DEATH DRUMS ALONG THE RIVER

UK, 1962, 90 minutes, Colour.
Richard Todd, Marianne Koch, Albert Lieven, Walter Rilla.
Directed by Lawrence Huntington.

Death Drums Along the River is an updated version of Sanders of the River, filmed in 1937 with Leslie Banks and Paul Robeson. It is based on a story by Edgar Wallace.

The film uses its West African locations quite extensively and gives a graphic picture of the colonies of West Africa in the 50s and 60s. The film stars Richard Todd, hero of many British and American films of the 1950s, the stiff-upper-lip man of integrity kind of performance. He is Sanders, the official keeping order and administering the law in the district. Marianne Koch appears as a doctor. Albert Lieven is suspicious doctor. Walter Rilla a heroic doctor.

The film focuses on diamond smuggling in the Senegal and other countries of north-west Africa. The focus is also on hospitals and their being used as a cover for the smuggling. The film gives a picture of traders, dealers, smugglers as well as those who are there working with the people of Africa.

The film presupposes a certain colonial superiority although the screenplay indicates that the colonial powers should move out and leave what they have accomplished to the locals. Otherwise, the film is an entertaining action adventure.

1. A film of north-west Africa, the location photography, the towns, the outposts, the river? The musical score?

2. The Edgar Wallace story, a film of colonial times (originally made in the 1930s)? How effective the updating to the 1960s?

3. The title, the indication of tribal life, the life of the river, the indications of violence and death?

4. Sanders and his personality, Richard Todd’s screen style? As an administrator, with his assistant – always leaving him out of things but saying that he was psychic! His suspicions about the diamond smuggling, suspicions of Pearson and the interrogations? His going up-country, meeting the doctor at the plane, escorting her? His relationship with the doctor, with Franz, with the journalist? With the nurse on the hospital station? His working with the local authorities, the police? The initial chase, death, funeral? His interrogations, indicating his suspicions? His investigating the soil, the bullets? The conclusions – his going up the river, the confrontation with Franz, Franz’s taking the doctor, the violent confrontation and Franz being taken by the crocodile? The happy ending with the doctor?

5. The diamond-smuggling situation, Pearson and his dealing, the diamond mine on the hospital site, the diamonds being used to finance the hospital? Franz and his taking over the mine, the violence, shooting the journalist? Shooting the police? The cover of the hospital? His finally being unmasked, the clash with Pearson, shooting him? The escape with the doctor, on the river, the pursuit in the swamps, his being taken by the crocodile?

6. The doctor who founded the hospital, his old age, his not getting the right medication, the doctor discovering the truth, the anxiety of the nurse, his using the diamonds, bequeathing the hospital to the tribes?

7. The doctor, her background, going up-river, serving, the attraction to Sanders, discovering the truth, her being taken as hostage, the happy ending?

8. Pearson, the trader, wanting to get in on the diamond deals, trying to bargain with Franz, Franz killing him?

9. The nurse, her love for Franz, his hold over her, not telling the truth about the medicine? The attraction to Hunter, his coming under the guise of a journalist, his knowledge about diamonds and his dealing with diamonds, his being shot by Franz? The nurse trying to escape and give the news to Sanders? The end and her leaving?

10. Sanders’ assistant, the proper Englishman, a bit slow on the uptake, the comic style?

11. Entertaining ingredients for an African adventure?

THE UNITED STATES OF LELAND

US, 2003, 105 minutes, Colour.
Don Cheadle, Ryan Gosling, Chris Klein, Jenna Malone, Lena Olin, Kevin Spacey, Michelle Williams, Martin Donovan, Ann Magnuson, Kerry Washington, Sherilyn Fenn.
Directed by Matthew Ryan Hoge.

