THE BEAUTICIAN AND THE BEAST

US, 1997, 102 minutes, Colour.
Fran Drescher, Timothy Dalton, Ian Mc Niece, Patrick Malahide, Phyllis Newman, Michael Lerner.
Directed by Ken Kwapis.

Not being a regular watcher of The Nanny, except for some glimpses now and again, urged on by enthusiastic fans, I was not sure whether I liked Fran Drescher or not. She had a caricature of a part in with Robin Williams in Jack, earlier in the year, but this comedy shows she can carry a film very well indeed.
The publicist said it was The Sound of Music meets The King and I but there was plenty of Call Me Madam and visual references to My Fair Lady and Evita (at least). But, it is basically, as the title and the humorous cartoon opening sequence say, a variation on the Beauty and the Beast story: a minute Eastern European country emerging into the capitalist 90s, ruled by a beast of a President (`Stalin without the charm') and tamed by a nasal Queen's beautician mistaken for a science teacher.

Fran Drescher has the courage of her convictions and goes for broke with the funny screenplay and the double-takes. Somehow or other, you believe her. Timothy Dalton, not always prone to act in his movies, gives a persuasive performance as the President. There are jokes at the expense of Soviet totalitarianism. And, while the US way of democracy is promoted, the film has many entertaining shots at America. A pleasant surprise.

1. An entertaining comedy? Relying on the talent and screen presence of Fran Drescher? Audiences familiar with her from The Nanny? A variation on her Nanny performance?

2. The New York settings, the apartments, the beauticians? The contrast with eastern Europe, the city, the buildings, the castle, the countryside? An innocent American in Europe?

3. The colour photography, the colours, Joy’s garish style of clothes? Settings and décor? The musical score?

4. The title, the variation on the beauty and the beast? Boris as the beast? His snarling, appearance? His being transformed? The opening animated sequence with the prince kissing Sleeping Beauty and the consequent jokes?

5. Joy, mid-thirties, unmarried, her relationship with her mother, her mother’s nagging? Her mother at the old people’s home, her friends? Joy and her work, training the beauticians? The fire, her saving the students, the photographs, the news headlines?

6. The irony of Groshinski following her, making her the proposal to go the be the teacher, relying on the newspaper article that she was a heroic teacher? Her thinking about it, an opportunity for freedom, the money? Her mother’s arguments against going, her leaving?

7. The American going to eastern Europe? Ignorance of eastern Europe? Bringing American know-how and self-confidence? The history of eastern Europe in the 90s, the post-Stalinist period, the move towards democracy and the heavy going? Economy? The European traditions of castles, kings and rulers, despots? Style, politics, family life, arranged marriages…?

8. Joy and her wisecracks, her always answering back? Deciding to pretend to be a teacher? The encounter with Boris, keeping him waiting, his telling her off? Meeting the children, Karl and his attack on American imperialism? The anti-American presuppositions? Her relating to the children, Karl and the sex expectations and his awkward manner, mellowing, wanting to paint? Katrina and her being in love with the boy, taking Joy to the nightclub, his being arrested, her father’s forbidding attitude towards her? The fat girl and Joy telling her that big was beautiful? The baby and his biting his nails, with the dog neckbrace on? The children at the table, not seeing their father, her forcing Boris to stay with the children?

9. Boris, the Stalinist look, the dictator, harsh? Too busy, not with his children? Imprisoning the agitator? His not allowing people to answer back, especially Joy? His being got at by Joy, the gradual change, his taking her out, meeting the peasants and greeting them, going to the factory and the issues of overtime and unions? Shaving off his moustache, changing his clothes? The preparation for the party, the buffet, his dancing with her with the gift of the dress, his speech? His not freeing the agitator as promised? His wanting people to love him for himself? The orchestrated response of people in the square, in the factories, at the celebration?

10. Joy, getting to know everyone, the American wisecracks, sentiment? Her knowing everybody in the fields, her reaction to the overtime and the unions in the factory? Teaching the children, West Side Story for Romeo and Juliet (and Boris and his argument with his daughter about the motivations in Romeo and Juliet)? Her explaining to Boris that she was a beautician, his praising her as the best of teachers? The massage sequence and his confession of love, her reaction, telling the truth?

11. The prime minister, sinister, the throwback to the Stalinist days? Trying to blackmail Joy? His hold over Boris? His reactions after Joy returned home, signing the documents, being oppressive? His being arrested for treason?

12. Kruschenko, recruiting Joy, monitoring her, advising her, supporting her?

13. Joy, the achievement with the children, Boris acknowledging this? His anger with her, her leaving? Back in the US, her lonely birthday party, her mother’s friends turning up? Boris at the door, his apology, the final kiss?

14. The film as a contemporary American fairy tale – with the fairytale setting and the fairytale ending?

MULAN

US, 1998, 95 minutes, Colour.
Voices of: Eddie Murphy, Ming- Na Wen, Leia Salonga, B.D. Wong, Harvey Fierstein, George Takei, Miguel Ferrer, James Shigeta, James Hong, Pat Morita, Miriam Margolyes, Marni Nixon.
Directed by Barry Cook, Tony Bancroft.

