THE EMPEROR’S CANDLESTICKS

US, 1937, 89 minutes, Black and white.
William Powell, Luise Rainer, Robert Young, Maureen O’ Sullivan, Frank Morgan, Henry Stephenson, Douglass Dumbrille, Frank Conroy.
Directed by George Fitzmaurice.

The Emperor’s Candlesticks is one of those adventure fantasies set in 19th century Europe – akin to The Prisoner of Zenda. This time the candlesticks are to be transported from Vienna to St Petersburg. They have a secret hiding place for notes and two different notes are hidden. They are to be transported by a suave Polish spy (William Powell) and a Russian spy (Luise Rainer) to St Petersburg. Through a series of adventures on the train journey from Vienna to St Petersburg, they are stolen by the countess’s maid and an accomplice, sold to an antique shop, transported from Budapest to Paris to an auction house in London. The film focuses on clashes between the Poles and the Russians in the 19th century, the abduction of the Crown Prince in Vienna and his being held as a ransom for the release of a Polish agitator.

William Powell does his usual suave manner as the Polish baron. Luise Rainer, after her Oscar-winning performances in The Great Ziegfeld and The Good Earth, is the Russian spy. Frank Morgan does his usual bluff role as the Grand Duke’s adviser. Robert Young is the Grand Duke and Maureen O’ Sullivan the daughter of the Polish agitator who lures the Crown Prince for his abduction. A lot of regular MGM supporting players are in supporting roles.

The film is quite farfetched – but that does not matter in terms of the impact of the stars, the cat-and-mouse games in pursuing the candlesticks and getting them to Russia.

The novel on which the film was based was by Baroness Orczy, the author of The Scarlet Pimpernel.

1. An entertaining political fantasy? Espionage in the 19th century? The Austro-Hungarian? empire and the Russian empire?

2. The black and white photography, the re-creation of period, the lavish Vienna sequences, Moscow? The trains, Budapest, Paris, London, the Polish and Russian countrysides? The musical score?

3. The title, the focus on the candlesticks, the secret hiding place? The messages? The needs for the Poles and the Russians to have the candlesticks?

4. The opening, the Polish plot in Vienna, the men assembled at the opera ball, the Grand Duke in disguise, his adviser? Romeo and Juliet? Maria posing as Juliet, leading the Grand Duke on, his leaving the ball, his being imprisoned by the Poles? His being persuaded to write the letter to his father, the persuasion because of his attraction to Maria? The Polish situation with Maria’s father in prison in St Petersburg? The importance of getting the letter to the tsar? The decision to ask Baron Wolensky? Mr Korum and his visit to Wolensky, persuading him to take the letter? Wolensky’s reputation as a spy?

5. The introduction to the Countess Mironova, her reputation as a Russian spy? Her going to see Prince Johann? The candlesticks, the decision for her to take them? Passing Wolensky on the stairs? The train, her going on the earlier train? Her maid, her accomplice, the plan, stealing the jewels and the candlesticks? Her being distraught, the notice at the station?

6. Wolensky, Prince Johann, taking the candlesticks, hiding the letter? Prince Johann keeping them, his change of mind? Wolensky, trying to track the countess? Reading the notice? In the hotel, their interactions, cat-and-mouse, the dinner? The baron seeing the maid and remembering that she could be the criminal? The arrest of her accomplice? No candlesticks? The baron going to Budapest, the countess following him? The antique dealer, the sale to Paris, their going to Paris together, the futile search, to London? The baron and his bidding at the auction, the countess arriving, outbidding him? Their combining the finances? The baron taking the wrong candlestick?

7. The baron discovering the letter for his immediate arrest? The interactions with the countess? The confrontation, getting back his letter? The explanation of the mission? His going to Russia alone?

8. The countess, going back to Russia, admitting defeat? The official coming to her house, her being under arrest, the arrival of the baron? Their both being taken to the tsar, the tsar admiring their courage, their love, pardoning them?

9. The baron and the various means of getting the letter to the tsar, the device of focusing on the pockets and sleeves, the feet of all those involved in getting the letter? the pardon and the release of the prisoner?

10. The Grand Duke and his assistant, in the abduction hotel, their luggage, the food, Maria and the talking with the Grand Duke? Their being released?

11. The happy ending – romantic pseudo-historical novels and their appeal?

A MIDSUMMER NIGHT’S DREAM

US, 1999, 116 minutes, Colour.
Kevin Kline, Michelle Pfeiffer, Stanley Tucci, Rupert Everett, Callista Flockhart, Dominic West, Christian Bale, Anna Friel, David Strathairn, Sophie Marceau, Roger Rees, Sam Rockwell, Gregory Jabara, Bill Irwin, Robert Wright Penn, Bernard Hill, John Sessions.
Directed by Michael Hoffmann.

A Midsummer Night’s Dream is one of Shakespeare’s most celebrated comedies. It was filmed in the 1930s with a cast which included Mickey Rooney and Olivia de Havilland as well as James Cagney. This 1999 version is a star-studded production. The screenplay was adapted from Shakespeare by its director Michael Hoffmann. Hoffmann has made a number of films, quite varied in their styles, including The Emperor’s Club, One Fine Day (also with Michelle Pfeiffer), Restoration and Soap Dish.

The film was made in Italy with lavish Italian settings, a late 19th century setting. However, despite the Italianate look, the Greek names are used as well as the focus on Athens. A great deal of attention has gone into the Italian background, the town, costumes and décor.

The film has both English and American actors, each using their own accent which makes for something of a mix-up. Kevin Kline enjoys himself and is given prominence as Bottom. Michelle Pfeiffer is the Queen of the Fairies while Rupert Everett is Oberon. Stanley Tucci is an unusual choice for Puck.

The lovers are portrayed by Dominic West and Christian Bale, Callista Flockhart and Anna Friel, with David Strathairn as the Duke and Sophie Marceau as Hippolyta. The mechanicals also get some prominence with Roger Rees as Peter Quince, Sam Rockwell as Flute and Bill Irwin as Snout.

The film captures the atmosphere of the midsummer night, the life of the city, the comedy of the mechanicals rehearsing and then performing their play as well as the mix-up with Titania falling in love with Bottom and a mix-up with the lovers.

A Midsummer Night’s Dream is a matter of taste – eccentric in its way, a touch of frivolity for a summer production.

1. The various versions of Shakespeare in the 1990s? This film influenced by them, especially by the work of Kenneth Branagh and Baz Lurman?

2. The play itself, its status amongst Shakespeare’s comedies? A frolic? An outdoor entertainment?

3. The film’s use of Italian settings, the late 19th century, the costumes and décor, the atmosphere of Italy, the beginnings of the mechanised age but the decorum and the style of the 19th century? The musical score – and the use of Verdi, La Traviata as well as Rossini? Mendelssohn’s incidental music for A Midsummer Night’s Dream including The Wedding March?