For a long time, especially since the 1980s and films like Ordinary People, American films have continually presented us with portraits of dysfunctional families and the effect this has, especially, on the sons. Leland P.Fitzgerald is one of those sons. As the film opens, he confides in the audience that he has done a terrible thing but that he truly does not remember doing it. In fact, he has killed his young mentally disabled friend. Leland is played by Ryan Gosling who created bizarre characters in The Believer and Murder by Numbers. (He also played the sympathetic lead in the romantic drama, The Notebook.)

The film is Leland’s memoir, especially as told to a prison educator (who also sees a potential book in the interviews). Don Cheadle plays the interviewer who is fascinated by Leland’s innocence and straight-forward wisdom in his perceptions of people and himself despite what he has done. He rightly challenges his interviewers moral standards and behaviour.

The interviews lead to flashbacks – but not in strict chronological order (the audience seeing the lead-up to the killing only at the end of the film. This means that the film is a jigsaw, characters seen through Leland’s memories, though challenged by the interviewer. The boy’s grieving family are central, especially X (Jena Malone), the addict daughter of the family who loves Leland and confides in him but is caught up with her dealer. Martin Donovan is strong as the boy’s father. Chris Klein is the young man taken in by the family, in love with their other daughter (Michelle Williams) and compelled to a mad and desperate revenge on Leland.

Leland’s parents are sketched in only: his devout and loving mother (Lena Olin) and his arrogant, successful novelist father (Kevin Spacey).

Casual viewers will find the film rather enigmatic and left to their imagination which may be too much of an ask. More serious viewers will find something more substantial to reflect on, especially about the United States in general and Leland’s own America of brittle family life and moral expectations.

1. The interest of the film and its themes? Plot and characters? Motivations – or not?

2. The California settings, the California lifestyle, the bright colours, the way of life? Issues? Relationships, dysfunctional families? Violence?

3. The title, the map, Leland putting his name on the map, his being the centre of the United States? The puzzle about the title and Leland’s attitude? His being odd? The symbol of the title and the map? The musical score?

4. The structure, the voice-over, the initial death, the focus on Leland, his detention? Pearl and his glasses, interrogation? The situating of the flashbacks? The culmination of the drama? The mystery solved – or not?

5. The focus on Leland, his age, ordinary and quiet, fastidious, well mannered? The discovery of blood, the death? His not having any memory of what happened? Could it be true that, as he said, it just happened? His being interrogated? In detention, the others in detention, his life in the institution, the routines, meals, classes, games? His communicating – and not communicating? The audience piecing together his life, his absent and successful father, yet his visits to New York and the affluent style, the meetings with Mrs Calderon? The effect of his father’s influence on him? The contrast with his mother, her being sad, abandoned, her continual prayers? The relationship with the Pollards, with the parents, Julie and her suspicions, in love with Becky, the outings with her, the quality of the relationship, the violence, Becky breaking off? With Alan? His place in the household? Antagonisms? The friendship with Brian, his being retarded? The bonds, the suddenness of killing him, the possible motives in the fact that he was friendly, wanting to protect him? Did the screenplay give enough for understanding of Leland, of the United States and its mindless killing and amnesia?

6. Pearl, his personality, his work in the detention centre, teaching, his capacities as a writer, his ambitions? His relationship with his girlfriend in Los Angeles, phoning her? The attraction towards the worker, his conducting the affair with her? Leland challenging him, making him face his conscience and issues of truth, integrity? Acknowledging that he was doing wrong, that what he was doing was bad? Pearl and his attempts to reconcile, to atone? Pearl as a failure? The antagonistic meeting with Leland’s father?

7. Pearl and Leland, the questions, the possibility of Pearl writing a book, the nature of his probing? The authorities and the suspicions, the discussions with Pearl, limiting his mandate, removing him? The clash with the father, Leland finally giving him his journal?

8. The portrait of the Pollards, the mother and father, their relationship, their grief, the father’s anger towards Leland, the threats? Julie and her supporting her parents? Julie and her relationship with Becky, with Alan? Tensions within the house?

