THE HOMECOMING

UK, 1973, 111 minutes, Colour.
Paul Rogers, Ian Holm, Michael Jayston, Vivien Merchant, Cyril Cusack, Terence Rigby.
Directed by Peter Hall.

Harold Pinter’s The Homecoming was first performed on the London stage in the mid-1960s. It was considered a great success, one of Pinter’s best plays, if not his best. It transferred to New York and Broadway in 1967 with Paul Rogers and Ian Holm winning awards in the Tonys and Vivien Merchant being nominated. The cast gathered together in 1973 for this film version, with years of experience and reflection on their roles – and giving their all, and even more, to their performances.

The film is set in a rather drab house in London. Paul Rogers plays the patriarch of the family, a pensioner butcher, who still has a malicious tongue as well as being ignorant about his wife and her behaviour, especially with his best friend whom he always quotes. He has three sons, Ian Holm who is something of a spiv, Terence Rigby who is rather thick-witted and a would-be boxer, and Michael Jayston as the philosophy professor who returns from the United States with his wife after an absence of nine years. Vivien Merchant, for many years Harold Pinter’s wife, is mysterious, enigmatic and skilful as the wife. The cast is rounded out by Cyril Cusack as the patriarch’s brother, a London chauffeur, rather supercilious and a bit foppish. The film, really a filmed record of the play, but compelling nonetheless, and directed by Peter Hall unobtrusively, giving full attention to the characters, in close-ups, reaction shots, and sometimes interesting tableaux as the four men smoking their cigars. The film exhibits Pinter’s dialogue, elliptical, enigmatic, with the famous pauses, the non sequiturs – but all the time this rather poetic if deadly dialogue illustrating the characters, the games they play with each other, and insights into human nature.

1. The impact of the film to play, as a piece of theatre, cinema? The American Theatre collection of plays, their aim, bringing the plays to an audience, life on television?

2. The work of Harold Pinter, Nobel Literature Prizewinner, his style, colloquial language, forceful, imagery and poetic, pauses, non sequiturs, yet a continuity in stream of consciousness which illustrates the characters and their interactions?

3. The cast, on the stage, the awards? Their ability to articulate the Pinter dialogue? Strong presences?

4. The mundane plot, the mundane family, the father and his sons, the attitudes of the brother, memories? The absent son and his wife in the homecoming?

5. An atmosphere of realism, yet surrealism? In conversation, characters, games, interactions? The visit, the wife and her developing relationships, breaking relationships, able to play the games – and win? The naturalism of the performances yet the highly stylised film?

6. The dramatic tension, the style of filming, close-ups, reactions shots, tableaux?

7. The characters and human nature:
(a) The father, his age, rough, background as a butcher, his memories of his wife, deceiving himself, his praise of his friend Mack, his brother finally telling him about his wife’s relationship with Mack? His spurning his brother, mocking him? His clash with his sons? Antagonism towards Lenny, his liking Joey? His work at home, cooking, cleaning, yet self-centred, his wants and needs? Teddy and his wife, attacking Ruth as a slut, changing his mind? The plan for her to be a prostitute, contribute to the upkeep of the house? The crude talk? The set-up and his approval? The final demand for a kiss?|

(b) Lenny, the spiv, pimp, relationships with women, small but arrogant? Cheeky to his father? The interlude over reading the paper? His attitude towards Joey? Meeting Teddy, their talk, discussions about his ability to read Teddy’s works? The years passing, philosophy, the vocabulary? His reaction to Ruth? The sexual advances? His contribution to the set-up for Ruthie? His lewd attitudes and behaviour?

(c) Joey, not quite all there, his boxing, rather ordinary, his relationship with his father, his father accepting him? With Lenny? The background, demolitions? His fights, regime, going to the gym? Encountering Ruth, the hours with her, his coming downstairs, Ruth teasing him? His encounter with her in front of the others? The future?

(d) Sam, the brother, dandy, supercilious, fastidious? As a London chauffeur, boasting about his clients, going to the airport, his reputation, his action in the war? His friendship with Mack, Mack with Max’s wife? His telling the truth to Max about his wife? Both fussy and spiteful, at home, insights, his being upset, the collapse?

(e) Teddy, his nine years away, his place within the family, in the US, lecturer, his books and writings, his studies, philosophy? The decision to come home, his initial caring for Ruth, worried about her, in the house, the beds and the sheets, her going for a walk? His discussions with Lenny, meeting his father, his father’s initial hostile reaction? The background of their trip, staying in Venice, coming to London, intending to return to the US? His reaction to Ruth’s behaviour, not intervening? The background of their children and home life? His phlegmatic behaviour, his final departure? The implications of the strength and weakness of the marriage?

(f) Ruth, her arrival, age, the only woman in the play? With Teddy, their relationship, family, the travels, to Venice? Her attitude to visiting London, meeting his family? The glasses of water – and the exercise of power with the glass of water, drinking it, not finishing it, keeping it? Her going for the walk? Sultry, her husband and his work? Her being provocative, with each of the brothers, her reaction to the plan? Her decision to stay?