4. The quality of Shakespeare’s verse and its recitation, the American accents, the British accents, their combination?

5. The staging of the comedy, the forest, at court, the marketplaces?

6. The story of Theseus and Hippolyta, framing the play? Duke Theseus and his rule of Athens, a sober ruler, just? The plea from Egeus for judgment about his daughter? The lenience shown by Theseus? His love for Hippolyta, her wilfulness? The end, the judgment about the lovers, his decisions, their marriage, his ordering Egeus to obey? The staging of the play, his choice of Pyramus and Thisby, enjoyment?

7. The lovers, the mix-up with the romance? Hermia and her love for Lysander, Demetrius wanting to marry her, the place of Helena? Egeus and his arranging the marriage for his daughter, her defiance? Their going to the woods? Puck and the drops, the mix-up, Lysander and his rejection of Hermia, infatuation with Helena? Demetrius and his love for Helena? The romance, the chases? Puck having to change the eye drops? The happy ending, the couples, found together in the woods, the judgment of Theseus, the marriage, their participation in watching the play?

8. The fairies, Oberon and his disdain, Titania and her condemnation of Oberon? Puck and the other fairies, in the woods? Oberon and his decision with the eye drops, Puck and his administering them – and making mistakes? Titania and her waking to find Bottom? His donkey’s head? Her infatuation and his response? Oberon and having to rectify the situation? Titania and her reconciliation with Oberon? Puck and his observations on human natures and ‘what fools these mortals be’?

9. Puck, his age, character, messenger, confidant of Oberon, his mission, mistakes, watching in dismay, rectifying the situation?

10. The mechanicals, Peter Quince and his exasperation in trying to direct the play? Flute and his awkwardness, not wanting to be Thisby, the comedy with his voice? Snug and his observing everybody, with the messages about which play to put on, the disappearance of Bottom? Snout and his shyness, having to be the wall?

11. Bottom, his place in the town, his eyes for the ladies, his rhetorical style and performance? The argument about Pyramus and Thisby? His accepting the role, the rehearsals, his interaction with the other mechanicals? His being transformed into a donkey – and their fear, running away? Disaster for the play? His being returned to normal, his coming to perform? The performance of the play, Flute and his being moving as Thisby, removing the wig, the audience moved to tears?

12. The happy resolution of all the problems? A happy ever after? A Shakespeare ‘entertainment’?

THE SUNCHASER

US. 1996, 122 minutes, Colour.
Woody Harrelson, Jon Seda, Anne Bancroft.
Directed by Michael Cimino.

The Sunchaser is one of the few films made by the ill-fated Michael Cimino. After beginning a successful career in the 70s with Thunderbolt and Lightfoot, he won an Oscar for The Deerhunter. Soon after, he bankrupted United Artists with Heaven’s Gate. He made very few films afterwards including The Sicilian, The Desperate Hours and The Sunchaser.

The film deals with ancient Indian symbols and mythologies. Woody Harrelson portrays a wealthy doctor who comes across a patient from prison. The patient (Jon Seda) is terminally ill but takes the opportunity to abduct the doctor and head for the mountains to find the tribal elder whose book he read and who he hopes will give him some kind of possibility for healing.

The film becomes an abduction road movie, the doctor an unwilling participant who is terrified by his young abductor. After various difficulties and attempts to escape, the doctor is won over by the tenacity of the vision of the young man, getting medicine for him from the hospital, eluding pursuit and finally taking him into the mountains. On their way, they meet a New Age woman, played by Anne Bancroft, who challenges the doctor in his scepticism and his lack of openness to things more transcendent than his ordinary experience? Finally, they reach the mountains and the young man is able to see the elder and to find the lake where he may or may not find healing. The doctor, on the other hand, has his perspective opened beyond the limits of his work, his ambitiously affluent wife, and his sceptical routines.

The film was not widely released but is an interesting portrait of two men, their interaction as well as an openness to native American mythologies and their meanings.

1. The work of Michael Cimino? The impact of this film, for audiences, in his career? Its not being widely seen?

2. The Californian settings, the prison, the hospital, the streets? The film as a road movie, the Californian highways, the Arizona roads, the back roads? The open spaces, the mesas, the mountains and the streams? The contrast between the ancient Indian traditional lands and the modern city? The musical score?

3. The title, the story told by Blue? The quest for the wise man? The leading of the Sunchaser? The quest by Blue for the wise man? Paralleling the flashbacks and the story of Michael and the illness of his brother Jimmy and his request to terminate his life? Michael then in a similar quest as that of Blue?

4. The establishing of the situation: Blue, in jail, the cell, his age, his crimes, his illness, the chemotherapy? His being chained? Taken to the hospital? The introduction to Michael Reynolds, driving the car, wealthy, his work in the hospital, the diagnosis of the old man, the interruption with his wife on the phone, wanting to pay two million for the house, her pressure on him?

5. The meeting between Blue and Michael Reynolds, Michael and his being unwilling to go down, Chip and his comments, wanting the female doctor to take the difficult case? His meeting with Blue, the antagonism, the smoking? His starting again? The examination, the results of the scans, Blue having only two months to live, Blue hearing this? The discussion between Chip, Michael and the head doctor for putting Blue in an experimental situation? (And their later giving police the information that this was Michael’s idea?)

6. Going to the hospital, the police guard, the two cars, Blue and his attack on the policeman, abducting Michael? The driving, Michael and his resistance, the gun, his fear? His talking about his family, the audience having seen him and his wife with their child? The appointment for the dinner with his wife, the issue of the house?

7. On the road, the driving, Blue pushing the accelerator down? Getting petrol? Michael throwing his wallet away, his breaking his watch, the refusal to give his ring even with Blue firing the shots? The redoing of the car, Blue and his friend?

8. Going to the diner, the bikies, Blue putting Michael in danger from the rednecks, the fight? Blue and his taking the car, picking up Michael, the pursuit?

9. In the open land, Blue and his telling the story of the Sunchaser, their being on the edge of the mountains, their decision of what to do? Michael and his decision to help Blue, commenting on his needs to go to the doctor?

10. The hospital, Michael going in, taking the drugs? The police pursuit, the reports, the television, Michael’s wife and mother and daughter watching the television? The interrogations of the wife, her saying that her husband was mentally balanced?

11. Meeting Renata, in her van, her openness to myths, transcendence, Indian traditions? Her listening sympathetically to Blue? Her challenge to Michael to open his mind?