From the Disney Studios. While Aladdin lived in the Middle East, the filmmakers have now gone to China, the Far East, for an entertaining fantasy adventure that boasts a vigorous heroine, Mulan herself, disguising herself as a warrior to save her father from conscription. She trains, is skilful in warding off the invading Huns with an avalanche and ultimately saves the day and the Emperor in the walled city. The battle scenes and the army in snowy landscapes are particularly impressive animation. It's a sign of the times when movies are marketed for China and for audiences appreciative of a vigorous leading lady. (And Eddie Murphy entertains as the voice of the dragon.) Lively adventure.

1. The popularity of the film in the late 90s? For adult audiences, for children?

2. The Disney world, animation, computer graphics, style of animation, drawing? The transposition of the American-style Disney world to Chinese history?

3. The quality of the animation, the human characters, the range of creatures – with their fearsome and comic touches, the battle sequences, the training?

4. The musical score, the songs? As sung by Mulan, the captain, the troops? The training? The irony of the song about training a man – as Mulan in disguise does her military training?

5. The Chinese situation, the Chinese history, the oppression from the emperors, the wars? The focus on the family, Mulan’s place in the family? The matchmaking? The conscription, Mulan’s decision? Her disguising herself, with her friends the creatures? Going to do the training, her being valiant? Participation in the war? Being found out, her being a kind of Chinese Joan of Arc, saving the day, saving the country?

6. The character of Mulan, as a girl, her place in the family, her being upset, the prospect of marriage, the matchmaker and the devices, the accidents? Her lucky cricket? Her relationship with her grandmother? The crashes? Her father ordering her to go? The decision, cutting her hair? The lizard and its protection? Going to the camp, training, with the male troops? The ambiguity, her bathing? The doll? The experience of war, the dead village, the attack, the avalanche? Her being wounded, her identity discovered? Her not being killed? The news of the Huns? The irony of her attraction to the captain, falling in love with him, the secret?

7. The captain, tough, his song? Father, adviser? The training? His being saved? The triumph? His scepticism – the sword? The truth and his love for Mulan?

8. The portrait of the family, the detail, the characters, the parents, grandparents? The expectations, Mulan breaking their expectations?

9. The portrait of the soldiers, the comedy, the avalanche, the dark side of the moon? The personalities, the training, warfare?

10. Eddie Murphy and the comic dragon, his patter (and the adult jokes), comedy? The cricket? The lizard, the horse? The guardians?

11. The serious aspect of the film, warfare and battles, the Huns, the slaughter, the arrows? The avalanche? The Huns in the city? The visual presentation of the Huns?

12. The fighting in the city, the taking of the emperor, the importance of the emperor and his leadership, dressing the women, burning the bird? Heroism, fighting, the emperor escaping? The fireworks?

13. The emperor, the truth about Mulan, everybody bowing, her being a heroin, going home to her father and family, her marriage?

14. The background characters, the particularly Chinese aspects – the possibility for American audiences to understand something of transcultural issues? Or was this simply a pleasing Disney film for American and worldwide audiences?

THERE’S SOMETHING ABOUT MARY

US, 1998, 118 minutes, Colour.
Cameron Diaz, Matt Dillon, Ben Stiller, Lee Evans, Chris Elliott, Lin Shaye, Jeffrey Tambour, Keith David, Markie Post, W. Earl Brown.
Directed by Peter Farrelly, Bobby Farrelly.

When you year the Farrelly Brothers made Dumb and Dumber and Kingpin, you expect to be in for some basic (very basic) comedy, some crass bodily function jokes and some corny slapstick. And certainly, that's all there (and some will find many jokes far too vulgar). It's broad extravert, broad comedy heaven.

But there is actually more here in the way of plot and characterisation. Cameron Diaz is luminous as Mary, a character who is not only nice but ideal. Ben Stiller, gawky at school, is still in love with her and wants to find her (and is a good sport, being the butt of most of the jokes) - with the help of a sleazy insurance investigator played well for comedy by Matt Dillon. And there are several others infatuated with Mary.

The preview audience laughed uproariously (the loudest I have heard in a long time) and sometimes incredulously at the jokes. Decorum suggests that the description of one of the main source of this mirth was the 'hair gel' episode (for those who have seen it). Vulgarity tolerance needs checking.
And that is what the critics did. They wrote serious articles about the nature of vulgar humour, speculated on the limits and implied that they were above that kind of thing even if the vulgar crowd wasn't. But that's a tautology. The Latin word for 'crowd' is vulgus from which 'vulgar' is derived.

A friend, not too keen on the word vulgar, agreed that 'earthiness' might be a better word for humour about ourselves, our bodies, our 'earthy' realities and experiences.

So, humour can be a telling criterion for appreciating the differences between Extraverts and Introverts. The audience for There's Something About Mary created such an atmosphere in the cinema that, even if you were fastidious, the interaction and energy between audience and screen was quite palpable.

1. The popularity of the film? A blend of the nice and the crass?

2. Rhode Island in the 80s? Florida in the 90s? The ordinariness of New England and studies and homes? The flamboyance of Florida?

3. The device of having the singer sing the ballad, continually reappear – be part of the plot and of the jokes?

4. 1985, the focus on Ted, the voice-over, psychological aspects, the crowd, the prom, rescuing Warren, meeting Mary, the possibility of dating her? Ted as the nerd or gawk?

5. The sequence with Warren, the ball, Ted helping, the attraction towards Mary? Walking, carrying? The prom? Their arrival, Warren and the bashing – and the focus on ears? Mary’s parents and their yelling? The toilet sequence, the lovebirds, Ted watching, the impact of the zip scene and his dad? The embarrassment for Ted, awkwardness? The police, the spray, the crowd? The comment on the bleeder – and the ambulance dropping him?