8. The realistic aspects of the play? Surrealistic? Probing, provocative, providing insight?

THE RED DANUBE

US, 1949, 119 minutes, Black and white.
Walter Pidgeon, Ethel Barrymore, Peter Lawford, Angela Lansbury, Janet Leigh, Louis Calhern, Francis L. Sullivan, Melville Cooper, Robert Coote, Alan Napier.
Directed by George Sidney.

The Red Danube is set in post-World War Two Europe in 1946, opening in Rome and moving to Vienna. It is based on a novel by Bruce Marshall, Vespers in Vienna.

It was produced at the time of the falling of the Iron Curtain, the beginnings of the cold war. The critical reputation for the film then suffered because it was seen as rather more openly anticommunist. However, as the decades have gone on, with the fall of the Soviet empire, the realisation of the cruelty of Stalin, the film stands up better as a picture of Europe at that period.

The film has a strong cast, with Walter Pidgeon as the colonel in charge, Ethel Barrymore as the mother superior of the convent where the British are billeted. Peter Lawford and Janet Leigh are the romantic leads, Janet Leigh playing an ill-fated ballerina who does not want to return to Russia. Angela Lansbury is the efficient assistant to the colonel. Louis Calhern is the Russian colonel. Character actors like Francis L. Sullivan, Melville Cooper (Mr Collins in Pride and Prejudice) and Robert Coote also appear.

The film was directed by George Sidney, director of short films who moved into features and made several of MGM’s top musicals including Anchors Aweigh, Annie Get Your Gun, Kiss Me Kate. He also made some colourful historical films including The Three Musketeers, Scaramouche and Young Bess. After the MGM musicals finished he moved out of the studio and made such films as Pal Joey, Bye Bye Birdie and his last film, in England, Tommy Steele in Half a Sixpence.

1. The success of the film in the late 1940s? Its anticommunist stances? The feeling about the Iron Curtain? Stalin and the behaviour of the Russian communists? The later critique of the film as anticommunist? Even later the film finding its proper balance in criticism? Bruce Marshall’s title, Vespers in Vienna compared with the provocative, The Red Danube?

2. Black and white photography, Rome, Vienna, the Austrian countryside? The atmosphere of the film noir at the time? Especially in the portrayal of Vienna?

3. The news footage, Rome, the Vatican, the sequence of Pius XII’s blessing people? The Russians and post-war occupation?

4. The influence of anticommunism at the time? The influence of the film? The speeches, especially by Colonel Nicobar? The harsh stories of the Russian military, the repatriation of unwilling citizens? The communist authorities, the issues of refugees, the United Nations’ decision about refugees not having to return to their home country?

5. The Rome episodes, the British and their presence, Colonel Nicobar, his experience, leadership, losing his arm? In charge, the visit of the general and his casual approach to the general? The transfer to Austria? The background of his family and daughter?

6. Peter Lawford as Twingo? The playboy style, the attraction to the Italian countess? The contrast with Audrey, her efficiency, devotion to Nicobar? Melville Cooper as the private who acted as chauffeur, his comments?

7. Catholic Rome, Nicobar and his reaction, the dialogue about faith, loss of faith, church, superstitions, the possibility and impossibility of miracles?

8. The British work in Vienna, the bombed city, headquarters, billeted in the convent? The scenes of convent life, the sisters, the chapel? The authorities? The general and his continued interest? The brigadier and his rather more blasé attitude?

9. Maria, her situation, meeting the British in the convent, Twingo and his attraction, following her, sitting in on the rehearsals? Audrey and her finding out where Maria lived? Her different name, on the Russian list? Her fear of being deported? The superior hiding her as one of the nuns? The Russian colonel later realising this and returning? Nicobar and his temporarily shielding her? The nuns, their attitude? The Russian colonel, Maria being handed over, for transportation, her being seen in the back of the truck? Her later escape? Nicobar and the superior and their going to the refugees in the train, discovering Maria? Twingo and his protecting her? The Russian colonel, his search? Her love for Twingo, her killing herself?

10. The professor, the discussions with him, his message to his wife, his suicide? The wife and her cleaning job? Pessimism about Russia?

11. The picture of the Russians, the colonel, his command, following orders, his rather more ruthless underlings? Maria’s reputation and the ballet, her being returned to Moscow, the lies, following orders, the UN situation about refugees?

12. Ethel Barrymore as the superior, benign yet strong? The nuns, sheltering refugees? Their beliefs, prayer? Saint Walburga of Gratz and her miracles, flying to Rome and the humorous aspects of the conversations?

13. Nicobar, his anger about the refugee situation, firing off the letter to London? His going to Rome, the risk, the loss of his job? His mistakenly taking the general’s coat? The mother superior, her forcefulness, going to Rome, talking to the pope? The return? The general and his summoning Nicobar, his praising his initiative, demanding that he say that he took the coat on purpose, giving him a new job? Forthright, intuitive, management? Everybody going back to England, Audrey extricating herself by her comments to Colonel Omicron’s wife?