12. Finding the area where the wise man lived, Blue and the book? His getting weaker? Michael’s decision to take him to the mountain yet sceptical? Meeting the Navajo woman, her having television and knowing who they were, Michael and his naivete and ignorance? His pleading with the woman to take him to her father? His complete change of attitude?

13. Blue, the old man, the fulfilment of his quest, the vision, hope, going down the hill, into the lake? His death or not?

14. Michael, the helicopters in pursuit, his having to reassess his whole life, stances?

15. The film ending with Blue going into the lake – but giving Michael’s being reunited with his wife as a postscript during the final credits?

16. A film of the 90s, the move towards spirituality and transcendence, the role of traditional religion, the popularity of New Age practices?

WHY DO FOOLS FALL IN LOVE?

US, 1998, 116 minutes, Colour.
Larenz Tate, Halle Berry, Viveca A. Fox, Lela Rochon, Paul Mazursky, Pamela Reed, Alexis Cruz, Lane Smith, Ben Vereen.
Directed by Gregory Nava.

Why Do Fools Fall In Love is a study-biography of songwriter Frankie Lymon. It was directed by Gregory Nava, director of such serious films as El Norte and Mi Familia as well as the portrait of the Hispanic singer, Serena, with Jennifer Lopez.

The film is not a straightforward narrative about the life and career of Frankie Lymon. Rather, it focuses on three women who claim to be his wives. They give initial interviews. They make claims on the royalties for his successful record, Why Do Fools Fall In Love. The structure of the film is the court case and the hearings about who has the rightful claim. Within this context, there are flashbacks illustrating Frankie’s life. However, Frankie is portrayed as described from the perspective of each of the three women.

The three women are Halle Berry as singer Zola Taylor, Viveca A. Fox as Elizabeth Waters the shoplifter whom he helps and with whom he lives for many years, and Lela Rochon as the Georgia schoolteacher whom he marries shortly before his death. Larenz Tate is good as Frankie Lymon, full of Lymon’s vitality. However, his difficulty is that he has to portray Lymon as perceived by the women. Pamela Reed is the sardonic judge and Paul Mazursky appears as the entrepreneur Morris Levy.

Along with films like the Tina Turna biography, What’s Love Got To Do With It, this is a portrait of an influential singer of the late 50s and early 60s. However, as with so many of the singers, his life and career collapse and he becomes the victim of drug addiction.

1. The impact of the film as biography, as portrait of a career singer? Of a failed life and career?

2. The 50s and 60s settings? Los Angeles, New York? Affluence, the poorer neighbourhoods? The agencies? The theatres for the concerts? The contrast with Georgia? The 1980s courtroom?

3. The music, the era of rock ‘n roll? Frankie Lymon and Why Do Fools Fall In Love? The glimpses of his talent, the group, the Teenagers? Their songs? The Platters and other artists? Diana Ross? The concerts and the fans in the theatres? The clubs? The range of songs – and the final glimpse of Frankie Lymon and real footage during the final credits?

4. The title, its irony in connection with Frankie’s life, the women in his life?

5. The structure, the initial talking heads of the three women? Their stances and attitudes? The presentation of the court case, the flashbacks and the memories of each woman from her perspective? The cumulative portrait of Frankie Lymon? Morris Levy and his reminiscences? The flashbacks to Frankie’s childhood? The presentation of Frankie in the 50s and 60s? His death?

6. Larenz Tate as Frankie Lymon? The cinematic style and hand-held camera for the childhood sequences? Their insertion, Frankie as a child, his relationship with family, poverty, neighbourhood, friends? The Teenagers and their songs? The founder, Frankie as lead singer, their subsequent falling out? Concerts, the fans? On tour? Frankie dancing with the white girl on television and the executive’s reaction? The tours, with Little Richard? The friendship with Little Richard? The arrival in the Ohio town, segregation, the waitress and her recognising them and giving them everything they wanted? The records, Frankie alone? His relationship with Zola Taylor, her admiration for his work, the liaison? The encounter with Elizabeth, seeing her in the shop and shoplifting? Pretending to be her husband? Their time together? His addiction, growing dependence? Elizabeth and her having to go out as a prostitute to get the money? Their falling out? His anger at her? The visit to Los Angeles, Zola’s house, Elizabeth’s memory of this encounter? Elizabeth and Zola re-entering his life? His up-and-down career? His collapse on stage? His going to Georgia, military, meeting Emira, courtship, poetry, dancing, gardening? The postman and his recognition of him, his going to see Morris Levy, his rejection, taking drugs? Death? Morris Levy paying for his burial?

7. The three women: Zola, her talent as a singer, with The Platters, on tour, her glamour? Her disregard of Frankie, admiring his performance? Their time together? Her presence in the 1980s, tougher, harsher? Her evidence about the marriages in Mexico – but no documents? Her continued career, Frankie coming to see her, her affluence? Elizabeth: slatternly in the 80s, tough? The shoplifting, going home with Frankie, going to the club, seeing him sing, the common-law marriage? The time with him, ups and downs, the hardships for her to get the money? The visit to Zola’s house? The separation? Emira: refined, the schoolteacher, bringing a book to lunch, meeting Frankie, swept off her feet, the choir in the church, his teaching her to dance in the garden, the gardening, the poetry? Allowing him to go for his career, her grief at his death?

8. The three women in the court, their squabbles, Elizabeth’s deal with Zola, having to cut Emira in after giving her the alcohol? The final verdict, the judge’s summing up, each of their claims, the complexities of law? Elizabeth winning and cutting them out? Her comment, Zola and her being tired of the whole affair? Emira and her pursuing the case in the courts, appeals, her getting only fifteen thousand dollars?

9. Morris Levy, the managers and agents of the period? Getting their names on the records as composers? Common practice? His promotion of Frankie, getting him to go solo? In the office, Frankie’s later appeal to him, his rejection of him as an addict and unreliable? His paying for the funeral, in the court case, his attempts at explanation?

10. The judge, her listening to the performances, her sardonic attitude, her summing up and the clarity of the claims?

11. The three lawyers for the women, their place in the court, the cross-examinations? Their interactions with their clients?

12. Little Richard, portraying himself, his performance in the court? Seeing him in his young days – and the same style?

13. The world of rock 'n roll, concerts, fans, television performances? Records and sales? The fragility of careers?

14. The world of drugs, the effect on celebrities, their dependence, habits, having to get money? Their deaths?

CLAY PIGEONS

US, 1998, 104 minutes, Colour.
Joachim Phoenix, Vince Vaughn, Janeane Garofalo, Scott Wilson, Georgina Cates.
Directed by David Dobkin.

Clay Pigeons was an early film by director David Dobkin who went on to make Shanghai Nights with Owen Wilson and Jackie Chan and The Wedding Crashers with the star of Clay Pigeons Vince Vaughn and Owen Wilson. The Wedding Crashers was one of the most successful comedies of 2005.