6. The psychologist, out to eat and not listen, homosexuality, red areas, wanting a family?

7. The character of Dom, his advice to Ted, the private investigator, recommending Healy? Pat Healy, Matt Dillon’s style, a sleazy private investigator?

8. Healy, his commission, driving to Miami, his relationship with Sully? The drugs and rehabilitation, drink and going without? Healy spying on Mary, the taping, everybody liking Mary? Mary and the girl talk, Healy listening in?

9. The character of Magda, her tanning, her dogs, friendship with Mary, supporting her, listening to the mobiles?

10. Ted and the report, Healy exaggerating, Ted and his reaction, deciding to move to Miami? The sumo sequence? Golf with Mary, the lies? The dog and its dying – and reviving, electric shock?

11. Ted and Dom, the decision to go, the hitchhiker and the exercise video, arrested, the cops, the murder? Dom driving him, the information about Healy and Mary?

12. Tucker and the crutches, his English background, talking with Healy, Harold and Maude? The visit to the office, to the apartment? The confrontation with Healy, the revelation that he was not crippled, that he was a phoney, an American, a pizza deliverer? His infatuation with Mary and his motivation?

13. Healy, the texting, the phone calls, the kiss, Healy and Warren – and Warren antagonistic towards him?

14. Ted meeting Mary, his contriving the reunion, his seeming innocence, the date? Sexual activity in the bathroom, the hair gel sequence? In good taste – yet audiences finding it funny? The talk about Pat Healy as a killer? Magda, the dog, Hypo, the dog going out the window? Ted and the fight with Tucker? Warren glad to see Ted again, baseball, clothes? The fish hook?

15. The build-up to seeing all Mary’s suitors together, Healy, Tucker, the background of the story of Woogie, Ted? The arrival of Brett and his having been put off by Woogie?

16. Woogie, the hives, the revelation of the truth?

17. Brett, her choice? Ted and his accepting this, wanting Mary to be happy? His leaving, the pratfalls, Mary chasing him? The happy ending?

18. The work of the Farrelly brothers, down to earth, the blend of the crass and the humorous, the nice and sentimental, the blending of all these for satisfying American humour?

THE RISING – BALLAD OF MANGAL PANDEY

India, 2005, 150 minutes, Colour.
Aamir Khan, Toby Stephens, Rani Mukerji, Amisha Patel.
Directed by Ketan Mehta.

Here we have film-making on the grand scale, Indian style.

The opening tells us that when history meets folklore, legends are born. The Rising recounts the history of the power of the East India Company in India, one of the most powerful corporations in world history, and a mutiny by the sepoys which led to an India-wide mutiny. From the Indian perspective, it is seen as the first war of mutiny, the first major step that led to Mahatma Gandhi and Indian independence on August 15th 1947.

In these days of international invasions, international peace-keeping forces and of international terrorism, any film with a subject like this can be both provocative and thought-provoking. This is especially true when Britain is one of the major targets of resentment and we are presented with a portrait of arrogant, greedy, unscrupulous and racist capitalists of the East India Company. World powers not understanding local customs, especially religious customs and their deep convictions - and the presumption that they are merely superstitions that can be over-ridden by authority and what authority thinks is reason and common-sense - will mean that many audiences will be thinking of the leading superpower, the United States, and its actions in Afghanistan and Iraq, as well as other parts of the world.

That is the context in which this film has been made and released.

As film, it is certainly beautiful to look at. Indian landscapes, natural beauty, cities and architecture have never looked better. The re-creation of life in the mid-19th century, especially for the wealthy British away from home, has its spectacular moments. There is also an atmospheric score, pounding at emotional moments.

The title indicates that we are getting a hero's eye version of events, the point of view of sepoy, Mangal Pandey, a loyal soldier, well-disciplined who saves his commanding officer. However, deep down there is a humane man who reacts to the ill-treatment and cruelty presumptously handed out by the Company. When cartridges are introduced for the new Enfield rifles, cartridges dipped in pig and cattle fat, the sepoys are asked to literally bite the bullets, something sacrilegious for both Hindus and Muslims. Officers lie to the sepoys, but once the truth is out, the stage is set for mutiny, with Mangal Pandey as a significant leader. One knows how it will turn out - immediate disaster for the mutineers but a long range peace for India. However, the East India Company, which had ruled India for a hundred years with its own army, is brought down and India is brought under British political rule.

Aamir Khan is a dignified and strong presence as Mangal Pandey. The ballad shows us his gradual 'conscientisation' from soldier to revolutationary. Toby Stephens has a strong role as Gordon, friend and foe of Mangal.

(For those who enjoy movie parallels, think Braveheart - especially at the execution when Mangal exhorts the crowd, not to 'freedom' but to 'attack'.)

1. An entertaining spectacle? Historical drama? Social issues? 19th century – 21st century?

2. The quality of the location photography, the range of beautiful landscapes? The cities and villages? The 19th century and Empire architecture? Lavish interiors? The military barracks? The world of the East India Company, the Raj? The use of wide screen for intimate sequences, domestic sequences, political, military and action? The atmospheric – and thundering score?

3. The comment that where history meets folklore, legends arise? The title – and the treatment of Mangal Pandey as a ballad?