9. Becky, her age, her relationship with Alan, with Leland? The drug dealer, her relationship with him, taking the drugs, needing rehabilitation? Breaking off with Leland?

10. Alan, his background, the family, living with the Pollards, relating to them, feeling more on their behalf, the antagonism towards Leland, his relationship with Becky, with Julie? His demands of Leland, the device of the assault and robbery, leading to his arrest, being in the prison yard, the violent attack on Leland?

11. The FitzGeralds?, the mother, her separation from her husband, her praying, her love for her son? Silent and withdrawn?

12. The father, seeing him in the plane, his being a celebrity, supercilious attitude towards the fan? With his family, his absences, his career in Paris? Arranging for Leland to go to New York, giving him money? In the bar, meeting Pearl, insulting him? The poor parenting?

13. The women in Pearl’s life, his girlfriend, feeling his absence? The worker, the affair, her love for him, feeling let down by him?

14. Mrs Calderon, New York, her relationship with Leland?

15. The tradition of American films about dysfunctional families, parents and children, wayward children?

DARK WATER

US, 2005, 105 minutes, Colour.
Jennifer Connolly, John C. Reilly, Tim Roth, Dougray Scott, Ariel Gade.
Directed by Walter Salles.

Enough to give a highbrow critic a heart attack!! What is renowned director Walter Salles (Central Station, Motorcycle Diaries) doing directing a Hollywood studio film? And what is he doing a remake of a Japanese film? And what is he doing making a ghost and horror story. These are the kinds of questions asked by critics who think that a director is ‘selling out’ doing this kind of thing (when they are writing themselves in popular tabloids). Having got that out of the way, what about the film itself?!

It’s pretty good. For those who saw the original Japanese thriller (from the same director as The Ring films), it is interesting to see how the screenplay makes the transition from Japan to Rooseveld Island in a very rain-sodden New York City. For that even larger group who have not seen the original, it will be an eerie pleasure to watch Dark Water. It is scary, not in the sense that you jump or sit at the edge of your seat all the time, but rather in that the film creates its atmosphere of mystery and uncertainty and sustains it right through – without benefit or distraction of any blood, gore or grizzly action.

Walter Salles has declared his interest in genre films which he enjoyed when he was a boy. He also remarks that ghost stories are intrinsically interesting because anyone who believes in ghosts is admitting that they do acknowledge that everything does not end with the grave but that there must be some kind of existence, some life after death. This is part of what William Wordsworth called ‘intimations of immortality’. Salles has brought his non-US sensitivity to the story and his hjgh quality craft to ensure that this is a good-looking production.

The focus of the film is a woman (Dahlia) whose mother neglected her as a child and who, by contrast, loves and is protective of her daughter (Ceci - Cecilia). Even if the film was not a thriller, it would be a successfully strong drama of the bonds between mothers and daughters. The two take an apartment in a run-down block only to find leaks and stains in the roof, strange noises above and a story of a missing girl who may be with either of her separated parents.

Ceci goes to the local school but is increasingly caught up with her imaginary friend, Natasha. Meanwhile, Dahlia is having to cope with separation from her husband and the increasing puzzle of the apartment and its plumbing disasters. Finally, there is an explanation of what has been going on, but it takes us into the realm of ghosts, of mothers and of mother’s self-sacrifices for love of their daughters.

Jennifer Connolly is on screen almost the whole running time of the film. She is a strong and persuasive performer. The versatile John C.Reilly is very good as the seemingly genial but unreliable manager of the apartments. A British contingent of Tim Roth, Pete Postlethwaite and Dougray Scott complete the supporting cast as Dahlia’s lawyer, the handyman of the apartment and Dahlia’s angry husband.

1. The impact of the film in itself, drama, thriller, eerie ghost story? The comparisons with the original Japanese film? The paralleling of Japanese experience with American experience? The work of a non-American director, Brazilian and his perspectives on film-making, on filming an American story?