This is a different kind of film, a film about violence as well as a conman – with touches of macabre humour. Joachim Phoenix portrays an ordinary mechanic in a Montana town, involved with a woman, confronting the husband who kills himself, trying to put the blame on him. A chance encounter with a friendly traveller leads to a complex development where the traveller is revealed as a serial killer who also frames him.

Joachim Phoenix was at the beginning of a very successful career, making Gladiator the following year. Vince Vaughn had made an impact in Swingers and had appeared in many films, especially at this time, Gus van Sant’s remake of Psycho. Here he is another psycho, using something of the laugh that he employed in Van Sant’s film. There is a good supporting cast, especially Janeane Garofalo as a tough FBI agent and Scott Wilson as the sympathetic sheriff.

1. Interesting drama, character study?

2. The Montana settings, the small town, the isolation, the terrain and the physical beauty, the grasslands, the lake? The musical score, the range of songs used, the overtones of Elvis Presley, Midnight Cowboy…?

3. The title, the reference to Clay, the opening with the shooting of targets, the setting up of targets and shooting them down?

4. The opening confrontation, Clay and Earl, their friendship, shooting? Their drinking? Earl and his revelation of the knowledge of the affair, trying to set up Clay to shoot him, the shooting in the leg, his suicide? Clay and his telling Amanda, her not wanting anything to do with him? Clay’s idea and success of putting the truck over the cliff and its being burnt? Sheriff Mooney and his accepting this evidence?

5. Clay, trying to come to terms with his life, Amanda and her visits, sexual provocation, hounding him? His reaction in the bar, slapping her? Her anger? His friendship with Gloria, the night together, Amanda shooting her? His getting rid of the body? His growing friendship with Lester, playing pool, going fishing? The finding of the body, his doing the favour in not mentioning Lester? The discussions with the sheriff, the finding of bodies?

6. Amanda, her relationship with Lester, Clay seeing them? Lester and his killing Amanda? The revelation that he was a serial killer? His moving away? Clay and the FBI investigation?

7. The sheriff, his sympathy, the evidence, his liking Clay? Participating in the investigation? His awkward deputy and his going to sleep, embarrassing people, stepping in the evidence? The sheriff and his pleading Clay’s cause? The finale and his meeting with Lester, posing as a horse owner, taking him in the truck – with the police cars following?

8. The FBI agents, their arrival, the personality of Agent Shelby, Agent Reynard and his help? The body, the tough style, the evidence, the crowd in the house, the fire brigade and the counsellors? Her working with the sheriff? The interrogation of Clay, her suspicions? The search of his house, finding the knife? His being put in the cell? Agent Shelby and her going to the bar, the chance encounter with Lester, his smart-talking her, his going off with Gloria? The scene in the motel, her watching the movies on video, discovering the sex video between Clay and Amanda? Her interrogation and confronting Clay? (And his asking the sheriff not to make it public?)

9. The build-up to the confrontation, Lester with the girl on the pier, the threats, finally letting her go? Clay, waking up the deputy, pretending to get the meal, getting out and taking the car, going to the pier and confronting Lester? Agent Shelby and her arrival, Clay pointing her in the wrong direction?

10. Clay, his being framed, his telling the truth to the agents, his still being put in the jail? His packing up and going, at the diner, Lester’s arrival, the chat? Lester being picked up – Clay driving away in the opposite director, the irony of the police cars coming out and following Lester?

11. A satisfying personal drama, the plausibility of these events happening in a small enclosed town, the frame-up by the serial killer and his surface charm, the investigation of the sheriff, of the FBI?

THE SISTERHOOD OF THE TRAVELLING PANTS

US, 2005, 119 minutes, Colour.
Amber Tamblyn, Alexis Bledel, America Ferrera, Blake Lively, Genna Boyd, Bradley Whitford, Nancy Travis, Rachel Ticotin, Mike Vogel, Michael Rady, Leonardo Naam.
Directed by Ken Kwapis.

Not exactly the title that leaps to the top of the list for review and recommendation. But, here it is.

The novel (which already has two sequels) by Ann Brashares was published in 2001 and remained on the US best-seller list for over a year. Obviously, a candidate for a movie. One of the writers adapting the novel is Delia Ephron who co-wrote the comedy, Bewitched, as well as You’ve Got Mail. The film has sound credentials for a romantic comedy.

In fact, The Sisterhood is much more. The question is: who is the target audience? Since the four central characters are sixteen year olds, then younger teenage girls is one answer. But, the answer will also have to include parents. In fact, the recommendation would be for parents and their daughters to watch the film together and see what issues arise and have a good discussion. With not a crass word to be heard and a PG rating, grandparents and aunts, especially, might feel easy about going along as well.

And, the travelling pants?

That is soon explained. One of the four girls, Carmen, narrates how their mothers attended pregnancy classes together, how they grew up as friends and have bonded, always supporting each other. They are about to have their first summer vacation away from each other. When they go giggle-shopping, as girls this age inevitably seem to do, they find a pair of jeans which mysteriously fits them all, despite tall, skinny, plump and ordinary. They pledge a sisterhood, articulate their rules and agree that each of them will have the jeans for a week. They expect happy results.

The film intercuts the four summer stories, nicely pacing them so that we are equally interested in all the stories – and has a nice visual refrain for each week as the pants go through the mail.

Lena (Alexis Bledel) is of Greek origin. Shy, she finds the extended family in Greece rather overwhelming. When she is rescued after falling into the sea by a student helping with fishing, she is attracted, despite a family feud, and gradually gains more self-confidence.

Carmen (American Ferrera) has a Puerto Rican mother. Her father left years earlier. She decides she wants to spend the summer with him. He wants to surprise her with his wedding to Lydia who has two children. This, of course, is the story of rejection and favouritism, racism and anger.

Bridget’s (Blake Lively) mother killed herself, her father is distant. She goes on summer camp to Mexico, puts all her energies into running and soccer matches and throwing herself at the young coach. This is the story of loneliness and problems of sex.

Tibby (Amber Tamblyn) is a rebel (with dyed hair streaks), resentful of having to babysit her much younger sister, working in a supermarket for the holidays and trying to make a video on losers. When she helps a twelve year old who has fainted, Bailey, she finds the young girl wants to be with her and help with video interviews. This is the story of breaking through hard exteriors for emotional expression and connection.

The young actresses bring their characters to life (although Jenna Boyd as Bailey almost steals the show with her young Julia Roberts’ look and acting like an audition for a remake of Erin Brockovich in twenty years’ time). Audiences can readily identify with them.

This is a very positive film about bonds of friendship. It raises issues of identity, relationships, family, hurt, sexuality and handles them with sensitivity and sound insights into values.

