TEACHING MRS TINGLE

US, 1999, 96 minutes, Colour.
Katie Holmes, Helen Mirren, Liz Stauber, Barry Watson, Jeffrey Tambour, Vivica A. Fox, Marisa Coghlan, Molly Ringwald, Michael Mc Kean.
Directed by Kevin Williamson.

Teaching Mrs Tingle (originally Killing Mrs Tingle) is the directorial debut of screenwriter Kevin Williamson. Williamson is best known as the collaborator of Wes Craven, especially in the Scream series.

This is not so much a horror film as a teenage drama with touches of macabre comedy. Helen Mirren dominates the screen as the sarcastic and cruel Mrs Tingle, a teacher who enjoys humiliating her students. Katie Holmes is the student who is best in class but doomed by Mrs Tingle to failure. When she is falsely accused of cheating, she and her friends go to Mrs Tingle’s home and one thing leads to another – the students virtually kidnapping her in her own home.

Katie Holmes (Jackson’s Creek) went on to some stardom with such films as First Daughter and Batman Begins. On the other hand, former star Molly Ringwald appears as the registrar and substitute teacher.

The film works quite well when it focuses on the students and their control of Mrs Tingle as well as her fighting back. However, it has a rather cop-out and amoral ending.

1. The work of Kevin Williamson, best known for horror films? His switching his attention to drama?

2. The town atmosphere, homes and school? Mrs Tingle’s home? The credibility and authenticity for this drama?

3. The title, Mrs Tingle as teacher, her stated aims of teaching the students, their teaching her?

4. The plausibility of the plot, the teenagers and their types, the prospect of graduation and studies, work? Relationship with teachers? The role of teachers?

5. Leigh Anne and her mother, her mother and her drinking, smoking, risking setting the house on fire? Leigh Anne lying to her mother, fostering her hopes? Her school project on Salem? Her friendship with Jo Lynn? Luke? In classes, presenting a project, humiliated by Mrs Tingle? The need for high marks? Trudy as the valedictorian? The extra work, the extra credit, the irony of Luke and the stolen paper, his putting it in Leigh Anne’s bag? Being caught by Mrs Tingle?

6. Jo Lynn, her acting aims, friendship with Leigh, infatuation with Luke, stopping him and kissing him? Her Marilyn Monroe impersonation, Mrs Tingle’s harsh comments about American history interpretation? Luke, his bringing the arrow to class? Setting the scene?

7. Mrs Tingle, first seeing her walking the corridors, the encounter with the principal, her threats, wanting more money for projects? The class, the projects, her sarcastic comments? Going to the gym, finding the exam, going to the principal to complain?

8. Leigh Anne’s situation, the three in the gym, the preparations, Luke, caught?

9. Leigh Anne trying to handle the situation, going to the principal’s office, going to Mrs Tingle’s house, Jo Lynn and her pleading guilty, Luke and his trying to take the blame? Leigh Anne, the threats by Mrs Tingle, Luke and the arrow, knocking out Mrs Tingle? Their decision to tie her up?

10. Mrs Tingle, her tricking Jo Lynn and trying to strangle her? Being seductive towards Luke? Taunting Leigh Anne with failure? The sports master, his visit, their luring him on, his drinking, the taking of the compromising photos? Mrs Tingle struggling with Jo Lynn, freeing herself, the final fight, the arrow and her firing it and hitting Trudy, the irony of Trudy once again getting hit with the book? The principal’s arrival, Mrs Tingle defeated?

11. Jo Lynn, staying, listening to Mrs Tingle’s stories about herself (true or not) and untying her, feeding her? Luke and Leigh Anne away, covering, Leigh Anne going home for her mother, changing the marks in the book?

12. The final confrontation, Jo Lynn truly acting, the arrow, Trudy complaining about a B?

13. The graduation, the amoral ending and everybody happy – despite what they had done and the changing of the book?

THE SIGN OF FOUR

UK, 1983, 103 minutes, Colour.
Ian Richardson, David Healy, Thorley Walters, Terence Rigby, Joe Melia, Cherie Lunghi.
Directed by Desmond Davis.

The Sign of Four is one of Arthur Conan Doyle’s best known stories involving the detection work by Sherlock Holmes. It is well mounted here with Ian Richardson as an excellent and sardonic Sherlock Holmes – full of vanity, friendship towards Watson but the touch of condescension. David Healy bumbles along in the Nigel Bruce manner as Dr Watson.

There is a strong British character supporting cast led by Cherie Lunghi as Miss Mawston. Joe Melia is an evil one-legged villain.

The book was an early story by Conan Doyle – before he wrote of the death of Sherlock Holmes. It forms the substance of the 2005 telemovie, The Strange Adventures of Sherlock Homes and Arthur Conan Doyle with Douglas Henshall as Sherlock Holmes. This film posits Doyle’s ambivalent attitudes towards his father, interned in an institution, for his struggle with the character of Holmes. In killing him off, he sought to make peace for himself. However, he was forced by public opinion eventually to resurrect the detective. In this film, whole dialogue sections of The Sign of Four are incorporated.

An excellent presentation of Holmes, his character, manner of deduction as well as being an entertaining adventure and thriller.

1. The popularity of Sherlock Holmes? The stories? The films? The quality of this film amongst the many on Sherlock Holmes?

2. The production values: the locations, the re-creation of 19th century London, interiors, the Indian décor? Baker Street? The chase on the Thames? The action sequences? The musical score?