14. A film of the 1940s and 50s, as a drama – and the background of its role in anticommunist propaganda?

A FISH IN THE BATHTUB

US, 1999, 96 minutes, Colour.
Jerry Stiller, Anne Meara, Mark Ruffalo, Jane Adams, Missy Yager, Paul Benedict, Doris Roberts, Phyllis Newman, Val Avery, Bob Dishy.
Directed by Joan Micklin Silver.

A Fish in the Bathtub is a film about a forty-year marriage and the tensions between husband and wife. What makes it interesting is that the couple is played by Jerry Stiller and Anne Meara, married for fifty-five years when this film was made. (Perhaps it is disappointing to find Mark Ruffalo in the role of their son instead of their actual son, Ben Stiller.)

The film is humorous, draws on the traditional comedy between Stiller and Meara, especially the tension between her Catholic background and his Jewish background, with her converting but still in contact with the parish priest as well as the rabbi.

Mark Ruffalo plays their real estate agent son who is trying to cope with their break-up, his wife and himself and little daughter, the grandmother’s favourite, trying to deal with the grandmother moving in and controlling everything. Jerry Stiller is entertaining as the woebegone husband – aggressive and not understanding his wife’s sensitivity. In the meantime the son has difficulty in the rather seductive client he has for selling a house, his sister (Jane Adams) also has had a succession of relationships and is trying to deal with her father as well. There is a very humorous scene where the whole family goes to one of her former boyfriends who is a counsellor – and the episode is a fiasco. Bob Dishy is an obsessive elder gentleman who is attracted towards the wife, their meeting at driving lessons. However, he is interested in encyclopaedic information, delivering it at any time. In the meantime there is the background of male and female friends of husband and wife with such character actors as Paul Benedict and Doris Roberts. Phyllis Newman is the husband’s attractive next-door-neighbour, a widow, who tries to cheer him up.

The film was directed by Joan Micklin Silver who, between 1975 and 85, made a number of fine films including Hester Street, Chilly Winds of Winter, Crossing Delancey.

1. A wry comedy? A comedy of age? Perceptions on long-term marriages? Their tensions?

2. The US domestic background, homes, shops and changing neighbourhoods, restaurants? An urban comedy?

3. The title, the fish, Sam and his buying it, Molly’s reaction, his putting it in the bathtub? Needing someone to talk to? Finally setting it free?

4. The cast, the real-life couple and their performance together? The Jewish- Catholic background? The rabbi and the priest at the end, giving their advice?

5. Sam, Jerry Stiller’s style, the buying of the buns in the rain, his old shop, the opening clashes between Sam and Molly, Molly being upset, their both being angry, both being hurt, the issue of blame? Sam and his crisis, with his wife, with his retirement, with the change in his shop? His reactions? Some nasty touches? Molly and the effect, her leaving? Sam and his age, forty years, the shop? Molly as bossy? The reactions, the phone calls, the friends and their visits, the playing cards, Molly opening the window, the cigar, Sam shutting it? Molly as wife and mother, doting grandmother?

6. Joel, his clients in the car, Molly bringing them in, his father wanting him to change the light bulb? His job, skills, the meeting with Tracy and her husband? Her coming on to him? Going to the restaurant, the same where he had proposed to his wife? The racquetball game? His going to her house for the break-up and discovering his friend Matt? Sharon, their daughter, Molly turning up, taking over the house, rearranging everything? The tensions, Sharon unable to oust Molly, pleased with her compliments? Sharon and Ruthie giving her the information about Tracy? Sam and his stalking Molly in the street, the police, the car, his arrest, bailing him out of jail?

7. Ruthie, her work, her role as daughter, intervening, arguing? Her relationships? Failures? The job, travel agent, her boyfriend? Joel and his visit, their argument? Ruthie telling Sharon about Tracy? Going to the jail?

8. Sam, Sylvia as the neighbour, her own story, her husband and collecting birds, a widow? Inviting Sam over for the meal? Her loneliness? At the end, Sam handing her over to Mr Moskowitz for the dance?

9. Molly and Moskowitz, the driving school, going out together, the flowers, the celebration of graduation, the dance, his quoting encyclopaedias in detail? His being steered off to Sylvia?

10. Tracy as a type, seductive, her husband, the house? The relationship with Matt?

11. Sam and Molly and the range of friends, their age, chatter, coming over, the socials? Playing cards? Milo as Sam’s best friend, his giving advice, his death? The women and their packing up Molly’s things and taking them away?

12. The session with the counsellor, the comic touches, his assistant, Ruthie’s reaction, Sam and his unwillingness to participate, Sharon and her accusations against Joel? Fiasco?

13. The final dance, the reconciliation, the roses, the kissing, everybody dancing? Reconciliation?

14. The appeal to an older audience, middle-aged audience? Younger audiences and their facing questions about their parents?