1. A popular novel? Transferred to the screen? The intended audience, girls, teenagers, adults, parents?

2. The Maryland setting, the city, homes? The contrast with Greece and its light and beauty, the sea, the village? Mexico and the summer camp? Carolina and the affluent homes? The musical score?

3. The structure of the film: Carmen and the introduction to the characters, her voice-over? The scene with all the mother pregnant, the birth of the children, the children as teenagers, the bonds together, Bridget’s mother’s death? The first holiday away from each other? Intercutting the four stories? The interludes with the pants in the post office? Bringing the girls together, the wedding?

4. The tone of the film, happy, audiences identifying with the characters? Carmen and her story? Identifying with the mothers, the girls at school, Bridget hitting the others? The funeral and Bridget’s mother?

5. The situation, their age, going shopping, trying on the pants, their fitting everyone? The decision about the sisterhood, the articulating of the rules, each girl to have the pants for a week and send them around? The effect, the bad, the good with each? Bailey and her becoming part of the group? Carmen’s final comments about the good that happened and her comment on the pants as the symbol of what really had to happen in each of their lives?

6. Lena’s story: no parents, going to Greece, riding on the mule, language issues, her grandparents, the range of cousins, the lifestyle? Her drawing, shyness, awkwardness about clothes? Falling into the water, the pants caught, Kostos rescuing her? Lending his shirt, the grandmother seeing it? The information about the feud, her trying to return the shirt? Touching the fish? Friendship with Kostos, moving in her sketching so he would see her, going out, the dancing, riding the bike? Her grandmother’s anger, her sketches? Her decision to confront her grandfather, his relenting? The farewell, the tears? The issue of the jeans, finding Bridget’s letter, hurrying back?

7. Carmen’s story: her father leaving when she was young, her strong mother? Weeping and talking on the phone? The holiday with her father, few meetings with him? The shock of meeting Lydia and her children? The awkwardness in the house, all the wedding plans, the meals? Her father watching Paul and his soccer, her playing tennis and hitting him? Her response to Paul’s visits every month to his alcoholic father? The sister, her giggling and commenting on Carmen? Trying on the dress, her exasperation, feeling neglected, her anger, expecting that they were searching for her, seeing them at the table, throwing the rock at the window? Going home, her mother’s consolation – and ‘told you so’? With Tibby, the outburst, her criticisms of Tibby? Her apology, Tibby making her phone her father, not wanting to go to the wedding, everybody forcing her to go, the pants, her wearing them, her being called up by her father to assist at the wedding? Her tears?

8. Tibby’s story: staying home, her resentment, the colours in her hair, hard style, working at the supermarket and resenting it, making the documentary, the interviews with losers? Encounters with the staff, the critical boss, the friendly lady? Bailey and her fainting, helping her? Bailey delivering the pants, talking, her anger with her, Bailey following her? The help, Tibby’s reaction, Tibby and her babysitting her sister, the video with her friends expressing hostility towards her mother? Her discovery of Bailey’s skills, finding it awkward when she interrupted? Brian and the video games and the interviews? The older worker and Bailey’s sympathy? Bailey trying on the pants and the video, speaking to Tibby? Tibby’s reaction to Bailey’s sickness, visiting her in the hospital? Bridget and Carmen and their needs, her helping, Carmen’s outburst against her? Her mother helping her, with the visit to Bailey, the emotional effect, the video being called Bailey?

9. Bridget’s story: her being bossy when young, taller than the others, her mother’s depression, suicide, her father’s distance, the funeral and her running away? The father’s letter to the camp and its lack of feeling? Putting her energy into sport, setting her eye on Eric, showing off, running with him, the soccer games, the coach quietening her down? Discussions with the girls, going to the Cantina, dancing with Eric? Their sexual encounter, her letter to Lena in the aftermath? Coming home, sad, Carmen and Tibby helping her? Lena’s arrival? The discussion about sex, her expecting it to have been different, the effect on her and the critique of premarital sex? The dog taking the pants, her chasing the dog, finding Eric in the street, the talk about what happened, the plans for the future, putting the episode in a perspective?

10. Carmen’s father, his leaving the family, the new family situation, giving more attention to Lydia and her children than to Carmen? His inability to see? Lydia, affluent, her children, her alcoholic ex-husband? Their reticence, the girls’ gossip, not making Carmen welcome? The marriage sequence, the father seeing his daughter and inviting her up, Lydia welcoming her?

11. The subplot with Bailey, her character, the fainting in the shop, delivering the pants, staying, blunt talk to Tibby, helping her with the work, something to do, her skill at the interviews, bringing the best out of people? Trying on the pants, their not fitting, the talk to the video and Tibby watching it later? Illness, her philosophy of time, the stars, her death?

12. Themes of friendship, values and bonds, help? This friendship as a foundation for life?

THE 40 YEAR OLD VIRGIN

US, 2005, 116 minutes, Colour.
Steve Carell, Catherine Keener, Paul Rudd, Romany Malko, Seth Rogen, Elizabeth Banks, Leslie Mann, Jane Lynch.
Directed by Jud Appotow.

Steve Carell had a wonderful scene-stealing role in Bruce Almighty as the television anchor whose delivery was ruined by Jim Carrey. He also did a funny turn as a weatherman in Anchorman. Americans have seen him do stand-up comedy and star in the US version of The Office on television. Americans would not be surprised to see his versatility in this film. For non-Americans, it may be a happy surprise.

Audiences with an eye to moral tone might well hold their breath wondering what a sex comedy with this title is going to deliver. It should be said that some of the jokes stretch the envelope, as they say, and have a potential for offending sensibilities. On the other hand, I was taught a long time ago, that everything finite, everything human could be the subject of humour, otherwise we put it on a pedestal and its becomes an idol. Given that proviso about the verbal humour, this film is quite surprising in its values stances.

While his friends who work in the electronics shop with him in the San Fernando Valley, mock his celibate life and are determined to do their best to change the situation as might be expected, the points that the film makes are that celibacy and virginity can be choices, that these choices should be respected, that we certainly struggle in finding authentic love and relationships and many wallow in sex, that ultimately we need to find the right person, commit in love to that person and rejoice in children. Underlying this comedy and its raunchiness are what we call traditional values. It would be a pity to get lost in the superficiality of the sex jokes and so miss the deeper point.

Steve Carell, who co-wrote the screenplay, has the opportunity to play Andy as a somewhat Forrest Gump-like innocent, play the innocent trying to impress and shock the boys at poker, play a sensible man who makes choices – and do a whole lot of impersonations of nice and obnoxious characters along the way. He and his workmates, Paul Rudd, Romany Malco and Seth Rogen, also do some improvising on their journey from lewdness to ordinariness.