4. The perspectives on the Indian mutiny, from the British point of view, a mutiny? From the East India Company, the confrontation and undermining of the company? From the Indian point of view, a step towards independence? For the sepoys, for kingdoms? The perspective after one hundred and fifty years?

5. The structure of the film: the focus on the hanging of Mangal Pandey, its being postponed? The flashbacks, from Gordon’s point of view? Coming back to the hanging, the final comment by Gordon, the postscript about the independence of India?

6. The framework, the tableau of the execution, India and the 20th century? The end and the visuals of Gandhi and independence?

7. The songs, the Bollywood style, colour, movement, the men on the elephant, the dancing girls? The insertion of the songs into the plot, connecting with the characters?

8. The portrait of Mangal Pandey, the preparation for the execution, the accusations by the officer, the entry, his being framed in the noose? His look at Gordon? His not dying, being taken away, audience expectations?

9. His story, as a sepoy, the status of the sepoys, very British, his militaristic style, even to his marching, his uniform, neat appearance? His working for the East India Company? The battle, his saving Gordon, his being wounded? Gordon’s visit, giving him the gift of the gun (and later his giving it back)? His work of service, friendship with Gordon, the wresting and the discussion about the issue at the ball? The defence of the servant being attacked by Hewson? His going into action? His leadership? The issue of the cartridges and the pig and oxen fat? Gordon confirming the truth, his biting the bullet, his being defiled, becoming an Untouchable? The cross-eyed Untouchable and his communication with him, arrogance, beginning to depend on him? His observing the slave market and the sale of the prostitutes? Later, meeting Heera, his love for her, the possibility of escape? With Gordon, the drinking, tying Hewson’s horse and his falling off? His stance on Hewson, the fight, the four men whipping him and Gordon stopping them? Going to the factory, the truth about the cartridges? The defiance of the military, his being the leader? The planning of the mutiny? The confrontation, his not being an Untouchable, solidarity of the sepoys? His becoming a symbol – and the flag of the Red Fort of Delhi? The confrontation and his standing alone in front of the cannon? The final decision with the advance of the Rangoon Regiment, fighting, the duel with Gordon and wounding him, getting the others to go? Standing alone and shooting? His attempt to kill himself, in hospital? His being taken to execution – in the cinematic manner of such heroes at Braveheart? The execution and his final cinematography of, “Attack”?

10. The East India Company, the historical explanation at the beginning of the film, their power, success, having their own army, Gordon’s explanation of what a company was, the greed? The personnel, their arrogance, racist? Their attitude towards the kingdoms and using the kings? Having their own brothel and buying the slave girls? The visuals of the officers in the brothel? Their exploitation, wealth, private enterprise, opium, selling it to China, provoking a war with China? The inspectors coming from England – being offered bribes, Fletcher and his being honest? Using the locals as underlings? The final defiance of the ordinance manager for the opium, Fletcher, the shock of Kent, his feeling that he was immune?

11. The social life of the company people, the masked ball, the girl and her dressing as a nautch girl, people’s reaction, especially her father? Hewson and his remarks, a cruel man, sexual philanderer, affairs? The background of the mother with the Indian nurse, not having enough milk for her own child? The girl’s love for the baby and warning the mother to escape? In the brothel, the dancing, the men? Miss Kent and her innocent questions about the company, Gordon and his giving clear answers about greed, China? The military tribunals, the issue of Gordon’s loyalty? The role of the military, the personnel, their strategies – their authoritarianism, super-confidence, playing billiards and discussing? Defying the sepoys about the cartridges, not understanding the religious observances, dismissing them?

12. Gordon, the Catholic background, the Scot, the ordinary parish school, an ordinary soldier, his rank, half his life in India, working for the company? The strategy and the battle, the visualising of the battle, the troops arriving, on the crest of the hills, seeing the dead? The snipers? Mangal Pandey and his saving Gordon? The later wrestling, the drinking and Hewson’s horse? Mangal defying him about not saving the servant who was beaten by Hewson, Mangal stepping in to be whipped instead? His stopping the whipping by the four men in the prison? His bluntness in telling the truth about the company, the reports? His being spurned? The issue of sati, saving the widow, Mangal coming in to save him again? The arrows fired in his house, the woman, her fears, under the bed, his relationship with her? The duel with Mangal, his being present at the execution, his final comments – and the postscript saying that he went out of the company and fought with the sepoys?

13. Hewson, arrogant British? The innocent girl and her asking questions? The presumptuousness of the British, the nature of the racism, their epithets, cruelty? Unwilling to have any kind of cultural understanding? The assumptions about the supremacy of the company and of England?

14. The girl sold as a prostitute, the market? Her being named Heera? With the other girls, the dancers, the woman managing the brothel? The Indian wife, giving her milk to the white baby, her husband being angry, her giving the baby opium to stop it crying? Her warning the white woman to flee, her husband being tortured because of the information given? The woman who was to be burnt, her being saved, in Gordon’s household, the relationship?

15. The issues of religion, Muslim and Hindu? The planning of the mutiny, the Muslim kingdoms of the north, the Hindu kingdoms? The two emissaries, the interviews with their kings and queens, the emperor in Delhi? The planning of the uprising? The issue of the cartridges, the factory, the British lies, the truth, the defiance – to a man? The background of the issue of sati and the killing customs, the role of customs – and need for change to respect human life?