FAST COMPANY

US, 1953, 67 minutes, Black and white.
Howard Keel, Polly Bergen, Marjorie Main, Nina Foch, Horace Mc Mahon, Sig Arno.
Directed by John Sturges.

Fast Company is a very slight comedy from MGM, a supporting feature of the early 50s. However, a reason for seeing it is that it is part of the early career of director John Sturges. He had made a number of standard films up till this period but was soon to make Bad Day at Black Rock and move into bigger-budget films like Gunfight at the OK Corral. Within seven years he had made The Magnificent Seven and moved on to other films like The Great Escape. His final film was The Eagle Has Landed.

Regulars at MGM at this period appeared in films like this despite their star status. Howard Keel is enjoyably laidback as a racing trainer. Polly Bergen is the model who inherits a horse which has no value whatsoever but, with shrewdness and incessant talking, is able to get a horse and get it trained, and winning a race. In the background is Marjorie Main doing her variation on Ma Kettle. Nina Foch does her variation on the seductive other woman.

The film is slightly amusing, not a great laugh-out-loud comedy. Howard Keel is able to keep the charm, even as he clashes verbally with Polly Bergen and leaves her under the persuasion of Nina Foch. However, he gets his comeuppance as the heroine triumphs over all her opposition.

Something like a postscript for the career of John Sturges as well as for Howard Keel.

GOSPEL HILL

US, 2009, 99 minutes, Colour.
Danny Glover, Angela Bassett, Samuel L. Jackson, Julia Stiles, Giancarlo Esposito, Tom Bower, Adam Baldwin, Taylor Kitsch, Nia Long, RZA.
Directed by Giancarlo Esposito.

Gospel Hill is the section of a town in South Carolina with long traditions for the black African community. It is under threat by a consortium who want to destroy it and turn it into a golf course. The consortium is unscrupulous in its use of law and its use of violence.

However, the town has a history of a martyr for the civil rights movement. He is played in black and white flashbacks by Samuel L. Jackson and is able to mouth a great deal of the experience and words of Martin Luther King. In the present, his son, played by Danny Glover, is a rather quiet man who does not want to be interviewed or participate in the fortieth anniversary celebrations for his father’s death. On the other hand, his wife is a teacher at the local school and actively involved in social concerns, especially against the destruction of Gospel Hill.

The film has a strong cast including Giancarlo Esposito himself as a doctor, throwing in his lot with the developers. Julia Stiles is a teacher who has come to town, takes up with the younger son of the sheriff who had to arrest the civil rights activist in the past. Taylor Kitsch portrays the son, Adam Baldwin his lawyer brother, satisfied with life but having an affair with the wife of the doctor (Nia Long). The lawyer has a crucial contribution at the end of the film.

The film focuses on the sheriff, his terminal illness, the fact that he never revealed who the murderer was. His sons are despised in the town because of his action. He is finally challenged by the son of the civil rights martyr and the audience gets to know who the killer is, a nondescript person who is on his last days of life.

The film is interesting, perhaps too many threads and too many subplots to deal with in the one film. However, they are always interesting. The film is a reminder of other films about difficulties and violence with civil rights in the 1960s including Mississippi Burning, Murder in Mississippi, Ghosts of Mississippi as well as the films about George Wallace, governor of Alabama.

1. The 21st century, racism in the American South? The past, the consequences? The present?

2. The town of Julia, South Carolina, in the countryside, small and ordinary, homes, the business centre, restaurants, church, school? The authentic feel?

3. The musical score, the spirit of the South, African Americans, religious and gospel music?

4. The strong cast, the work of Giancarlo Esposito, direction and acting? His perspective?

5. The range of characters, the introduction to the characters, the complex stories and subplots, interweaving? Drawing audience interest?

6. The presentation of the 1960s, black and white photography, like newsreel and television footage? The role of Paul Malcolm, his story, civil rights in the 60s, Martin Luther King, the assassinations of 1968? The developers in the 60s, the banks, his taking a stand, his being interviewed by the media, his praise of his son? The sheriff, Malcolm’s death, bleeding to death? Abandoned? The mystery never solved?

7. John Malcolm, forty years later, having lived in the shadow of his father, hurt, the mystery unsolved, his wanting some kind of closure? His work in the garage, slow, unassuming? Martha and her love for him, different personality? Martha and the school, helping Rosie with the bullied child? Rosie and her questions? Martha and the town meetings, the challenge to the developers? John and his visit to the sheriff, his meeting the killer, the issue of the gun? His not using it? Not wanting retaliation? The return home, putting on the suit, going to the celebration, his moving speech, some kind of resolution and closure for himself, for the town, for Martha? Her pride in him?

8. Martha and John, their marriage, Martha’s efficiency, at home, urging John to activity, at school, the little girl being bullied as a Zebra Girl, mixed race? Meeting Rosie, the protests and the meetings, the petitions, the final threats? The threat to Martha’s life? The doctor warning John?