2. The popularity of ghost stories, the Japanese style with suggestion? Relying on audience beliefs in ghosts? The transition to the US, the lessening of belief in ghosts? The emphasis on a family drama leading to a ghost story? The importance of drama and atmosphere?

3. New York City, the skyline, the buildings, Manhattan, the Fifty-Ninth? Street Bridge, Roosevelt Island? A different neighbourhood, poorer, shabby? The streets? The school? The interiors of the apartment block, the reception area and its dinginess, the corridors and the lifts, the roof of the apartment, the roof of the block, the menacing cistern, the overall character of the apartment block and the apartment? The musical score?

4. The title, the place of water, characters drowning, the continual rain, the floods inside the building, water in the dreams, the cistern, the literal dark water and the flooding of the upstairs apartment? The reason for the dark water – and the death of Natasha?

5. The character of Dahlia, at home in Seattle, her mother not loving her, left at school, unloved? The effect on her, the visualising of the memories? Dahlia and her own daughter, her love and care for her, continued concern? Natasha, the growing preoccupation with her, the choice of having to love her or sacrifice Ceci? Dahlia’s ultimate self-sacrifice to protect Ceci and to protect Natasha?

6. The family situation, the ugly divorce, the bickering in front of the lawyers, Kyle and his relationships, his attitude towards Dahlia, the bitterness, the shouting? His settling in New Jersey, wanting custody of Ceci, blaming Dahlia, accusing her of incompetence and insanity?

7. Dahlia and Ceci, the effect of the divorce, their having to find a new apartment, going to Roosevelt Island, crossing the bridge, going to another world? Dahlia and her applying for the job, the assistant warning her not to settle into it but to find something better? Going to the apartment, the appointment, meeting Mr Murray, Ceci and her dislike – and then her change of mind?

8. The character of Mr Murray, smooth talk, the descriptions of the apartments, his persuasiveness, promising everything? Dahlia and her examining the apartment, being pressurised, deciding that she should get the apartment? Ceci, her reaction, not liking it, going onto the roof, Dahlia and her desperate search for her daughter, the corridors and the staircases? Finding her, Ceci changing her mind? Finding the schoolbag, the caretaker minding it, allowing her to have it in a week?

9. Mr Veeck, at reception, in his little room, sinister, manner of speaking, his work, the repairs, not sufficient, the surveillance cameras? The lift and trouble? The leaks? His attitude towards Murray, Murray telling him to do the work? His seeming unwillingness to give Ceci the bag? His knowing the story of Natasha?

10. Going to school, Ceci rehearsing meeting the class, Dahlia taking her, picking her up? The teachers and their kindness, the reputation of the school, their doing their best, Ceci introducing herself, at play in the school, the drawings – and her seeming to be possessed? Her invisible friend, confiding in her, the talk, sharing, at home, at school? Dahlia being late, the after-school supervision?

11. Ceci and her friend, denying the friend, in her room, sleep, talk? Dahlia and her concern, discussion with the teachers? Ceci’s behaviour? Dahlia and her growing anxiety, the noises from the above apartment, the water and the roof, the growing leak? Veeck’s explanation of the kids playing? Their going to the apartment, the flood and all the taps turned on? The overflow?

12. The teachers, the issue of Natasha? Kyle and Ceci going out with him, the discussions about Natasha? Kyle’s concern about them both? Ceci’s fainting, going to hospital, Kyle looking after her, Dahlia rushing to the hospital?

13. Dahlia, employing the lawyer, as a person, as a confidant? Their discussions, the apartment, the flood, his threatening Veeck and Murray?

14. Dahlia and her going to the roof, the cistern, knowing the truth about Natasha? The back-story about the family, the father and the mother both leaving, each thinking the girl was with the other, her death? The effect on Dahlia, on Ceci? The possibility of a reconciliation with Kyle and a happier future?

15. The bath sequence, Dahlia bathing Ceci, transforming into Natasha, Natasha’s hold over Dahlia, wanting protection? Her having two daughters, having to make the choice? Her own memories of the past, her possessing Natasha, Natasha dominating her? Dahlia’s choice, the death in the floodwaters?