3. The popularity of this story? The archetypal Sherlock Holmes story, situation, clues, murders, deduction, disguises?

4. The personality of Sherlock Holmes and Ian Richardson’s interpretation? Severe yet friendly, arrogant yet compassionate? At work in Baker Street, his experiment on cigars and ashes? His telling Dr Watson that he was wrong in his guess? The issue of Watson’s brother and Holmes’s compassion? His deductions? Miss Marston? His kindness towards her? It investigation, his interviews with the brother, the death of the father? Information about the one-legged man? His deductions about his associate? The clash with the police? His interviewing the wife of the man with the boat, returning to her in disguise? The dangers? The confrontation with the one-legged man, the chase on the Thames? His deduction about the empty leg? His wanting Miss Mawston to have the diamond? Sherlock Holmes as a personality, as a detective?

5. Dr Watson, bungling, his wrong guesses, not seeing what was obvious, Holmes asking him to observe as well as see? The issue of the watch and his unfortunate brother? His attraction towards Miss Mawston? His assistance, getting the dogs to track the one-legged man? His being present at all the events, the search of the attic, the chase on the Thames?

6. The general, his two sons? His being in bed, the visit of the one-legged man, scared to death? Bartholomew and his greed, not wanting to give Miss Mawston anything? His being murdered? The kindly brother, his concern, sending the diamond? His servant and bringing Holmes and Watson to his house, the Indian décor? His attraction towards Miss Mawston – and his untimely death?

7. The one-legged man, the story of the prison, the plan of Mawston and the general, the betrayal? The Andaman Islands and getting the savage as his assistant? His treating the savage like a freak, getting his rage going, in the circus? The entry into the house, the murder of the general? The Sign of Four? His searching the house, his being let in, the savage going up the drainpipe? Holmes and his examination, the footprints, deducing what had happened? His taking the treasure, hiding it in his leg? Taking the boat, wanting the diamond? The confrontation with Holmes after the chase, his lies, the jewel in his leg? His admitting the justice of what happened – and his telling the story?

8. Miss Mawston, the death of her father, employing Holmes, the dangers, the attraction towards the son? His death? Her not wanting the jewel, being persuaded to take it?

9. The background of the story, Britain and the Indian empire, robbing the wealth of India, bringing it back? The treasure belonging to the state? The Scotland Yard inspector, his obtuseness, theories, his comeuppance? The background of the river, the boatman and his death, the wife and her giving the information to Holmes?

10. An entertaining thriller, mystery?

CITIZEN DOG

Thailand, 2004, 99 minutes, Colour.
Mahasmut Bunyaraksh, Sanftong Ket- u- tong.
Directed by Wisit Sasanatieng.

Citizen Dog is an unusual film from any country, especially unusual coming from Bangkok.

The film was written and directed by Wisit Sasanatieng, the writer and director of Tears of the Black Tiger which was a pastiche of the action adventures of the past. This time, the director lets his imagination go – and anything is possible.

The focus is on Pod, an ordinary citizen, Citizen Dog. He comes from the country, works in a sardine factory and loses his finger – then going around to the various supermarkets in order to find it. He then decides to change his job, becoming a security guard. When he meets a maid, who has a mysterious book even though she cannot read it, he falls in love with her, a girl who dreams one day she will be able to understand the book. Other odd factors in the screenplay include a grandmother who grows a tail – who, after her death, can come back as a talking gekko.

The film is entertaining, imaginative, thoughtful.

1. An entertaining comedy, fantasy, message film?

2. The director, his lavish style, blending realism, magic realism, parody? Gentle and serious? His use of added colour tones? Surreal atmosphere? Musical score, songs?

3. The Thai sensibility, the picture of the countryside, Bangkok, the flats, the streets, the workplaces? The title – and the city people calling the country bumpkins citizen dogs?

4. The musical score, the range of songs, the style, the being inserted at various dramatic points?

5. The storytelling? Pod, his grandmother, her later appearing as a gekko,(?) her sayings, reincarnation, the end and her being the baby? Pod leaving for the city, high hopes? His working in the sardine factory, the picture of the factory and the assembly, the speeding up of the assembly line? Losing his finger, searching everywhere for the tins of sardines, in the supermarkets, the rattle, his tapping his finger? His finding the finger, replacing it? Hearing the finger tap at the restaurant, his friend and their exchanging fingers?

6. The city and Pod, not at home, naïve, after the fiasco of the factory work and his losing his finger, going to Security? Living in the city, working? At a character in himself? The jobs and his relating to the others, especially to the women gossiping when he worked for Security? The attraction for the girl? His being quiet, learning to communicate? The innocent abroad?

7. The girl, her work, having found the book – and the flashbacks and the humour of the book falling from the sky? Her inability to read it? Its being in Italian? Her love for magazines, magazine stories, her imagination, the drawing and the hero disappearing? Her wanting to read the book, going to the language classes? With Pod, liking him, sometimes communicating, sometimes not?

8. Pod working in Security, falling in love with the girl, wanting to drive her in the car, becoming a taxi driver? Driving her, her reading the book? The growth of their relationship, going out? The little girl and the teddy bear, his passengers, the girl talking like an adult, the bear and his story, his continually being thrown out, run over, recuperating and the girl rescuing him? The end and their remaining friends, the girl marrying the teddy bear?

9. The friend who lost his finger, the tapping, the bond between the two, his entrepreneurial style, business, success?

10. The girl and the protester, his arrest, thinking he was dead when he wasn't – and his reappearance, his name not being Peter? Her going to protests, her enjoying this, the campaign against plastics, her diligence in collecting all the plastic bags, the huge mound in her apartment, the hill?

11. The hill of plastics, the location for romance?

12. The girl and her going to be the head of the company, sabotaging it from within? Pod, nice, the memories of his grandmother? His settling in the city?

13. Audiences enjoying the joke, the surreal experiences, the touch of the fey and naïve? It being played straight? The overall effect in terms of human nature, goodness, romance, social message?

LA GUERRA DI MARIO (MARIO’S WAR)

Italy, 2005, 100 minutes, Colour.
Valeria Golino, Marco Grieco, Andrea Renzi, Rosaria di Cicco, Anita Capriole.
Directed by Antonio Capuano.