Catherine Keener is the middle-aged woman who sees what is true and good in Andy. Along with The Wedding Crashers which also combines the ribald with old-fashioned love, The 40 Year Old Virgin touched a nerve with American audiences who gave them box-office success – and not just for the sex jokes.

1. A successful comedy? The mood of 2005?

2. The title, expectations? Sex comedy, humour? Breaking bounds? Taste?

3. The moral base of the film: that celibacy is okay, that virginity is okay, that there should not be pressure on people? Issues of love versus sex? The search for life, love, meaning? The gross aspects, mistakes? Marriage, children? A moral fable for traditional views?

4. Steve Carell and his skills, serious, his impersonations? The innocent, knowing? Values?

5. Andy and his life, his flashbacks and childhood, the sex encounters, the girl with the bloody nose etc? His collection of toys, not unpacked and valuable? His introversion? His loneliness, at work, slow, slow promotion? His life at home, getting up in the morning, his routines, his breakfast and everything being neat? The flashback to his playing the instrument, the computer games? His house, the neat bed, his clothes? His frustrations – but having found a life and meaning?

6. Expectations of him as regards sex? Moral perspectives or not? His friends and their advice, the jokes? His unable to tell people the truth about himself? Speaking out for Marla at the clinic? His trying to cope? His own sex talk, jokes, laying it on – yet ignorant? The date occasion, Nicky and her drinking, the alcoholic drive? The pornography brought over by David? The advice to ask questions and his going to the shop, asking questions of Beth? The humour of the waxing sequence?

7. His group of friends, their work at the shop, their characters? David, his lamenting his lost love, the poker game, taking Andy – and Andy winning? The Pakistanis and their continued taunts? David and his story, encouraging Andy, taking him out, meals, the five-minute dates? His meeting his former girlfriend and their conversation, going into depression, videoing his bottom? The date with the girl working in the shop? Jay and his promises, his self-image, clothes, suave manner? His relationship with Jill, his infidelity, his being caught, ousted? Jill and her anger to Andy as he repeated Jay’s language? Jill’s pregnancy, his happiness, making everybody watch the scan, boasting about his unborn son? Cal, young, his crass talk about his weekend, obtuse, his advice to Andy, his own behaviour, interviewing the girl for working at the shop? Their place in the shop – especially with Andy’s promotion?

8. Paula, tough, joking about Andy, her own personal offer, her appreciating him?

9. Nicky, her story, the flirting, the drive, wanting Andy to look at her, the crash? Beth, the work in the book store, Andy and his asking the questions, the ambiguities, her response? The girl hired for the shop?

10. Trish, different? Her visit to the shop, the friends leaving Andy with her? The discussions and his explanation about videos and DVDs, leaving her card? Her on-line business and the shopfront? Her age, having children, a grandchild? Andy ringing her at home and hanging up? Seeing her at work in the kitchen? His good call, her decision to go out, coming to get him? The Asian restaurant and the happy birthday? Going back home, his bewilderment with the condoms, the children arriving and their outburst? Going to the fashionable restaurant, Trish proposing abstinence, the twenty dates? His happy compliance with this? Her selling stuff at the shop, Andy’s visit? Her idea about his own business, selling the toys – and his clearing the room and pretending about carpet for her visit? The twentieth date, the clash, his walking out? Angry? Marla and her talk with her mother? Trish ringing, driving, the accident, his telling her the truth and her being happy to accept that?

11. Marla, angry outburst at her mother, going to the clinic after the tantrum in the bathroom, Andy accompanying her, his naïve questions, the range of people at the clinic and the satire on sex? Her accepting him and his telling the truth to her?

12. Andy, his anger, getting drunk, meeting Beth, going home, the bath and her being provocative? His not being able to go through with it?

13. The three friends, their finally talking, the truth, going to help Andy?

14. The reconciliation, his telling her the truth? The plan to marry?

15. The wedding sequence, joyful, the minister and his talking about consummation? The jokes? The consummation – the minute and the two hours?

16. The happy ending, everybody present singing ‘The Age of Aquarius’?

17. Sexuality as a theme that can be joked about? The film and its being provocative, humorous – but overall values in the right place?

SILVER CITY

US, 2004, 128 minutes, Colour.
Maria Bello, Thora Burch, David Clennan, Chris Cooper, Richard Dreyfus, Miguel Ferrer, James Gannon, Daryl Hannah, Danny Huston, Kris Kristofferson, Sal Lopez, Michael Murphy, Mary Kay Place, Tim Roth, Ralph Waite, Billy Zane.
Directed by John Sayles.

For some audiences, John Sayles is an American cinema hero. While he has written a lot of screenplays that are genre pieces (and obviously enjoyed working the conventions of piranhas and alligators), his personal work has been very different. Sayles has created a body of films for almost a quarter of a century that study human nature (Return of the Secaucus Seven, Passion Fish) , take on social themes (Matewan, Men With Guns), life and death issues (Limbo, Casa de Los Babys) or look at different states of the US and cinematically dissect their ethos. But, he always does it though an interesting and entertaining story rather than a documentary or a film essay.

This time it is the turn of Colorado (after Texas in Lone Star, Florida in Sunshine State). Silver City is a planned retirement village to be built on an abandoned mine site. The setting is a state governor’s election and, as the film opens, a body surfaces on a lake while an environmental commercial is being shot featuring a candidate who is the son of a rich state senator. This opening leads us in all directions: moneyed interests, political manipulation, old families and the skeletons in their closet, Hispanic illegals and the dealers in workers, idealistic editors who have lost their jobs and run subversive websites, journalists and private detectives.

Sayles has a very large cast of character actors. He gives them all their chance to perform, even in brief cameos, and create rounded characters. Danny Huston is the mediocre private eye who unravels the mysteries. Maria Bello is his former partner, journalist in her won right in partnership with a values-free lobbyist. Richard Dreyfuss is the campaign manager. Tim Roth the website manager. Many Sayles regulars are in the film including Kris Kristofferson and, especially, Chirs Cooper. Cooper is very good as a rather intellectually and verbally challenged candidate who is a disaster without his cue cards and not much better with them. (There is a tongue-in-cheek note at the end that any resemblance to members of the Bush administration is unavoidable.)

Audiences know where they stand with Sayles. You are in for a well-told story, well-acted, an analysis of American society from a critical stance. And this he does very well.

1. John Sayles’ films, social interest, political? America 2004? The Bush re-election and campaign?

2. The sardonic reference at the end, “Any connection with the Bush administration is unavoidable”? Setting the tone? Anti-Bush? supporters enjoying the film? Bush supporters highly critical?