16. The film as a portrait of Mangal Pandey, his growth in awareness, to leadership of the mutiny, his becoming a symbolic martyr?

17. Britain taking over the management of India, becoming part of the empire, the role of Queen Victoria? The empire and its roots, exploitation? The consequences?

18. The feeling of the film, the history of the succeeding ninety years, the focus on Gandhi, August 1947?

A PERFECT COUPLE

France/Japan, 2005, 104 minutes, Colour.
Valeria Bruni- Tedeschi, Bruno Todeschini.
Directed by Nobuhiro Suwa.

Towards the end of this very long cinema experience (so it seems), the husband says he is fed up. He has only had to live through this focus on a breaking French marriage. We have had to watch it and are far more entitled to be fed up.

This is the kind of film where knowing reviewers refer to the dialogue as Pinterish. But Pinter works so much better in the theatre than on screen. I began to wonder how many critics had coined the word 'interminababble'!

Since the film was so hard to watch (the lighting being very dark except for a scene in a cafe and two in the Rodin museum), I found I was distracting myself by planning a review. I wondered whether there was a difference between dialogue which was 'mundane' and that which was unineresting', 'inconsequential', 'banal'. (Then I was distracted by wanting a dose of mindless action.)

I have always liked Valeria Bruni- Tedeschi and remembered that she appeared to great advantage in 2004 in a much more interesting analysis of a marriage break-up, Francois Ozon's 5x2. Japanese director, Nobuhiro Suwa, expects his audience to be prepared to give him continued concentration on very long takes, on silences and on the dialogue which is mundane, uninteresting, inconsequential or banal according tolerance. The film certainly has its own style which will appeal to those who value 'festival audience' films and have a high capacity for endurance. It won the Jury prize at Locarno and acclaim for its being pure cinema and avoiding clichés.

1. The impact of the film? A festival film for festival audiences?

2. The style of the film, the Japanese director with a French setting? The long shots, the long sequences, the close-ups, the silences, the dialogue? The overall impact of watching the marriage break-up?

3. The title and its irony, their being held as an ideal, their breaking up? The reaction of their friends?

4. The arrival in the town, the past in Lisbon? The fifteen-year marriage? The break-up, the man not talking, the wife and her not liking her husband any more?

5. How well did the sequences illustrate the tension between the two: their silences, not talking and then talking, the wife laughing? In the car at the opening, the rooms in the hotel, the separate rooms? The long sequence of the dinner with friends? The party and the chit-chat? Going back to the hotel, the tensions? His going out and meeting the friend at the bar? Her going to the Rodin Museum? The seeming long time for them just to be with each other, the futility of their interactions?

6. The strength of the dialogue, mundane comments, banal comments? The audience watching, overhearing?

7. The sequence in the bar, the husband and the discussion with the old man, the story of his life, the discussion with his friend?

8. The wife, meeting Patrick in the gallery, the memories of the past, the child and the drawings, her not having a child?

9. The return, the different rooms, the lovemaking, her decision to go back alone, standing at the station, her not getting on the train?

10. How accurate a portrait of a brittle marriage, contemporary society, lack of communication?

SNOW WHITE

Switzerland, 2005, 113 minutes, Colour.
Julie Fournier, Carlos Leal.
Directed by Samir.

Snow White was directed by Samir, a Baghdad-born director who moved at the age of six to Switzerland and has worked in film and television. He co-wrote the script.

Snow White is a contemporary allegory on the Snow White story except that it is set in contemporary Zurich, in the world of the upper class. This is the world of the nouveau riche, partying, involved in sex and drugs. The focus is on a young woman, Nico, the Snow White character. The irony of her Prince Charming is Paco, a front man with a band. The film shows the on-and-off relationships, the tensions, the love, the violence. The film is particularly interesting for a European audience with its focus on the style of life at the beginning of the 21st century. Worldwide audiences might find it a bit esoteric and ultra-exotic.

1. A Swiss story? A fairy tale? In contemporary guise? The blend of fairy tale and realism?

2. A version of Snow White, ironies, applications of the characters and themes of the fable?

3. The Zurich setting, its environment, good and bad, rich and middle class? The contrast with Geneva and poverty and Paco’s world? Paris?

4. The musical score, the rap songs, the lyrics? The lyrics relating to themes, to Paco’s rebellion? His attack on his audiences?

5. The style of the film, the opening with the therapy session with Nico? The realism of the characters and their situations? The devices of characters talking to the audience, split screens, dates and places, explanations of characters and their backgrounds, the film confiding in the audience?

6. Paco and his story, his parents migrating from Spain, their memories of Spain, Spanish language, his mother, his sick father, his father’s disapproval of his musical career, his brother, the drug taking, the memories of his brother in jail and his continued drug taking, his presence in his dreams? His attitude towards drugs? His voice-over, his commentary on the day that changed his life? The band, his playing with them, his comments on their characters, their need for him, his need for the band, changing his attitude, wanting to leave? Playing in the club, the challenge to Boris, defying him, the free drinks, the smashing of the bar? Nico and his noticing her, the interactions with him, her clash? The effect? The shoot for the video, his wanting the neighbourhood, the rich house, the director on cocaine? Nico taking him to a tour of Zurich, the bond between them, falling in love, the sexual liaison? Her taking him to Wanda’s parents as her own, his acceptance of them? His travels, the phone calls, communication, the meetings? His clash with the group, with Greg, the manager, the contract, the concerts?