Mario’s War is a strong Italian film with a Neapolitan setting.

The film was nominated for a number of awards, especially in Italy and the Locarno film festival where the young actor Marco Greico won a special children’s award. The main star, Valeria Gorlino, won the Donatella award in Italy for best actress.

The film focuses on a young boy who lives in a world of his own (which is filmed in black and white) He dreams about a criminal career, memories of his father. A couple decide to adopt him – and the film shows the difficulty of foster parents, their relationship with the child, the difficulties in their own relationship and the toll that looking after the child takes on them. The film is not easy in its presentation of the world of the child or of the difficulties in relationship with the foster parents.

The film also is a portrait of the mother of the boy, a rough and tough woman with a brash style, and her continuing to be pregnant. She also wants to give her new baby away.

Within this context, the film is an interesting study of contemporary Italy, the roles of men and women, the difficulties of family.

1. The Italian style and flavour of the film: focus on family, children, adults, the emotional aspects, the social issues?

2. The use of Naples, the environment, the city, homes, the different classes, the different neighbourhoods, the streets, the kids, adults? The school? College? Offices? The musical score, the mood, the melodies and tones of the south of Italy?

3. The title, Mario and his voice-over, his imagination, the info about his father, the info about killing people, the scenario continued throughout the film? Moving into black and white when he was in his other world? At the end, Mario in his created world? Living in his own mind – what would be the consequences?

4. The concern about Mario, the teachers and his behaviour in class, not writing, not having photos, talking, disrupting the class, his friend, painting the room red, acting on his whims? The teacher and her reaction, discussions with the principal? The principal and her stance (and her not wanting disruptive children in that area of the city)? The tutor and her concern? The interviews with the psychologist, her probing Mario, his shrewdness in his answers to her – even to commenting on her perfume? Her not being taken in? The meetings amongst the experts, the assessments, the various discussions with Giulia?

5. Mario’s situation, the juvenile court, taking him from his mother, entrusting him to Giulia and Sandro as foster parents? Their creating a home? Sandro and their not being married? His going to school, his various absences, meals? Giulia and her gifts, the mobile phone and its use, the piano? His playing the recorder, tinkering with the piano and actually able to play by ear quite well? His going out, his own say-so? His attitude towards Nuncia, knowing she was his mother, that she had given him up? His attitude to Giulia, Sandro, truth and lies? Praising Giulia’s beauty yet urging her to use lipstick etc? His controlling?

6. Giulia and her decision to foster Mario, the decision with Sandro, her taking the initiative? Her visits to her mother, her exasperation with her mother and her grief, her saying that she did not know how to bring up a child because of this lack in her mother? Her wanting to take responsibility? Her professional life, the lectures, the explanations of art, relating to the students, the lecture in the Metro and her acclaim? Her collapse in the class? Sandro and his moving out, her wanting him present, telling him what he should do, the phone calls, discussions?

7. Sandro, his love for Giulia, his difficulty with Mario and not relating well with him, leaving and going to stay with his parents? Coming and going? His attempts to relate to Mario and not succeeding, the meal, the games? His coming over to search for Mario? Giulia’s pregnancy? A future with her or not?

8. Giulia, her love for Mario, spoiling and pampering him, acceding to his every whim, her philosophy of free choice, her praising rebellion? Yet her lack of discipline, role modelling – and the consequences? Mario and his crossing the roads against the traffic, finding the dog and wanting the dog, Giulia going with him and offering the street kids fifty euros? His whim in crossing the road and getting the dog to cross against the traffic and its being killed? His wanting the snake – then getting sick of the snake? Phone calls and his offhand answers, painting the classroom red? Giulia and her continued concern, his night away, discovering him asleep in the car, her pampering him in the situation?

9. Nuncia, her brash and loud style, giving Mario away, the courts and their attitude towards her? Giulia and her discussions with Nuncia? Nuncia as rough, pregnant again? Wanting Giulia to be the godmother – and to give the baby away again? The appropriateness of meeting with Giulia or not? The birth of the baby, the party, raucous? Guido and his approach to Giulia and her rejection? Discussions, wanting money, Guido and Nuncia invading Giulia’s mother’s privacy? Nuncia desperate – and Guido going to Venezuela for a year and a half?

10. Giulia, her not listening to people’s advice, the meetings with the experts, her own philosophy?

11. The fact that Giulia was ruining her own life, alienating Sandro, pampering Mario – and his being taken away from her? The hearing with the judge?

12. Her being pregnant – her future attitude towards Sandro and to the child?

RAG TALE

US, 2005, 123 minutes, Colour.
Jennifer Jason Leigh, Malcolm Mc Dowall, Rupert Graves, Kerry Fox, Ian Hart, Simon Callow, Lucy Davis, Sarah Stockbridge, Bill Patterson, John Sessions, David Hayman.
Directed by Mary Mc Guckian.

No, not the clothing industry. This is a satirical take on those daily rags, the tabloids.

A word of warning. Just as cinemas often have to indicate outside that a film may have strobe and flashing light effects which can have a damaging effect on some audience’s sensibility, those showing Rag Tale may need to warn viewers that they are in for two hours of a visually rocky ride that may be upsetting and unbalancing. Rag Tale has been filmed digitally and edited in an almost breakneck pace, short takes and all angles, offering a literally over-busy impact of life in the editorial offices of the tabloid.

The archetypal newspaper play and film has been The Front Page, filmed many times since the early 1930s. Wisecracking journalists kept up swift patter, trying to outsmart each other, get a breaking story, get tangled in their emotions. The dialogue in Rag Tale is the same, British style. This means that the dialogue is fast and at all angles as are the visuals. Rag Tale is the visual equivalent of the verbal Front Page.