9. The introduction to the sheriff, going to the doctor, his terminal illness, age, smoking? His sitting on his porch, living with the past? His management of the company, firing Luther? Luther driving past and giving the finger? His concern for Carl? His concern for Joel? Carl and his education and his father giving in to him, his favouring Joel? The challenge by Carl, slapping him, the embrace? John’s arrival, his taking him to visit the killer, his gaining some kind of peach?

10. Carl, easygoing, satisfied with life, the lawyer, Joel and the documents, his affair with the doctor’s wife, breaking it, the challenge to his father, the father challenging his son, going to the meeting, providing the legal information about the developers, his contribution at the end? At the celebration for Paul Malcolm?

11. Joel, the younger brother, his relationship with his father, being judged because of his father? His starting up his own firm, landscaping, the accident with his hand, going to the doctor? Doctor Palmer giving him jobs, financial help? His being interviewed by Lonnie, Lonnie wanting a job, his being unwilling – but later relenting and offering him work? Lonnie and his family, the difficulties for working with Joel because of his father? His meeting Rosie, their clicking, going out, the relationship, her blunt questions about his father, the effect, the confrontation?

12. Doctor Palmer, at the meetings, with the developers, the prosperity for the golf course? His skill in buying up properties, phone calls and deals? His wife and her glamour, society, her deceiving him? At work? His warning John about Martha? The meetings with Joel, the plans? His finally looking at himself in the glass, his vanity, his reaction to the threats, his doing the right thing?

13. The developers, the company, the golf course, moving the people from Gospel Hill, no respect for people, money-oriented? Their meetings, bravado, presumptuous? The meeting, Carl and his influence on the vote?

14. The people of Gospel Hill, their concerns, the traditions, the possibilities for money? Change?

15. The final ceremony, the music, the people gathering, the carnival atmosphere, the tribute to Paul Malcolm? His achievement? John and his speech, the other characters being present at the end? A transition from the past to the present?

DOPPELGANGER

US, 1993, 104 minutes, Colour.
Drew Barrymore, George Newbern, Dennis Christopher, Leslie Hope, Sally Kellerman, George Maharis, Dan Shor.
Directed by Avi Nesher.

This is a not particularly good slasher film, made just before slashers became fashionable. Drew Barrymore plays a young woman who is haunted by the past, the deaths of her family. She sees a double of herself, a severe woman who appears at inopportune times. Is this real – and the finale has the doppelganger appearing, a mysterious monstrous figure who separates into the good part and the bad part and then reunites. The question is whether she is suffering from multiple personality or not. Her sinister doctor (Dennis Christopher) urges her to think this, and even, rather ludicrously, pretends at times to be the doppelganger. George Newbern is the genial young man (named Patrick Highsmith, memories of crime writer Patricia Highsmith) who lets her stay with him and becomes romantically involved. Leslie Hope is his former girlfriend, co-writer on a project of doing a horror version of Breakfast at Tiffany’s. Sally Kellerman does her usual shtick as an ex-nun who works at a sex phone service. This was the last film of George Maharis.

The director is an Israeli director who studied in the United States, made films in Israel in the 1980s, made films in the United States, mainly thrillers, in the 1990s and then returned to Israel while still doing some work in the United States.

1. A satisfying thriller? Horror? Slasher?

2. The American city settings, New York and Los Angeles? The homes in Los Angeles, the mansions, the offices, restaurants? The open skies? The musical score?

3. The title, audience awareness of what a doppelganger was? As dramatised here, Holly’s doppelganger and her sinister aspects? Doctor Heller exploiting it? The appearance of the monster at the end, separating into two personalities, combining again?

4. The story of Holly, in New York, the background of her parents’ deaths, her brother in an institution? The violence and the blood at the opening? Her treatment by Doctor Heller? Multiple personality or doppelganger? Arriving in Los Angeles, looking for accommodation, interview with Patrick, moving in? The relationship with him – herself, another personality, the doppelganger? Her pleasantness at home, Patrick’s sighting the double from the restaurant? Patrick and his driving Holly to see the house? Listening to her story, her parents’ death? His wariness of her erratic behaviour? His driving her to see her brother? Holly and the results, her fears? Doctor Heller, her reaction to him? His controlling her? The final manifestation of the doppelganger – and her future?

5. Patrick, a writer, winning the competition when young, the collaboration with the Elizabeth, Breakfast at Tiffany’s as a horror film? His personal life, accepting Holly, attracted, the relationship? The aftermath? His puzzle about the doppelganger? Driving Holly? His being haunted by the variety of characters, the agents, the producer? At the social, Holly and her dancing? His relationship with Elizabeth. The past, collaboration, her helping him?

6. The visit to Sister Jan? A plausible character or not? The ex-nun, the phone-sex exchange, her information about doppelgangers?

7. Mike Wallace, showing Holly the house? His concern about her?

8. Doctor Heller, his control, his explanations, treatment of Holly’s brother? The impersonation, his being unmasked, his madness?