3. John Sayles and his writing, directing, knowing genres? Themes, human, social?

4. The structure of the film: the investigation, the introduction of the variety of characters, situations, the connections? Interviews, press confrontations? Crises? Political drama leading to thriller? Expose?

5. The strength of the cast, character actors and performances?

6. The title, the west, the minerals and booms, wealth and power? Business and the setting up of a new retirement village? The plan? The site, industry, toxic waste? Business interests? Political pressures?

7. Pilager and the filming of the commercials? Pilager as a person, his style? The parallel with George Bush? The issues, the environment? The reaction to the body? The budget of the advertisement, retakes? The intervention of the police? The mystery? The identity of the body? The gradual investigation, the role of the sheriff, the police force? The cause? The body at the morgue, the identification and the information? The post-mortem?

8. Pilager as a front for his father and the family? The various meetings that he attended, the campaigns, the speeches, his being hopeless at speeches, interviews? Press conferences? The party, the role of his father, his relationship with his father, with his sister? Indebted to Benteen and his company? His involvement in the business deals, the political? His being used?

9. Pilager’s sister, her career, her relationships, her past? Her son? The threats by the producer and adviser? Her being on the list of those wanting to damage her brother? Mitch and the information on his sister? Danny and his finding out about her, his meeting her son, the musician? Her erratic behaviour, the discussions, the sexual encounter, the aftermath of the seduction, her exploiting it, giving information to his bosses? Her change of heart later, the party? Her decision to help Danny? Her character, redeemable? The son and his love for his mother?

10. Danny and his career, his being a journalist, his relationship with Mitch, the bad decision, their being sacked? His relationship with Norah, the break-up? A good man, average, becoming the hero of the story, his being employed for the investigation and to make the threats? The finding of the body? The adviser and his hiring him? The proprietor and the company, Mort Seymour, his support from Grace Seymour? Giving him the job, the contacts? His going to threaten people – the right-wing broadcaster, the guide at the mine? His learning more of the truth?

11. Danny and Grace, the company, the investment, Mort and his plans? The money, the building up of Silver City, the need for political backing, financial backing, the contacts? The hopes? The influence of Chuck Raven? Grace having to sack Danny – yet giving him support? The ultimate failure of the Silver City project and the effect on Mort?

12. The lobbyist, Chandler Tyson, his disdain of Danny, his being in a relationship with Norah? The quality of their relationship, his political connections, giving information, his arguments, a political phoney, his appearance, being adaptable, depending on the issue? His breaking with Norah?

13. Mitch, his assistant, Karen Cross? Mitch’s history, his losing his job, the work on the internet, the subversive headquarters and staff, the characters working there, the collecting of information, his relationship with Danny? Their discussions, supplying the final information and pressure?

14. Norah, her past relationship with Danny, her skills as a reporter, interviewing Pilager, suspicious, following the leads? The discussions with Danny about their relationship, the ups and downs? Their meetings? The interviews, the pressure, her reconciling with him? A possible future?

15. The senator, his relationship with his son, disdain of his son, using him politically? The meetings with the powers-that-be, the political pressure, the party?

16. The character of Cliff Castleton, Danny’s confronting him at the radio station, his views, his being pressurised?

17. The visit to the mine, Casey Lyle, his past history, expertise, his knowledge of the truth, the issues of Silver City, the discussions with Danny?

18. Wes Benteen, the money man, his company, its links, discussions with Danny, talking about winners?

19. The sheriff, his suspicions, following through, wanting information from Danny, letting him be? His ultimate control over things and knowledge?

20. The mystery of the murdered man, Danny and his investigation of the workers, going on-site, the illegals and their fear, the encounter with Tony Guerra, friendship, the information? The violence, Esparza and his influence, pressure on illegal migrants, the workers, the accidental death, getting rid of the body? Guerra and Danny following, going to the mine, Danny’s falling in, the struggle? The truth about the dead man and the confrontation?

21. The climax, the mine, the river, the poison?

22. A satisfying drama, character study, social commentary, political drama – and its relevance to the events in the United States in the Bush administration period?

SUMMER STORM (SOMMERSTURM)

Germany, 2004, 90 minutes, Colour.
Robert Stadlober, Kostja Ullmann.
Directed by Marco Kreuzpaintner.

Summer Storm, according to the director, Marco Kreuzpaintner, is substantially autobiographical. This is a film of a 26 year old director coming to terms with his sexual orientation. He is also trying to overcome homophobic attitudes in his audience by presenting his themes in the context of ordinary life rather than in a hot-house. Not that his main character, Tobi (Robert Stadlober) does not feel that he is in a hot-house situation, infatuated with his best friend, in denial of his orientation, pushed together with a girl who likes him and trying to keep up a pose of disdain against homosexuals. This is compounded when he goes on a rowing training camp (he is the team leader) and finds that a team of gay oarsmen, The Queerstrokes, are to be their main opposition in the competition race.

While the film traces other characters in the group, especially Tobi’s best friend and object of his affection without realising it, the audience is invited to share Tobi’s intensity of feeling, his emotional curiosity with the new group, his sexual encounter, his being urged by his girlfriend to be honest with himself and others and his finally coming out.

The director has opted for a gentle, sometimes romanticised approach to his plot and characters which runs the danger of being sentimental and sometimes overwrought. However, he does bring out into the open the trials and traumas of rites of passage that some young men have to undergo.

1. A film about rites of passage? German youth? Boys and girls? Sexuality?

2. The summer setting, Bavaria, the towns, the schools, the ordinary locations for the rowing teams? Going to the camp, the lake? The woods, the tents? The storm and the special effects? The youth hostel? The lake and the rowing practice and competitions? Authentic atmosphere? Musical score?

3. The title, the visual storm and its effect? The storm emotionally for the central characters, especially for Tobi?

4. Issues of teenagers, contemporary sexuality, love, infatuations? The sexual encounters? Attitudes towards sexual behaviour, relationships, masturbation? The issue of homosexuality, behaviour, orientation? The film presenting issues of homosexuality to the wide audience for understanding, sympathy?

5. The opening credits, the two boys exercising, the focus on their limbs? Their running? The background of rowing? Tobi and Achim together? The horseplay, the sexual overtones? Their work together, throwing water, horsing around, the sexual consequences? The imagination?

6. The audience understanding Tobi’s orientation, his infatuation, behaviour, reticence and denial? Approaches to Achim? Achim being oblivious, talking about homosexuals?

7. The preparation for the rowing camp, the team, Tobi’s place? The girls’ team and their going? The presentation of Anke and Sandra? Their relationships with Tobi and Achim? The coach, his son, the awkward man with the materials? Getting on the bus, the farewells, going to the camp?

8. At the camp, Tobi and his surly attitude towards Anke when she wanted to change the campsite? Achim’s surprise? The arrival of the other team, the coach, the coach of the other team? The Berlin women not coming – despite the anticipation? The new team, the Queerstrokes?