7. Nico and her story, as Snow White? Her distant mother, her living in her house by herself, not accepting her divorce? Her being lost, coming to the twenty-first birthday party? Nico’s father, his absence, business, calling her about the phone bills, upset about the stolen car, changing the locks of the house, ousting her? Her birthday party, her life and lifestyle, drugs? Boris calling her Snow White? Her relationship with him, going to the club, the supply of drugs, Bobby as the dealer – and later demanding the money, his physical brutality? Her friendship with Wanda, talking with her, covering for her lifestyle? Wanda helping her? Her attraction towards Wanda, her reliance on Wanda’s parents? Meeting Paco, her hopes, Paco’s absences, her decision to go clean?

8. Wanda, her life, her poorer parents, her euphemism about sponsors, her being set up in her own place? Her parents, helping Nico? Nico sharing her lifestyle, sharing her apartment, the dates, the sex experiences, Wanda and the pathos of her death, Nico’s grief, going to the funeral, talking with Wanda’s parents and their disillusionment with her?

9. The fashion show and Nico walking out, happy with Paco, her telling him the truth about her life and his anger? Her attack on his self-centred righteousness?

10. The photographer as the witch of the fable, her proposal, wanting Nico to risk and go further? No scenes of the photo shoot? The exhibition, degrading Nico? Paco’s reaction?

11. Nico and her desire to be an actress, the rehearsals, her potential? Her coming late, drugs, the director firing her? Paco going to the play, the flowers, her not being there, his bewilderment and asking her?

12. The world of drugs, the need for money, her owing thirty thousand francs, Wanda paying it off? Her going with Wanda, the experience with the bankers, sex, drugs, physical attack? Wanda’s death, her phoning the police, hiding?

13. Going to Boris, asking for Paco’s phone number, the last chance, to go to the concert, the drugs in her bag, being held up at the airport, too late to go to Paris?

14. Her being ousted from her mother’s house, her father’s house? The gun, her having shot at the door? Her decision to shoot herself? Her surviving, the clinic, the therapy sessions?

15. The romantic ending, Paco as Prince Charming, his coming over the hill? Her watching him – and suddenly hurling herself out the window? His caring for her, her surviving?

16. Nico and her going into the depths of despair, the possibilities of redemption – through personal love?

THE FLYER

South Africa, 2005, 91 minutes, Colour.
Ian van der Heyden, Marcel van Heerden, Craig Palm, Kim Engelbrecht.
Directed by Revel Fox.

Once a period of racial integration has begun, films emerge about the social consequences. Many African American features explore the criminal leanings and activities of so many boys in the 'hood. In recently, this has happened in post-apartheid South Africa. Some years ago, there was The Wooden Camera, a hopeful story that acknowledged the violence that gangs are prone to but highlights the fact that, when children is offered an opportunity to develop a talent and a purpose, they can gain a life. The Flyer has a lot in common with the plot of The Wooden Camera.

Keir and his friend Spies get into a lot of trouble. A chance encounter with a man who asks for his bag back from Keir when mugged leads to the man finding Keir again and making him work to pay back the money he stole. The man is a former trapeze artist who has become a trainer because of an accident to his leg. Of course, we know what is going to happen: the boy is fascinated, has ability, blossoms as he grows up, meets a girl, encounters Spies when he gets out of jail, is pressurised into helping his friend in a crime, becomes a champion.

That, again of course, does not matter much. We enjoy seeing how this hopeful plot plays out and sharing the emotions of Keir, as well as realising that he could lose it all.

The Flyer is didactic in an earnest and emotional way - offering worthwhile encouragement to boys in similar situations to Keir. The Flyer is a nice crowd-pleaser.

1. An entertainment? Crowd pleaser? Inspirational film?

2. The South African setting, Capetown, the outskirts, the centre of the city? The focus on the training warehouse? The musical score?

3. The familiar story, the post-apartheid period, the young boys in the gangs, their need for some kind of hope?

4. The opening, Keir and his skills as a trapeze artist, his attempting to do the triple somersault, the arrival of Spies? The flashbacks?

5. Keir and Spies as boys, the gangs on the outskirts, their robbing people, mugging people? The encounter with Anders, taking his bag? Anders asking Keir to give it back, Keir leaving the bag? Taking the money? The boys and their sleeping out in the open, the gangs, glue-sniffing etc?

6. The chance encounter of Anders meeting Keir again, putting him in the truck, making him do the work to earn his money? His climbing the ladder, cleaning the stand? His fascination with the trapeze artists and their practice? His asking Anders to train him?

7. The training, his skills? The hope for the future?

8. Anders, his own career, later information about his accident, attempting the quadruple? His personality, training young people? The loner? A good teacher, severe but kindly?

9. Keir growing up, his abilities? The contrast with Spies in jail? The incident, their being chased on the roof, Spies stabbing the policeman, Keir escaping with the ladder – and his being indebted to Spies? His visiting him in prison?

10. Spies getting out, complaints about the clothes, the truck? Going immediately back to crime? The meeting with Ricardo? Spies and the management of the club? The plan, his pressure on Keir to help him?

11. Keir, the day off, seeing Mickey and her dancing, the friendship, her sprained ankle and his help? The relationship, their going out, meeting Spies, his offering her the job, Keir advising her not to take it, seeing her dancing, getting her fired, her reaction?