The whole piece is disconcerting. But it is often telling in its merciless caricatures of editors, owners, the hacks around the office and the conniving secretarial staff. It is also disconcerting as it wades in poking fun at institutions, political leaders and the cynical attitudes prevailing against governments. The Royal Family are frequent targets which some may agree with but others think unfair. Prince Charles and Camilla – and the sale of Buckingham Palace – are recurring themes.

Director Mary Mc Guckian (Irish) has made Words on the Window Pane and The Bridge at San Luis Rey. She intends to make more films like Rag Tale, attacking other institutions. She encouraged the cast to improvise during this film which means they are intense and involved in their performances.

Rupert Graves has a strong role as the philandering, unscrupulous editor, Jennifer Jason Leigh as his lover, then rival. Malcolm Mc Dowell is the proprietor, making us wonder which media tycoon he is meant to be! The rest of the cast is very strong and includes Ian Hart, Bill Paterson, Kerry Fox and Simon Callow.

It is not the last word on tabloids. Rather, it is a bit like a tabloid feature itself: quick, smart, topical, shallow, aggressive and, above all, illustrating publishers’ double standards for public and private morality.

1. The film as topical, 2004 and the Bush election? Too anchored in British politics and the royal family? Its impact in its time? Later?

2. The London settings, the vistas of the city, the offices, homes? The musical score, the songs?

3. The significance of the camera style, fluid, fast, digital photography? The disorienting aspects? The visuals of work at a paper, angles, distorted perspective, illustrating the lives of the journalists? The effect on the audience? Difficult to watch? The style as an exercise in filming, editing? Communication?

4. The references to the Bush election, the jokes, the images of President Bush and the election? The reactions in the UK?

5. The references to UK, to Tony Blair and Gordon Brown, to the Beckhams, to Kevin Spacey? The effect of these references?

6. The attitude towards the royal family: to the queen, Prince Charles, Camilla, the emphasis on Camilla? The speech by M.J. about Princess Diana, the pros and cons, the criticism of Diana? Eddie and his policy against the royal family? The headline with the bulldozing of Buckingham Palace? The popular response? Public ownership of the palace, the public not having access? Speculation in turning it into a shopping centre etc?

7. Morton, his ownership of the paper, the anti-royal stance of the paper, his own pro-royal stances? His advice to Prince Charles? The access to St James Palace? Planning the party with the guests, the aspects of royalty? The headlines and the pro-monarchy stances, against the monarchy? M.J. and her speech about watching the wedding of Charles and Diana? The issues of knighthood – Morton and his wanting to be a knight, the tantalising aspect of Lady Morton?

8. The Rag, the title of the paper, the title of the film? The reality of the British tabloids, their aimes, moneymaking, the readers and their responses, interests, intelligence? Advertisements, exotic specials? Photos? Boring headlines? Gossip? The processes for the preparation of the front pages, the various authorities and the possibilities of banning headlines?

9. The opening, Eddie and M.J. arriving at work, the affection, the revelation of the affair? Richard’s phone call to Eddie, his demands that he take it, his wanting Eddie to repeat that having an affair with the chairman’s wife is not part of his job description? Eddie and his age, experience, editing of the paper, his tabloid mentality? His relationship with the staff? His anti-royal attitudes? The phone calls to his wife, the background of his marriage, divorce, the children? His decision to break with M.J., his hard attitude, her emotional response, the fact that Debs and everybody in the office was listening in? The emails and the judgments? His going out for lunch, taking Felix and the others? The clash with M.J., especially about the monarchy, his not making himself available for her phone calls? The night out, drinking with the crass fashion and gossip editor?

10. Morph, photographer, addict? Felix and his visit, the plan, the bartering about the money, the gift of the drugs? Morph and his visit to M.J., sharing the drugs? His paying a visit to their home, looking at the photos, photographing the photos and later altering them? The plan to discredit Morton and M.J? Supplying the drugs, listening to her, her reaction to the story about her marriage? Being present at her death and photographing it? The photos to be used?

11. Debs, the office girls, listening in, taking sides, likes and dislikes, holding up phone calls? The clash with M.J?

12. Fat Boy, his gossip column, his having the contacts, getting the information? The other journalists, the photojournalist and his examining Morph’s photos?

13. Lloyd and Felix, their experience, as journalists, for tabloids? Their discussion about serious issues? Loyalty to Eddie? Yet in fear for their jobs? Not wanting M.J. to take over? The banging of the desks when Eddie was sacked and M.J. taking over? The sacking of Eddie, their support? Felix and his intrigues, going to Morph, using the stories? The conspiracy against Morton? After M.J’s suicide, the discussions – and their practically believing the story they concocted? At the end, still in place and loyal to Eddie?

14. Eddie and his wife, their talking on the phone, the divorce, the children, his minding the children? The photos and Morph’s changing them? The idea that Morton had married his daughter? The wife and her volunteering to send the front page set-up from the rival paper? Their drinking, agreeing to the plan? Waiting in the morning, the email in which Eddie was sacked? M.J. and her moving to the editor’s chair? Eddie and his message to send the front page? Morton’s reactions and fear? Eddie and his plan to step in as saviour? The change of plan with M.J’s suicide?

15. Eddie and his survival, M.J. and her attitudes, the American, in England? Her drug taking, her ambitions to be editor-in-chief, the preparation for the party, her continued chatter during the party, crass, her having to apologise to Richard? Taking the drugs, seeing the headline, her reaction, her death? The rapidity with which she moved to kill herself? Richard and his being quiet? The staff – and Eddie telling them they had a paper to run and whom they planned to get that week?

16. The vistas of London, a space for the audience to have a breather from the disorienting style of the photography? The crowds of people in London?