9. The boys and their reaction to the Queerstrokes, the homophobic attitudes? The Queerstrokes and their emphasising their camp behaviour to tantalise the teams? The introductions, the homophobic comments?

10. Schorsi as homophobic, the decision to tantalise him, Malte and his approach? Schorsi, the talk about his being recommended to the national coach? The walk, the kiss, his anger, going into the woods, and their having to come to find him? The irony of his father putting him in with the Queerstrokes team – and their winning? His having to change his attitude?

11. Tobi, fascination with the Queerstrokes, listening in to their talk, watching their cooking etc? His swimming with Achim, the approach to Achim, wanting to kiss him – and Achim running away? The others observing it, inviting him to stay, his swimming with them? Staying, the sunburn, Leo and the massage? The approach, the encounter? The effect on Tobi? His relationship with Achim, feeling that Sandra was coming in between them, his telling the lie about his relationship with Anke? This coming back to him, his finally telling the truth to Anke? His not wanting to admit the truth, the search for Schorsi, the fight between the teams, having to go to the youth hostel, Achim turning him away? His coming to breakfast, after staying the night with Leo? His explanation of himself and asking people to accept it?

12. Anke, infatuated with Tobi, his talk about her, her being hurt, the approach in the woods, his resistance and refusal? Her blaming herself? His finally telling her? Sandra, the relationship with Achim, the talk about her physical growth, her being hurt, the relationship with Achim fulfilled?

13. The Queerstrokes, as a group, the camp behaviour and talk, Malte and his muscle-building, Leo and his attraction towards Tobi, the encounter, the discussions? Their coach?

14. The fight, going to the hostel? Burying the differences?

15. The competition, the practices? The race, Leo unable to participate, Schorsi being transferred, the race and the Queerstrokes winning? The home team coming second?

16. The final images, the focus and fade-outs on each of the characters, what had transpired during the summer camp, the storm, the change of attitudes?

THE SALTON SEA

US, 2001, 103 minutes, Colour.
Val Kilmer, Vincent d' Onofrio, Peter Sarsgaard, Anthony La Paglia, Doug Hutchison, Debra Kara Unger, Adam Goldberg. Shirley Knight, R. Lee Ermey.
Directed by D.J. Caruso.

The Salton Sea is a complex thriller. It requires concentration and attention from the audience – and is probably more effective when viewed the second time so that clues are recognised and the chronology of the events is understood.

The film was directed by television director D.J. Caruso who was to go on to make Taking Lives with Angelina Jolie. The film is a star vehicle for Val Kilmer, very effective in the central role of the man whose wife is killed by masked gunmen and who vows revenge. He infiltrates the methedrine subculture in Los Angeles in order to track down the killers and set them up.

The film has a very strong supporting cast including Peter Sarsgaard as his addict friend (Sarsgaard was to go on to such successful films as Kinsey, Shattered Glass, Garden State). Debra Kara Unger is the mother whose abduction of her child forces her to betray Kilmer. Anthony La Paglia and Doug Hutchison are the corrupt police and there is a cameo from Shirley Knight and R. Lee Ermey.

The film is both realistic and surreal, the opening with the protagonist playing his trumpet, confiding his story to the audience for them to judge who he was and why he did what he did. There is also a collage of the use of methedrine, focusing on its use by the Japanese and, possibly, by J.F. Kennedy.

The film gives sufficient clues by audiences may not notice them until about an hour into the film when the explanation of Kilmer’s actions is presented in the flashback with the murder of his wife.

The film was not widely seen but is an interesting example of its genre.

1. Audience interest in the film, themes, entertainment? A difficult film requiring concentration?

2. The title, the visualising of the Salton Sea, the story that took place there?

3. The Los Angeles settings, the world of the methedrine addicts, its squalor, the dealers? The world of the police, the FBI? The musical score?

4. The structure of the film: Danny/Tom playing the trumpet, the burning house, the clues, his dying, confiding in the audience, the explanation of his life, his friends amongst the addicts? The collage of methedrine and its use, the Japanese, the kamikaze pilots, J.F. Kennedy, the aftermath? The police set-up and his ratting? An hour into the film and the flashback of his wife’s murder being shown? The set-up of the police, the explanation, the FBI? The carrying out of the plan, his change, Jimmy rescuing him? The end, throwing the trumpet away, the puzzle about his new identity?

5. The picture of the drug world, visual, aural? The men and women, their look, behaviour, Jimmy as genial but his dependence? The visit to Bobby, his erratic behaviour, his wife, the police taking him and his death, his wife’s grief? The meeting with Pooh Bear, the explanation of his name, his nose? His grim stories, playing mind games with Danny? His henchmen, taking the money? The deal? Collette, the taking of her child, her pimp, the violence?

6. Tom, his story, love for his wife, stopping at the Salton Sea, the ordinary diner, the accident of being present with the killers? His being wounded, crawling to his wife, her death, saying it was okay? His decision to die or to take vengeance? Discovering the identity of the killer, the information about the red hair on his wife’s clothes? Going to the police, being a rat, the danger that he ran for a year, changing his identity, becoming Danny? The set-ups with the corrupt police? His aim for vengeance, going to the FBI, the sting with Pooh Bear? His helping Jimmy, telling him the truth, giving him the money? Confiding in Collette? The final confrontation, substituting Jimmy for himself in the motel, the set-up with Pooh Bear, the gun under the table, the shooting? The confrontation with Morgan, the role reversal, the knife and the gun, jabbing him with the syringe? His finally being pursued by the pimp, being shot? Left to burn? Collette and her apology?

7. The police, corruption, as personalities, masked, shooting? The set-ups, the information, the treatment of Bobby, the deal with Pooh Bear, their not reporting it, the FBI on their tracks? Their wanting to get Danny, coming into the house, the shootings, the confrontation with Morgan, the talk, his death?

8. The FBI, the contacts, the set-up, the bureau?

9. Collette, in the apartment, the story of her child, the pimp and his brutality, the connection with the Mexican dealer who wanted to kill Danny for betraying him? The pressure on Collette, her setting him up, her being sorry?

10. Pooh Bear as an eccentric character, the story of his nose, crazed, his talk about the brains and the vice, the meals, joking? His character, talking, his henchmen? The finale, the set-up and his death?

11. Jimmy, a good young man, addiction, the money and the truth, doing anything for Danny, in the motel, saving him and taking him to the hospital?

12. The sequence with Bobby, the violence, his gun, his brutality towards his wife, his death?

13. Kujo and the plan for the robbery, its being visualised as he told the story – and the failure?

14. The blend of genres, the thriller, the drug drama, existential identity quest? The total effect?