12. The crime, Keir getting them in, the shooting, Spies’s death, his taking the money, giving it to Ricardo, the explanations to Mickey?

13. His clash with Anders, moodiness, going off? Meeting him again, asking for a second chance?

14. Anders, going to Johannesburg, bringing the French circus master to Capetown? Keir and his training, his failing, the accidents, especially with the catcher?

15. His attempting the quadruple, the success – and his future? His travel, France, the Eiffel Tower…?

16. The film offering hope, young people and their talents, being trapped in society, people being kind, offering opportunities? A film of hope?

LABOUR EQUALS FREEDOM

Slovenia, 2005, 71 minutes, Colour.
Peter Musevski, Natasa Barbara Gracner.
Directed by Damjan Kozole.

Since the 1990s, the Slovenian film industry has been building up. The previous film by director, Damjan Kozole, was a hard-hitting look at the fate of exploited migrants to Western Europe. This time his focus is at home, in the city of Ljubljana - although he is making comment on the economic repercussions of Slovenia's becoming a member of the European Union. Factories are closed. Machinists lose their jobs. The social and psychological consequences of unemployment, especially marriage breakdown, are the themes of this very effective 71 minute feature which was completed in only six weeks.

It is not that there is anything new. The topics are familiar. However, Damjan Kozole, is a strong film-maker and his cast are excellent, especially Peter Mujsevski as Pero, the middle-aged married man, father of a daughter, who has been laid off.

Peter looks like your very ordinary worker type (think Ernest Borgnine as the butcher, Marty). But he is a good man, faithful and loving, a man who does not deserve this fate. He suffers loss of self-esteem, depression and is unable to provide for the comforts his working wife expects. It is she who breaks up the marriage.

Actually, the film offers some hope. Fate takes another turn and smiles on Pero - and he looks up the personals in the paper and meets a simple, good-hearted widow. That is where it ends, not in feeling dismal but with hope in a realistically difficult world.

1. A slice of life in Slovenia, in the city? Ordinary life, problems? Local and national problems, problems of belonging to the European Union?

2. A small film, the focus on the city and its environment, the countryside and its beauty? Homes, pubs, job locations? The musical score?

3. The film not showing anything new – but showing it well, well acted and dramatised? The emotional impact of unemployment? Family disruption?

4. Themes of employment, the effects of the European Union, the closing down of factories, machinists losing their jobs? The job-seeking centre, the woman at the desk, Pero and his constant visits, the woman finally weeping – and her own story about her husband leaving her for a younger woman? The unemployed going to the pubs, the groups, friends from the past not helping? The unemployed have no friends…?

5. Themes of family, the self-respect consequent on having a job, depression with unemployment, drinking, the possibilities of violence, the effect on the wife, children? Affairs, needs, money being absent, the demands being made, sexual frigidity, divorce and custody questions?

6. Pero, middle aged, a good man, pleasant manner, bluff, his being hurt by the situation, his group of friends at the pub, his imitations, friendliness? His love for Vera, for Sonya? The old car, fixing it, its breaking down in the countryside? His snoring, his wife having to deal with him? Smoking? His going out, drinking, Vera going out and his anger, puzzle, hitting her? Vera ousting him into the corridor, the neighbour taking him in, their discussion, her kindness? Vera and her work, her relationship, Pero spying on her, accusing her, the sexual encounter out of pity? Her decision to leave, take Sonya? The deal about the apartment for Sonya? The irony of his helping with the gas leak, becoming the caretaker? His change of attitude, friends at the pub, looking in the personal columns, the humour of some of the inquiries, his phoning Ines?

7. Vera, her story, her relationship with Pero, Sonya? Her work? His snoring, her growing exasperation, the affair? Her wanting nice things? Her anger with Pero, confronting him, his hitting her? Wanting a divorce? Listening to him, the sex out of pity and hurting him further? Her moving out, his seeing her with her friend and Sonya at school?

8. Ines, her story about her husband, his drinking, the crash, the pleasantness of the outing, the mutual shyness, talking, her going on the train – and the meeting of the following Sunday?

9. Sonya, bespectacled, at home, listening to her parents, at the football match with her father? Her wanting them to be together, her going with her mother, Pero seeing her with the adults and her seeming to be contented? His explaining to Ines about visiting her, getting her the cake?

10. The pub, his friends, their support, getting him to do the imitations? Their sharing the joy of his getting the caretaker job?

11. A theme of hope, solving the gas problem, the people supporting him, giving him the job? The hope for opportunities to arise in difficult situations?

JACK FROST

US, 1998 102 minutes, Colour.
Michael Keaton, Kelly Preston, Mark Addy, Joseph Cross.
Directed by Troy Miller.

Jack Frost is a Christmas ghost story, especially for children, especially for boys.

The impact will depend on audience mood, sympathy for Michael Keaton as Jack Frost, sympathy for Joseph Cross as his son. It is quite a sentimental film, focusing on the relationship between absent father and son.

Michael Keaton brings some manic energy to his role as a rock singer who neglects his family, despite his wish that he could be with them. He is killed in a car accident. After a year, he reappears as a snowman in the family garden. He then becomes a guardian for his son, helping him from attacks by a bully, helping him to be able to grieve for his father but always remember him.