17. The film and its screenplay, originating with the director, the collaborating with the staff, the improvising and its effect? The cynical attitude towards the tabloids – deserved or not? Characters and caricatures?

LA NEUVAINE (THE NOVENA)

Canada, 2005, 97 minutes, Colour.
Elise Guilbault, Patrick Drolet.
Directed by Bernard Emond.

Many explicitly religious films fall short of expectations because they exhibit a too earnest proseletysing zeal or depict aspects of piety that many audiences find puzzling, incongruous or simply alienating. La Neuvaine succeeds in portraying simple faith with great respect and without being patronising. It is also able to portray lack of faith in God in contemporary secular society with sympathy and understanding.

Writer-director, Bernard Emond, is an anthropologist by training. He has worked in Inuit television and has made short films, documentaries and some feature films. He declares that he is a non-believer but he affirms the long tradition of Catholic faith in his native Quebec. He is also concerned that today's Canadians in the province of Quebec are in danger of cutting themselves off from this religious tradition and losing this heritage.

In the aftermath of the Second Vatican Council, the church of Quebec reacted quickly to change in the Catholic Church and many Catholics found themselves rejecting so much of their religious upbringing and practice, eager to throw off what they saw as ecclesiastical authoritarianism. Some of the clearest cinema expressions of this reaction are found in Denys Arcand's 1988 Jesus of Montreal. His Decline of the American Empire (1987) and its Oscar-winning sequel, The Barbarian Invasions (2003) should be seen in this perspective.

Emond clearly inhabits the world that Arcand suggests. However, he brings to La Neuvaine the simplicity of film language that marks the films of Robert Bresson, a plainness and an austerity of style that communicate directly but suggest deeper meanings, especially some opening to what we might call 'the transcendent'. To continue the cinema connections, it could be added that the central character of La Neuvaine, a non-believing doctor, would be at home in her search for meaning in her life in Kieslowski's Decalogue.

The title is something of a challenge. Novenas, even amongst Catholics, are not in vogue everywhere as they once were. They are a feature of popular religious culture. Nine days of continued prayer for a special intention, even some kind of miracle, has been a popular practice over the centuries. In La Neuvaine, Francois, a young man who personifies goodness in a kindly but down-to-earth way, helps on a farm, works in a small supermarket in a provincial town. When told that his grandmother is dying (she has brought him up since his parents were killed in a car crash when he was very young), he decides to make a novena for her recovery. He goes on a daily pilgrimage to the shrine of St Anne to invoke her assistance. The shrine has a priest, in his vestments, always available in a kind of shop-front to bless the pilgrims. (The credits indicate that the shrine is under the care of the Redemptorists who will be glad of the attention given to their ministry.)

The central character is Jeanne, a highly professional doctor who has experienced the long illness and death of her child. There is no place for faith in her life. She has also taken care of a battered wife and her daughter and experienced the anger of the violent husband. Her recuperation takes her to the vicinity of the shrine and a sympathetic encounter with Francois.

La Neuvaine does not push the religious experiences of its characters and does not push religion at its audience. Ultimately, there are no obvious miracles and no obvious conversions. Rather, the audience appreciates Francois' straightforward faith and piety - and sees that Jeanne's kindness towards his grandmother as she dies, is a real answer to prayer. The audience appreciates the change in Jeanne, that she can continue her healing work as a doctor - she has to respond to a sudden emergency outside the shrine as a man suffers a heart attack - and can minister to the grandmother. Deeper possibilities for hope emerge.

Throughout the film there are interludes of voiceover as Jeanne quietly discusses her non-faith with a probing questioner. It is only at the end, when she stands watching the priest in the blessing room, that we appreciate she has been exploring her life and its meaning with him.

La Neuvaine was entered in competition in the Locarno Film Festival, August 2005. It received serious attention, packed houses and favourable reviews. This surprised many festival-goers: that a secular audience would be so moved by religious themes, even explicitly Catholic themes. It won the ecumenical award for the quality of its film-making and the skill in its presenting its religious and values content, the best actor award and a special award from a jury of young people.

1. The impact of the film, awards? An explicitly religious film? Respect for simple faith, open to the transcendent?

2. The austere and direct style? The long takes, the silences? The choir? The musical score?

3. The background of films by Robert Bresson and Kristof Kieslowski and their search for the transcendent?

4. The Canadian settings? Montreal, the homes, hospitals? The shrine, the farm, the interiors, the supermarket? The shrine, the church, the room for blessings? An authentic and realistic atmosphere?

5. The history of Quebec province, strong in the Catholic faith, the rejection from the 1960s?

6. The doctor, the issues of belief, simple faith, non-belief? The fact there were no miracles at the end, no conversion? But an openness to hope?

7. The structure of the film: Jeanne, working in the hospital, in hospital herself, coming out, her recovery? Her helping Lisa? The encounter with Francois, the intercutting the two stories, the meeting and its effect? The insertion of the flashback to Lisa’s death?

8. The voice-over, Jeanne and the man asking the questions? The realisation at the end that it was the priest? His asking her about belief, non-belief? The issues of doing good, being saved, prayer and miracles?

9. The grandmother, her goodness in her life, bringing up Francois after the parents’ accidental death? Her dying, his question about who can be saved, her comments about people who do good works, the strength of believers because they have hope?

10. Jeanne, the long takes, the audience contemplating her, sharing her anguish? Her age, her story? Home from the hospital, the housekeeper and care – moving to the motel, phoning the housekeeper? The encounter with Lisa, bringing her home? Care for her, for her daughter? Her own moving to the motel, walking around the town, observing? Her going to the shrine, looking at the room for blessings? Visiting the church, contemplating the artwork in the church?