9. The climax, the treatment of the brother, the knives, stabbings? Elizabeth and her interventions?

10. The resolution – Holly normal or not? Relationship with Patrick?

11. How satisfying a psycho-horror film? Or not?

LADY ON A TRAIN

US, 1945, 94 minutes, Black and white.
Deanna Durbin, Ralph Bellamy, David Bruce, George Coulouris, Allen Jenkins, Dan Duryea, Edward Everett Horton, Jacqueline de Wit, Patricia Morison, Elizabeth Patterson, Samuel S. Hinds, William Frawley.
Directed by Charles David.

Lady on a Train is a conventional comedy thriller from the 1940s. What distinguishes it is that it is based on a story by Leslie Charteris who wrote The Saint novels. It also has the presence of Deanna Durbin (who does sing three songs, Silent Night over the phone to her father, Give Me a Little Kiss as well as Cole Porter’s Night and Day). She shows herself a vivacious screen presence – although, a few years later, she was to retire completely from films, go to Paris and not give any more interviews for the rest of her life. She was married at this time to the producer, Felix Jackson. The director of the film was Charles David. She later married Charles David and they were married for forty-eight years until his death in 1999.

The supporting cast is full of recognisable faces, with Dan Duryea expected to be the villain but smiling Ralph Bellamy turning out to be the murderer. There are a lot of character actors, especially with humour and Edward Everett Horton. David Bruce is the romantic hero. Bruce played in many small-budget films from 1940 to 1956 (plus some television), when he retired at the age of forty. He is similar to many of the standard romantic heroes of this period.

The film is conventional enough, Deanna Durbin sees a murder being committed from her train window, she is an heiress and decides to investigate, getting into all kinds of trouble, pretending to be a nightclub singer (which isn’t too difficult), involving David Bruce, a murder mystery writer, getting herself involved with the family of the dead man, and finally making the wrong decision about who was the murderer.

Light stuff, 1940s style – lively but a bit dated.

1. An entertaining murder mystery? The light and comic touch? The musical touches?

2. Black and white photography, Universal Studios in the 1940s? The train, New York City, hotels and rooms, mansions, warehouses? The use of conventional material?

3. The musical score, atmosphere? Deanna Durbin and her singing? Enhancing the film?

4. The introduction to Nikki Collins? Reading the mystery, looking out the window, seeing the murder, her flighty behaviour? With the guards on the train? With meeting Mr Haskell at the station? Her rushing off on her own? Her going to the police, the desk sergeant not believing her? Christmas Eve?

5. Her decision to go to visit Wayne Morgan, as the solver of murder mysteries? The introduction to Wayne, dictating his novel to his secretary, his fiancée arriving, her haughty attitude? His living the scenes, on the floor? Nikki’s arrival, bursting in? His not believing her? Nikki’s pursuit of him, and his fiancée? Their going to the cinema to see the fiancée’s commercial? Nikki and the people in the rows, upset, her talking loudly, trying to get his attention? Seeing the murdered man on the newsreel?

6. Nikki, her interactions with Mr Haskell? Edward Everett Horton’s comedy, dependable, the story of being his wife’s secretary, his black eye because of the radio? The phone calls? Dithering? His coming to Morgan’s house, wanting to find Nikki? His involvement in the solution?

7. Nikki and her going to the mansion, encountering Arnold? Being invited into the reading of the will? The reactions of the family? Arnold and his friendliness? Jonathan even more friendly? Mr Saunders and his antagonism, the manager of the Circus Club, the relationship to Margo? Nikki being mistaken for Margo and carrying on the pretence? Aunt Charlotte and her disapproval? Mr Wiggam and the reading of the will? His involvement?

8. Going to the nightclub, Nikki deceiving Margo, locking her in the cupboard? The flowers from Arnold? Her songs?

9. Back at the hotel, singing Silent Night for her father? Justifying her flightiness?

10. Going to the railway station, investigating?

11. The build-up to the climax? The death of Mr Saunders? At the nightclub, Wayne and his continued interventions? (Nikki ringing from the hotel, pretending that there was a man with a gun, the irony of Danny actually having the gun, stealing the slippers which were the evidence, fighting with Wayne, taking his coat?)

12. At the club, the potential murderers? Their apologising to Nikki? Arnold taking her to the warehouse? His behaviour, talk, pursuit, Nikki hiding? Escaping, encountering Jonathan? His taking her to the room? Her realisation that he was the killer? Wayne arriving, saying the police were with him, their actually being there and Jonathan’s arrest? Arnold as a nice man?

13. The finale, in the train, the discussions between Wayne and Nikki about murder mysteries? The light touch?

SHERLOCK HOLMES AND THE CASE OF THE SILK STOCKING

UK, 2004, 99 minutes, Colour.
Rupert Everett, Ian Hart, Neil Dudgeon, Michael Fassbender, Tamsin Egerton, Perdita Weeks, Eleanor David, Jonathan Hyde, Helen Mc Crory, Rachel Hurd-Wood?.
Directed by Simon Cellan Jones.

