermission (entre’act) and the exit music. The film is a loose biography of the famous entrepreneur Florenz Ziegfeld Jr. It begins with his life in carnivals in 1893, his work with the strong man Sandow (Nat Pendleton) and his rivalry with the fictional entrepreneur Billings (a typical Frank Morgan). Over the years, Ziegfeld’s ambitions increased, always getting illuminating ideas for grand productions but generally being broke. He seems to rely very much on Billings, however initially unwilling, over the years to supply money, especially when he partnered the entrepreneur, Erlanger.

One of Ziegfeld’s ambitions was to glorify the American Girl, and the creation of the Follies. The first half of the film builds up to quite an extravaganza in the musical ensemble based on Irving Berlin’s A Pretty Girl is Like a Melody, along with other melodies, and inclusion of brief excerpts from musical classics. Dennis Morgan (voiced by Alan Jones) is at the centre of this extravaganza. There is lush production, lots of curtains, lots of showgirls in feathers and other exaggerated costumes. In the second part, this is compounded by the rooftop performance.

The film features quite a number of songs including I Wish You’d Come and Play With Me and It’s Delightful to be Married, which was sung by Luise Rainer. If You Knew Suzie is sung by an actor imitating Eddie Cantor in blackface. Other songs include You Gotta Pull Strongs, She’s a Follies Girl, You, You Never Looked so Beautiful Before, Yiddle in the Fiddle, Queen of the Jungle and My Man (all sung by Fanny Brice) and Look for the Silver Lining as well as A Circus Must Be Different in a Ziegfeld Show. There are also melodies from Ziegfeld’s last famous successes, Rio Rita, Whoopee, The Three Musketeers and Show Boat (with some themes from Ol’ Man River).

William Powell is William Powell as always on screen, not different but always persuasive, as Ziegfeld. Luise Rainer is very much in the European style as Anna Held. Myrna Loy appears only in the last forty minutes as Ziegfeld’s second wife, the actress Billie Burke (who was to appear as the Good Witch Glenda in The Wizard of Oz – as did Frank Morgan as the Wizard and Ray Bolger (who was introduced in this film) as The Scarecrow).

While the film is conventional in its presentation of the biography of Ziegfeld, the ups and downs of his career, his ability to contract stars out of the clutches of rival entrepreneurs, and his investment and suffering in the crash of the 1929 stock exchange debacle, there is also the background of the development of Broadway in the first decades of the 20th century.

Ray Bolger does a fine song and tap-dance routine, Virginia Bruce is the hard-drinking, difficult chorus girl. Fanny Brice (and it is interesting to see how well Barbra Streisand imitated her in Funny Girl and Funny Lady) does some comedy routines as well as some songs.

In the mid-1930s, Warner Bros had the hold on musicals, with stars like James Cagney, Dick Powell, Ruby Keeler and the Busby Berkeley choreography. This was a major breakthrough for MGM who then tended to dominate musicals for the next twenty years. This same year Universal made James Whale’s version of Show Boat. The colour confections from 20th Century-Fox? with Alice Faye and Betty Grable and others were soon to come on the scene. The second Oscar for best film was won by The Broadway Melody of 1929. Later Oscars, especially in the 60s, gave awards to musicals like West Side Story, My Fair Lady, The Sound of Music. In 2002 the musical Chicago won the Oscar for best film.

1. An Oscar-winning entertainment? Lavish MGM values? 1936, the style, an extravaganza?

2. Black and white photography? The biographical background, Chicago, New York, American cities, the Broadway theatre, carnivals?

3. The music: the overture, the entre’act, the exit music, the effect of the background score?

4. The score, the songs? The range of songs and the performers?

5. The staging, the climax of the first part in the grand and grandiose Follies presentation? The staging for Anna Held’s songs?

6. The performance on the roof? The incidentals, Sally, Look for the Silver Lining, Whoopee, Show Boat, The Three Musketeers, Rio Rita? The songs for Eddie Cantor, Fanny Brice?

7. The guest performers, the actors for Eddie Cantor and Will Rogers, Ray Bolger and Fannie Brice, Harriet Hoctor performing their own numbers?

8. Ziegfeld and his life, the film spanning almost forty years? His having died recently for 1936? His place in American theatre history, reputation, contribution?

9. The film as a biography, his life, character, career, the breaks, his personality, business sense, risk-taking, his loves, his vision? A conman, generally successful?

10. Chicago in the 1890s, the fair, Billings as his rival, as his friend? The crowds, Little Egypt, Sandowl? Ziegfeld’s scheme that they should be married – or at least the media think they should? Promotion? The woman touching Sandow’s muscles? Ziegfeld’s idea, success, the media, on tour, the fights, the fizz of the fight with the lion, the denunciations?

11. Travels to New York, to Europe, to London? Billings and his plan to contract Anna Held? Ziegfeld, borrowing the money, getting the information of Billings’ destination, going to the theatre, the flowers, meeting Anna Held, very direct in his comments on her performance, her reaction, change of heart, his being persuasive? Her contract? Her initial failure and comments in New York? The delivery of the milk, the rumours about her bathing in milk? Her anger and frustration? People curious, the papers, the success? The marriage?

12. Anna Held in herself, her talent, performing in France, London? Very continental in style? Her maid? The Americans not understanding her accent? The encounter with Ziegfeld, her falling for him going to the US, the final success, the show, the jewels, showing them to the girls, Audrey’s reaction? The marriage, the anniversary, her happiness? Attending the other shows? Her seeing Audrey and her embrace of Ziegfeld, leaving, no explanations? Her later commenting that she hoped the divorce would bring him back to her? The famous scene of the phone call, her tears, saying goodbye to Ziegfeld and wishing him well in his new marriage?

13. Audrey, rivalry with Anna, hard, drinking, with the girls, her performance, the drunken speech, Ziegfeld’s dignified reaction, her not becoming a star, her anger with Ziegfeld, the divorce, leaving him?

14. Ziegfeld, his relationship with his father, contact with him, the little girl learning the piano, wanting to marry Ziegfeld, her turning up, Ziegfeld getting her the job? Ziegfeld and his eye for talent, the young actress, getting her to sign the contract, Look for the Silver Lining?

15. The Follies, the money needed to produce them, Billings and Erlanger and supplying the money? The costumer and his wanting his money, Ziegfeld’s bluff, twisting it back on the costumer who allowed his costumes to be used?

16. The extravaganza in the theatre, the extravaganza on the roof?

17. The decline in Ziegfeld’s fortunes, the flops, his being in the barber’s, hearing the men criticise him, borrowing the money, promising four successes, a year later and his getting the police to find the men and bring them to his office – and give them free tickets?

18. Billie Burke, her reputation, going to the dance with Billings, not knowing Ziegfeld in person, the dance, Ziegfeld engineering the whistle to be blown whenever he was with Billie Burke, their talking on the balcony, her discovery of the truth, their later meeting, against the wishes of her entrepreneur, their secret marriage, her continuing to act, the years passing, their daughter, Ziegfeld ageing, settling down?

19. Ziegfeld and his investment in stocks, Billings and his stocks? The news of the stock exchange crash, their both losing their money? Billings laughing that he could not give any money if Ziegfeld wanted to borrow from him?

20. Ziegfeld’s age, illness, Sidney as his servant (and having poached him from Billings as well)? Billings’ visit, trying to encourage him for a new show, his sitting in his chair, his death?

21. The film as a tribute to Ziegfeld? The brief summary of his career at the end? Ziegfeld’s continuing reputation?