Kelly Preston is his wife, Mark Addy, soon after his success in The Full Monty, is a friend of Jack. This film really depends on audience moods and acceptance of the cheerful ghost story premise.

1. A family film? For fathers, for sons?

2. The Colorado locations, the family home, the town and school? The season, winter, the mountains and the snow?

3. The music, the rock band, the variations on Christmas themes and songs?

4. The plausibility of the plot, audience accepting this kind of Christmas ghost story? The role of the snowman in American Christmas mythology?

5. Jack Frost, his personality, Michael Keaton’s energy? In the rock band, their hopes for success, on the road, recording? His relationship with Gabby? With Charlie? Jack and his promise to Charlie, the ice hockey match? His failing? The Christmas promise? The invitation to the party, the record deal? On his way, the decision, the accident?

6. Gabby, her love for Jack, exasperation, at home, with Charlie? Charlie, his age, missing his father, the ice hockey, his father’s promise? His father’s death, his grief?

7. A year later, the building of the snowman? The memory of his father? The film showing the snowman coming alive? The scarf, the hat? Jack’s voice?

8. Charlie and his reaction, doubt, the snowman’s activities, speaking? The attraction of the snowman – the snowman’s involvement in his life, at school, the bullies? The snowman as father figure?

9. Jack, the melting snow, Charlie and the game, Jack watching?

10. Charlie, his reaction, wanting to save his father, going up to the cabin? To freeze again?

11. The realisation that Jack has to go, Charlie saying goodbye? Jack saying goodbye to Charlie and Gabby? The new bond in the family? The bond between Charlie and his mother?

12. Mac, his friendship with Jack, friendship with Gabby and Charlie, stepping in to help? A genial friend?

13. The school, the bullies, Charlie and his ice hockey? The bully, change of heart, helping Charlie?

14. American sentiment, father and son relationships, the context of Christmas?

THE RED VIOLIN

Canada, 1998, 131 minutes, Colour.
Carlo Cecchi, Jean- Luc Bideau, Christoph Koncz, Jason Flemyng, Greta Scacchi, Sylvia Chang, Samuel L. Jackson, Colm Feore, Don Mackellar.
Directed by Francois Girard.

The Red Violin is what used to be called a portmanteau film. It focuses on the crafting of a violin in the 17th century, in Italy. The crafting of the violin has a tragic consequence as the wife and child of the maker die (and the maker uses his wife’s blood to varnish the violin). The scene then moves to an Austrian monastery, a child prodigy who is able to play the violin. A century later, gypsies have the violin and an English composer buys it, creates music, and is inspired by his mistress. The jealous mistress shoots the violin.

His Chinese servants take the violin to Shanghai. During the cultural revolution it is hidden and later is taken to Montreal for auction. The valuer realises the value of the violin and may or may not have substituted it to give to his child.

The film has exotic settings, a range of international stars, especially Samuel L. Jackson as the valuer. The different sequences are of mixed impact, changing with the various styles – the English story being, perhaps, the weakest.

Canadian director Francois Girard made the acclaimed film 32 Short Films About Glenn Gould. It is clear that he is fond of music and eager to put music on the big screen?

1. The title, the role of music, the music throughout the film? Works of art, the violin itself, the music, the performance?

2. The structure of the film, a series of tales: Italy, the tarot cards, the death cards and the different episodes? The monastery, England, China, Canada? The interspersing of the music? The dramatic effect? The repetitions, the angles, the visual style?

3. The impact of the music, the violin as a treasure?

4. Location photography and period: Italy, Austria, England, China, Canada?

5. The studio in Cremona, the master instrument maker, his staff, their work, the attention to detail? His marriage, the tarot cards, her pregnancy, the birth of the child, the gift of the violin, their deaths? The pathos of the burial? The role of the housekeeper, foretelling the long journey of the violin? The maker and his using the blood of his wife to varnish the violin? For good or evil? A possibility for her to live through the violin?

6. The transition to Austria, life in the monastery, the years passing, the generations? The child prodigy, his talent? The French master, the lessons, the child becoming obsessed? The impresario and his promotion of Kaspar? The prince, the audition, the boy’s collapse and his death? The burial?

7. The transition to the thieves, the gypsies, playing the violin? The English episode, the atmosphere of Oxford in the 19th century? The concert, the world of Gilbert and Sullivan? Frederick Pope, his character, his skill as a composer, his relationship with Victoria? His wanting the violin, buying it? His composing, playing, fashionable music, popular music? The inspiration to write? Russia? His sexual liaisons? Victoria, her jealousy, shooting the violin? His degeneration, using the drugs, his death?

8. The Chinese servants, the transition to China, Shanghai, the exotic atmosphere of 20th century Shanghai? The sale of the violin, the jewels? Time passing? Buying the violin for the daughter? The teacher and his love for the battered violin? His death? The instruments, his collection? The cultural revolution? The denunciations, the burning? The violin saved? The transition to Canada?

9. Canada, the auction, the valuer and his character, his knowledge of the violin, wanting the violin for his daughter? Testing it? Whether he substituted a fake violin or not? Or the end of the violin’s tragic journey?

10. The Chinese background, the tests, the staff in contemporary Canada, the preparation of the catalogue, the tests, the blood? The valuer, his skills, the hotel, the truth? The auction itself? The taxi ride? The change or not?

11. The effects of this saga, moving through the various centuries, culture? The focus on human nature? History, the precarious nature of art and skills? A world of music?