Sherlock Holmes and the Case of the Silk Stocking is a rather lavish BBC production, in the vein of the very popular series which starred Jeremy Brett as Sherlock Holmes.

Writer Allan Cubitt (adaptation of The Boys are Back, based on his own experience, as well as films like the Richard Roxburgh Hound of the Baskervilles) wrote an original story, harking back to Conan Doyle and his era, yet giving it something of a contemporary tone. The period is 1902, with rather lavish sets, costumes and décor, indicating the life of the aristocracy as well as royalty, with Edward VII. There are also the poor parts of London, especially in the East End and Whitechapel, with its echoes of Jack the Ripper.

Sherlock Holmes is played by Rupert Everett, fitting his particular style to that of Holmes, a touch indolent, a touch aristocratic, indulging in opium at times, seemingly bored, getting interested in an investigation, offhand at times in his dealing with Doctor Watson, yet appreciating his fiancée and her psychoanalytic skilles. He also seems more fallible, in not working out with such elementary fashion, the identity of the killer. Ian Hart is very good, a more serious and sensible Doctor Watson. As in the Robert Downey Sherlock Holmes, Watson is engaged – but here, Holmes is much more attentive to Doctor Watson’s fiancée.

The film has a very good supporting cast, especially Neil Dudgeon as Inspector Lestrade, slow on the pickup at times, but not ridiculed as in other stories. Jonathan Hyde makes a very aristocratic George Pentney, with Eleanor David as his ambiguous wife.

The film was directed by Simon Cellan Jones, rather prolific in material for television.

Many of the purists did not like the film, said that it did not capture the atmosphere of Conan Doyle’s world, that Rupert Everett was an unlikely Holmes, that the screenplay was not well thought out or written…

However, those who are not Conan Doyle purists, may well enjoy the murder mystery (although identical twins seem something of a copout) and enjoy Everett and Hart in their investigations. The atmosphere of the times – with 21st century perspectives and language – should entertain audiences who enjoy this kind of detective story.

1. The continued popularity of Sherlock Holmes, in the books, on film? Writers inventing Holmes stories?

2. Rupert Everett and Ian Hart, working together as Holmes and Watson, similarities to Conan Doyle’s creation, differences in interpretation?

3. The 1902 setting, the Edwardian period, post-Victorian? The touches of the fin de siecle and Aubrey Beardsley atmosphere? Rupert Everett a touch like Oscar Wilde? London, Whitechapel, Belgravia, the aristocracy, royalty? Baker Street? Holmes, opium dens? The atmosphere, costumes and décor? The atmosphere score?

4. The introduction to Holmes, the opium den, his being bored, Watson visiting him, taunting him, the cup of tea and Holmes speaking in Chinese, brushing Watson off? Watson giving the bait, Holmes taking it, going to the morgue, the dead body, the autopsy, the medical examiner? Holmes and his observation about the clothes, the knot? The murder, the stocking around the neck, in the mouth? Identifying the corpse? Going to the parents, their reactions, Mary Pentney and her rehearsal for the dancing, her daughter’s absence, the clash? George Pentney and his confrontation with Holmes, hiring him?

5. The second murder, finding the body hanging, the girl’s parents, sister, their grief? Further information about the method of the killer, the stockings, sexual sadism?

6. The investigation about the previous murder, the identity of the maid from America, her work in service, the footman? The body found, the stocking? Mr Bilney and his shoes, his information about the girl? Giving her a job after she was dismissed? Her death?

7. Holmes and his investigation, his style, his saying ‘elementary’? His deductions? His treatment of Watson, relying on him, yet concealing things from him? The interrogation of Imogen, his relying on Jenny, his respect for her? With Inspector Lestrade, taking him step by step, friendly, but Lestrade’s limitations? His suggestion for the set-up, asking Roberta’s permission? At the dance, his disguise as the Belgian, his comments about the best detective in Europe? Watson’s response? His failure, the issue of the fingerprints, the realisation that there were identical twins, their interchanging their presence? His trying to work things out – his fallibility?

8. Doctor Watson as sensible, friendly, his concern about Holmes’s health, drinking, drugs? His fiancée, the meal, Holmes and his attitude towards Jenny? Jenny, her background, forthright? Questioning Imogen and getting the information? Watson and his interviewing Bilney? Pretending to be an American? His work as a doctor with the victims?

9. Charles Allen, job as a footman, the relationship with Mary Pentney, Watson observing their intimacy? His alibi? The difficulties with the prince? His brother? The arrest, the interrogation, the fingerprints, the wrong brother? The escape from jail and pursuit? The murderer, at the function, the champagne for Roberta, abducting her, carrying her out of the house, the assault, her being rescued?

10. Imogen and the funeral, her being abducted, the attack, her escape? Holmes walking her past the footman and her terror, identifying him?