11. Francois, his work, the farm? The doctor telling him about his grandmother? His care for her? Working in the shop, getting permission to go to the novena? Driving the truck, in the church, the blessing? His praying, devotion? The written petitions? The devotion to St Anne, St Anne and her background, mother of Mary, grandmother of Jesus? Praying for miracles? His simplicity, knowing the reality of his grandmother’s illness?

12. The moments of encounter, Francois and his sensitivity towards Jeanne, her response? Her feeling depressed, suicidal? His noticing, giving her the lift, offering the food, to the motel? Their silences, talking? Meeting her each day, sitting by the river, eating? Hearing the story of the grandmother, of his faith and God?

13. The man collapsing outside the shrine, Jeanne going to help, Francois watching, her skill as a doctor, taking him to the hospital?

14. Francois missing when his grandmother was unwell? Francois waiting by Jeanne’s car till she returned from the hospital? Their talking, his request that she come to see the grandmother, ‘Do unto others…’? Her going, feeling the grandmother’s pulse, deciding to stay? Conferring with the family doctor, her gentleness in bathing the grandmother, being with her, quietly talking, consoling? Her being present at her death? The help for the grandmother – the miracle for Francois?

15. The insertion of the flashbacks to Lisa, at the centre, her husband coming in, his hostility, his clashes with Jeanne in the carpark, her being saved by the lights coming on? His finally coming to the hotel, the gun, Jeanne as hostage, shooting his wife and daughter, shooting himself?

16. The end and Jeanne watching the priest, the blessings? Audience realising that the voice-over was her confession to the priest? Not gaining faith – but at least hope?

PERDITA DURANGO

Spain, 1997, 125 minutes, Colour.
Rosie Perez, Javier Badim, Harley Cross, Aimee Graham, Screamin’ Jay Hawkins, Don Stroud, Alex Cox, Carol Badim.
Directed by Alex de la Iglesia.

A lot of audiences would find this film difficult to sit through - and if they didn't, one might wonder why. It is one of those sociopaths on a violent spree movies that seems to relish a lot of what it dramatises while many will find it repulsive. It is a macho interpretation of pseudo-macho behaviour.

Rosie Perez's Perdita is meant to be the centre of the film, a woman hurt by violence, without a conscience - almost. But Javier Bardem's extraordinary manic performance as an insane drug dealer who delves into Santeria rituals focuses the show on himself - as he dreams of being Burt Lancaster in the 1956 Vera Cruz.

Filmed in Mexico and the US in some difficult to understand English by Spanish Alex de Iglesia, it relishes what is called the Tarentino style of hip violence with hip dialogue. But there is an ugliness in this film that undermines it. Ugly.

1. The work of Alex de la Iglesia? Spanish stories? Violence? Black humour? Critique?

2. The connection of this film to Wild at Heart? The characters? Themes? The road movie to Las Vegas?

3. The locations, the west, the Mexican border? The desert locations? The Gothic tone? Hotels, motels, the rendezvous?

4. The structure of the film, Perdita and Romeo together, the mission? The interactions? The flashbacks? Their insertion, revelation of character?

5. The character of Perdita, the prostitute, the sisters and nephews and their murder? Her brother-in-law killing himself?

6. Romeo, the drug dealer, the background as a witchdoctor? His relationship with his partner, tricking Shorty, the share of the bank robbery?

7. Perdita and Romeo, at the border, the interaction, lovers, sharing the crime? Romeo and his agreement to deliver the cargo? The foetuses? Reggie urging him on, the gangland boss, Marcello Santos?

8. Their behaviour, characters, manic attitudes? The decision to kidnap Duane and Estelle? Romeo and the rape of Estelle? Perdita and Duane, his being more accommodating?

9. Romeo and his occult ceremonies, the relationship with Estelle, the decision that she should be a human sacrifice? Her not being killed, Shorty, the gang, the interruption? The confrontation with Shorty, Romeo killing him, the taking of the necklaces which protected him?

10. The gang, the violence, the escape, taking the package? Romeo and the confrontation with the nightclub owner, the pressure on his grandmother? His discovery about Reggie, the tricks?

11. Romeo, the confrontation, trying to get the foetuses back? The ambush? The American police?

12. Romeo, going by himself, leaving the group behind, giving the cargo to his cousin? Estelle, the information, the double cross? Duane and Estelle freed, her pursuit of Romeo?

13. Reggie, the confrontation, Romeo and his being shot – why? Perdita, her violence, killing Reggie?

14. The police, the investigations, Perdita and her going to Las Vegas – to what purpose?

15. A violent and ugly film? Narrative, characters, critique, black humour?

NINE LIVES

US, 2004, 112 minutes, Colour.
Kathy Baker, Amy Brennerman, Elpidia Carrillo, Glenn Close, Lisa Gaye Hamilton, Holly Hunter, Sissy Spacek, Amanda Seyfried, Robyn Wright Penn, Miguel Andoval, Jason Isaacs, Stephen Delane, Molly Parker, Ian Mc Shane, Mary K. Place, Aidan Quinn, Joe Mantegna, Dakota Fanning.
Directed by Rodrigo Garcia.

In 2001, Rodrigo Garcia’s previous film, Things You Can Tell Just by Looking at Her, played the festival circuit. It was an anthology of five stories about women and relationships, with some connection between them. It had a particularly strong cast of women: Glenn Close, Cameron Diaz, Holly Hunter, Kathy Baker and Callista Flockhart. Nine Lives is much more ambitious – and Garcia was rewarded by winning the Golden Leopard for Best Film and his cast won the Best Actress award as an ensemble at the 2005 Locarno Film Festival.

The Nine Lives we see are much more interconnected than in his previous film, sometimes unexpectedly and pleasingly so. Each of the nine lives has a chapter heading focussing on one of the women and providing them with an opportunity for a tour-de-force performance. Each of the segments is around ten minutes. One of them is a one take piece in a supermarket.