11. Inspector Lestrade, a decent policeman, plodding, his men? Murder sites and their investigations, like buffalo, according to Holmes?

12. The finale, the grateful father? The truth about the Pentneys and their relationship? The wedding, the photos, the three in the photos? Holmes’s future?

THE GENTLE SEX

UK, 1943, 88 minutes. Black and white.
Joan Gates, Joan Greenwood, Joyce Howard, Rosamund John, Lili Palmer, Barbara Waring, John Justin, John Laurie, Mary Jerrold. Narrated by Leslie Howard.
Directed by Leslie Howard.

The Gentle Sex is a morale-boosting film from the middle of World War Two. It was produced and directed by Leslie Howard who also speaks the narration. It is part of the war effort, a morale-booster, an effort for recruitment of women to join the services.

The narration takes a somewhat feminist tone, contrasting 1838 and the submission of women to 1938 onwards and their assertion. However, in the light of the subsequent half-century, some of the comments seem either quaint or patronising. Nevertheless, the film makes the point that the post-war England will be built on this experience of women.

The film is entertaining in its way, focusing on seven women and their joining the forces, their training, their work, the hazards of war. It highlights the relationship between the women and the possibility of finding husbands.

A very young Joan Greenwood is Betty. Joyce Howard has the more dramatic role in her relationship with John Justin, a pilot. Mary Jerrold as his mother has a speech about the contribution of women to World War One, ambulance drivers and their being wounded. A young Lili Palmer is a refugee. Barbara Waring is a rather catty and isolated woman who cannot relate to others. Amongst the male cast are John Justin and John Laurie as a forward Scotsman.

The film is to be seen in the perspective of World War Two and the uncertainty of how the war would end.

1. An interesting film of 1943, the experience of England in war, attitude towards the Nazis, the experience of the Blitz and bombings, the need for men in the services?

2. The focus on women, their place in the services, volunteering, training, the life and demands, the skills, mechanics, drivers, staffing anti-aircraft guns? David’s mother and her reminiscences of what the women contributed to World War One effort? The points about the future of England with this experience of women?

3. The narrator, a touch patronising, confiding in the audience, choosing the women to follow? His comments about them – a touch British macho?

4. The women at the station, the introduction to them, relationship with their mothers, spouses, isolated? Their hopes? The refugee? In the carriage, getting on well together?

5. The arrival, the training, the uniforms, the dormitories, their talking together, Betty’s homesickness, Joan and her keeping to herself? The details of life, the skills and training? The recreations, the concerts? The details of the way of life?

6. The work for the women, the driving, driving all night, travelling by train? The anti-aircraft guns and the training? Telephonists, messages?

7. The men in the film, the officers commanding, David and his being charmed by Anne, his talking with his mother, his mother and her memories of the war, the death of her husband? Having tea with the women? The Scotsman and his attraction towards Maggie?

8. The women themselves: Betty and her links to her mother, spoilt, homesick, wanting independence? Gwen, always late, enjoying life? Dot, wanting freedom, her husband, the goodtime girl, the drinks? Anne, her love for David? Maggie, the Scot, her mother and buying the drink at the station, with Alexander, her support of the others? Able to speak with Joan? Erna, the refugee, her speeches about suffering, her losses, the attack on Joan, her hatred, smiling at the downed pilot? Joan, isolated, snappy, ordering people, Maggie attacking her, the reconciliation?

9. The achievement of the women, the spirit of England? Hopes for a future?

THE APE MAN

US, 1943, 69 minutes. Black and white.
Bela Lugosi, Louise Currie, Wallace Ford, Minerva Urecal.
Directed by William Beaudine.

The Ape Man is a star vehicle for Bela Lugosi who had emerged on the stage in the 1920s as Dracula and reprised his role on film in 1930. He became a star with this performance. However, he was an actor of limited range and his career did not develop. He appeared in quite a number of horror films. However, by the 1950s he was a spent force and, famously, worked with Ed Wood on Planet Nine. He was played by Martin Landau in an Oscar-winning performance in Tim Burton’s Ed Wood.

This is another story of a scientific experiment gone wrong, the pride of a scientist. The film opens with journalists wanting stories, waiting for a ship berthing in New York. An enigmatic character who appears spasmodically, suggesting the story, advises a journalist (played by Wallace Ford) to investigate. The missing scientist’s sister is on the ship.

It emerges that Dr Brewster, played by Lugosi, has been experimenting with gorillas and has injected himself with serum, transforming himself into an ape man. The sister is horrified, his colleague is horrified. The journalist pursues the story, assisted by a tough-talking photographer, played by Louise Currie. Inevitably, she gets into danger.

The basic thrust of the plot is the scientist’s torment, his fight with himself, the response of his family and friends as well as the danger that he causes for the photograph. Ultimately, the ape that he has caged and who is also the subject of his experiments, fights with him and he dies.

The values of the film are certainly B-budget, but the film is in the tradition of exploring the developments of modern science as well as the hubris of the scientist.