The backgrounds of the women are quite different moving from a prison to an affluent apartment building. The final segment is set at a graveside. This gives Garcia the opportunity to range through so many facets of women’s lives: imprisonment, marriage, adultery, parental abuse, adolescent changes, friendship, pregnancy and abortion, suicide, moral choices, cancer, nursing, death and grief.

The cinematic style varies from story to story and keeps audiences alert and interested. It should be added that there is a strong male cast as well as the award-winning women. It includes Aidan Quinn, Stephen Dillane, Joe Mantegna, Miguel Sandoval, William Fichtner, Jason Isaacs and Ian Mc Shane.

The nine women are worth acknowledging: Elpidia Carillo as the prisoner, Robin Penn Wright surprisingly strong in the supermarket scene, Lisa Gaye Hamilton in conflict with her stepfather, Holly Hunter as a socialite, Amy Brenneman as a divorcee, Amanda Seyfried as the teenager trying to bring her parents together, Sissy Spacek as her mother, Kathy Baker as a woman angry at the cancer she is suffering from and Glenn Close (with Dakota Fanning) in the cemetery sequence. They are all very good indeed, Kathy Baker excelling in her rage, Glenn Close excelling in her quiet grief.

Garcia has a literary bent, not surprising when his father is novelist Gabriel Garcia Marquez. Garcia who has worked in Hollywood as a cinematographer and writer as well as directing for television, comments ‘I’m always interested in characters who are trapped, in a rut, can’t grow… That kind of story pushes me to write scripts with lots of little stories… So, I had the idea of spending ten, twelve, fourteen minutes in the life of a woman. I know this taxes the audience because I am asking them to invest in a character time and time again and then move on…I like to choose a moment in life that sums up a situation.’

1. The impact of the film, nine snapshots, each with value in itself, each in its jigsaw of the whole?

2. Nine women, the comment on the cat having nine lives or not? Women’s lives, the meanings in women’s lives? Women facing transitions?

3. Each story standing alone, the character links, the thematic links, the talk about the nature of links and intercommunication, degrees of separation?

4. The Los Angeles settings, the variety, class, wealth? The musical score?

5. The range of women, a pregnant woman, a prisoner, women and children, marriage, relationships and breakdown, illness, grieving, death?

6. Sandra’s story: the setting of the prison, the guards and their callous attitudes, fellow prisoners and their attacks on Sandra, the warden and his interrogation? Her giving him information, her work in the kitchen, mopping the floors? The visit of her daughter, the difficulties in getting to her daughter with obstructing guards, the phone not working, her breaking out in anger, talking with the old woman prisoner and abusing her, getting control of herself, loss of control? The later story of her escape, in the motel, her being caught, the motel woman talking about Sandra’s comments on stars and fate?

7. Diana’s story: one take, the realism of the supermarket, her pregnancy, the chance meeting with Damian, the memories of the past, their talk, the hurt of the past, the five years of separation, events ten years earlier? Their respective marriages, the mention of Lorna giving information? Her continuing her shopping, going back to Damian, his accompanying her? His being sterile? His saying that he thought of her all the time, her emotional reaction? Leaving him, continuing the shopping – and then going out of the supermarket door?

8. Holly’s story: Holly and her being so demanding, arriving, forcing her opinions on her sister, forcing her to telephone their father, her moodiness? The back-story, her relationship to her sister, being like a mother to her, going out into the garden, sitting on the swing? Her anger, the father’s arrival, her gun, suicidal, the story of her father and his relationships? The irony that he was the warder in the prison? Holly’s later reappearance in the hospital, competently doing her work, Camille not liking her?

9. Sonia’s story: Sonia and Martin, wealth and class, arriving at the apartment block, the visit, waiting, Sonia being edgy, claustrophobic in the elevator? Friendship with Damian and his wife? The touch of jealousy, the tour of the apartment, the chatter, the talk about their fight and not turning up the week before, Sonia blurting it out, Martin’s anger? Martin talking about the pregnancy, unwanted, the changes of mind, the abortion? Sonia’s anger and pushing the glass over? The different glimpse of Damian, his wife? His wife appearing in Lorna’s story at the funeral?

10. Samantha’s story: her age, her studies, her father in the wheelchair, talking with him, helping him with the crosswords? His asking about her mother? Her mother, doing the housework, ironing, saying how tired she was, asking about her husband? Their not communicating directly with each other? The possibility of her going away to study, her staying? Shutting the door – but then opening it again, the link between mother and father? The compassion for the father and his disability?

11. Ruth’s story: seeing her with Mr Stanton, her comments about Mr Stanton and his being Samantha’s adviser? The surprise that she was having the affair with Mr Stanton? Knowledge of her from Samantha’s story? The motel, their walking, talk about the whisky? Seeing the police, Sandra and her her arrest, Ruth going to the room, finding the shoe, talking to the motel attendant? Her going back to the room, the party cap, the phone call to Samantha, her decision to leave and go home?

12. Lorna’s story: with her parents, getting ready to go to the funeral, Andrew’s wife and her suicide, her comment that women didn't commit suicide? Her own relationships, the break-up with Andrew, the divorce? Arrival at the funeral, meeting Rebecca and her harsh words, Damian’s wife and her comments? Lorna being blamed? Meeting Andrew, his being deaf, sign language, attempts to speak? His grief? Sitting with her parents, the comment and their giggling? Her going out, Andrew following her, his declaration of love, talk about sexuality, their sexual experience? The later appearance of her mother as the doctor tending Camille?

13. Camille and her story: her illness, the breast cancer, in the hospital, talking with her husband, complaining to him, the outbursts, Holly looking after her, her dislike of Holly and her treatment, the doctor coming in and talking, her criticism of the hospital, giving her the sedative, her calming down, her change of attitude, concern about her daughter, death? The patience of her husband?

14. Maggie’s story: Maggie and Maria walking in the cemetery, their easy talk together, Maggie seeming an older mother, the annual visit to the cemetery, the picnic, Maria and the grapes, her wanting to pee, playing games with her mother, going up the tree? The discussion about growing old? Love? Maria disappearing? The audience realising that it was Maria’s grave, Maggie grieving? Her going from the cemetery?

15. The overall impact after seeing these different vignettes, understanding these different characters, their facing their transitions? A satisfyingly emotional experience?

FREE WILLY 3

US, 1997, 85 minutes, Colour.
Jason James Richter.
Directed by Sam Pilsbury.

Once again, reviewers wonder why a third episode needed to be made about the lovable whale and his adventures. However, children who enjoyed the earlier films will, no doubt, be eager to see further adventures. And there is something majestic about the whales and the beauty of the ocean and worrying about their plight.

1. The popularity of the Free Willy films? The focus on Willy and whales, the giant orca but sympathetic? Jesse and his looking after the whales? The subtitle of this film as The Rescue?

2. The need for sequels, audiences wanting more about the story of Willy? The strength of this story? A crowd pleaser?

3. The coastal locations, the town, the boats, the water? The musical score?

4. The focus on the whales, the schools of whales, Willy set free? Responding to the sound, following the boat? His ‘human’ understanding? Response to Jesse? The confrontation with Max’s father and sparing him? Willy being free and the whales being free?

5. The boat pursuing the whales, the harpoons, the techniques for tracking the whales? The illicit markets for whale meat to Japan, Norway and other countries? The profits to be made? The crew on the boat, Max’s father participating?

6. Jesse, his age, experience, research assistant? Going on the boat, the young woman and her immediate reaction? Randolph and his friendship? The captain? Their pursuing the whales? Getting the research? The discovery of the harpooners? The decision to help?

7. Jesse, his trying to get on the boat, asking for a job? Meeting Max? Going to the library, discussing the issue with Max, Max sympathising? Max and his help? Getting the evidence of the harpoons on the boat? Taking the research vessel, the girl allowing it, with Randolph? Their going to free the whales? The incident with Max’s father after the pursuit by the harpooners?

8. Max, his age, wanting to go with his father, his father taking him, the techniques of tracking the whales, harpooning them? Max and his hesitation? Falling overboard and rescued? His wanting his father to give up the job? On the boat, impeding the harpoons? His falling over again, rescued? His father in the water, Willy not harming him? The father’s change of heart, being with his son?

9. The film’s delight in showing the whales, their being free? The human response?

10. The gallery of characters, familiar from the previous films, types who were concerned about nature and the environment?

11. A pleasing, if slight, successor to the other Free Willy films?

A PERFECT DAY

Lebanon, 2005, 88 minutes, Colour.
Ziad Saad, Julia Kassar, Julia Kahwagi.
Directed by Joana Hadji , Thomas Khalil Joreige.

A Perfect Day offers the opportunity for its audience to enter into Beirut, understand something of the past, the challenges of the present – and as the history of 2006 provided, the dangers for the future.

A mother certifies that her husband disappeared during the civil war fifteen years earlier. Her son walks through the streets of Beirut, searching for his former girlfriend. This gives the opportunity for a portrait of characters as well as a meditation on the details of life in Beirut and what the Lebanese people have suffered – and hope for.

1. A reflection of life in Beirut at the beginning of the 21st century? The memories of the civil war? A stagnation for those who are caught in the memories and are unable to move on? The younger generation who do not remember the war so well? Rebuilding Lebanon?

2. The Lebanese locations, the city of Beirut, the streets and the traffic jams, homes, clubs? The picture of Beirut after the civil war? The musical score?

3. The title, the structure of the film over twenty-four hours? The perfect day to accept that the mother’s husband was actually missing and officially dead?

4. The focus on mother and son, Malek at twenty-five, living with his mother? The connection between them, the grief, the disappearance of the father? The fifteen years’ absence? Malek as the only child, his mother as over-protective, continually phoning him? Her belief that the father could come back, Malek not believing this? The tension all day of his relationship with his mother, the phone calls, going in and out of the house, going to the lawyer’s? His relationship with his girlfriend, her calling things off, not wanting to see him? In the traffic jam? His going to the club despite her message? Her friend warning him off, the girl and the relationship between them, their kissing in the club, in the car? Her suddenly getting out and saying that it could not work? Malek’s work, going to the construction site, finding the body and his getting the authorities to identify it? His going to the lawyer’s, with the his mother, the documents, the lawyer having to photocopy the documents so they both could sign at the same time? His having the newspaper articles about his father’s disappearance and reading them in his room? The fact of his narcolepsy, falling asleep at all times, including at the car wheel? The return home to his mother? Driving with his girlfriend’s contact lenses and everything being blurry? His being a symbol of his generation, restless, yet narcoleptic, involved in reconstruction but unable to relate, blurred vision?

5. The portrait of Claudia, her age, the disappearance of her husband, not able to accept it, her grief? Protective of her son, over-mothering him? The continued phone calls? Her reaction to his avoiding her, his slipping out of the house and then going back, her calling him ten times? Going to the lawyer’s, her moods? The signing, wanting to go back on it? Looking in his room for the documents? Finding the gun, his finding the gun and keeping it in his room? Nothing dramatic happening with the gun? Her being alone?

6. The girlfriend, the relationship, calling it off, seeing no future, at the club, dancing and kissing, in the car, leaving her contact lenses, leaving him?

7. The building site, the day-by-day realism of the reconstruction of Beirut? Finding the corpse buried in the foundations?

8. The clubs, the music, the dance, the escape?

9. The lawyer, the details of the law, information about missing persons to be declared dead, the inheritance?

10. The film an its inviting its audiences to reflect about civil war and about the Lebanese situation?