16. The aftermath for Ceci and Kyle, their new life, the memories of Dahlia? Dahlia and her ghost reassuring Ceci?

LES CLEFS DE BAGNOLE/ CAR KEYS

France, 2003, 86 minutes, Colour.
Laurent Baffie, Daniel Russo.
Directed by Laurent Baffie.

In a way, you have to grit your teeth as you begin to watch this Gallic comedy. You know the ending. The car keys are lost and the star/director reveals where he will find them. With any suspense out of the way, we begin to wonder what the film could be all about. The answer is that it is all about making a film about pitching a film about a man who loses his car keys. Needless to say, the many producers who appear at the start of the film, many of them very well-known, like Claude Berri and Alain Sarde, turn the project down. He also asks most of the principal French actors, from Daniel Auteuil down (so to speak) and they really turn him down. With his friend, Daniel, he begins the film and we hope that it is going to be interesting and funny.

In a way, it is, but not nearly as interesting or funny as Laurent seems to think or hope it is.

What he does is show us how to make a film. He explains a great deal about technique and illustrates it – and often this is quite amusing. At one stage, he does a brainstorming session in a café and lists all the ingredients that would make it commercial. This is quite a list an includes animal and children, sex and a bank robbery, a helicopter rescue. You name it. Gerard Depardieu’s name was not on the list but he turns up anyway, selling cheese.

By now, you know whether you have the patience to sit through the whole film, whether you are on the wavelength of the comedy or whether it might be more entertaining watching something else.

1. The impact of the film? French audience knowledge of the TV personality of the star and director? Non-French? audiences having to accept him without any background? How well did this work?

2. The film as a film about film-making? A critic said it was more a publicity stunt than a narrative film – how valid is this criticism?

3. How entertaining, comic, serious, interesting in terms of the details and techniques of film-making?

4. The title, the pitch about a film of a man who loses his car keys – and the revelation at the beginning that they were in his other pocket? The reaction of the range of directors (famous directors) turning down the pitch? Baffie’s response to their negative attitudes, his continued optimism, making his pitch?

5. The range of actors (many of them very famous) who were in on the joke and did scenes turning him down? The fact that Gerard Depardieu actually acted in the film, even though it was a joke? The validation of his approach by this collaboration of stars and directors?

6. His friend Daniel, his comic style, presence, the fall guy? His collaborating in the film? His comic touches – and his crass touches, especially language, attitude towards women and the sex scenes?

7. The sequences of looking for the keys, in the house, going out into the streets, retracing their steps, the restaurant, the children who promised to find the keys, wanting the trip to the playground? The encounter with the rich woman, the drink of coffee, working in her vineyard, the hard work, the extra jobs, the overseer and his shotgun? The irony of Laurent writing in a helicopter rescue? The buying of the dog, the discussions with the seller, the testing out of the dog, the dog able to get car keys – and the irony of his stealing other people’s car keys?

8. The interruptions to the film, the discussions between Laurent and Daniel about film-making, about jump-cuts, about editing? About time, fast-forwarding, flashbacks – the relationship, following the girl, the sex scene and the possibility of adding to it?

9. Running out of money, the decision to rob the bank, the arrival at the bank, the manager, discussing the script, the raid and its being gentlemanly, the possibility of its being like a Tarantino film? The manager and his reaction? The manager avoiding the bloodbath?

10. The poster, the cruise, happiness, the ship, landing on the ship via the balloon, the cruise, the tourist paradise?

11. The old woman, the discussion about the hermit, going to the mountains, seeing the guru, the solutions, the seriousness and the comedy about gurus?

12. Finally finding the key?

13. The various incidental characters, especially Gerard Depardieu as the cheese shop seller? The discussions with the public, the captions about what was happening, the opinions of the public about issues in the film?

14. The use of animation and its style to move on the plot, illustrate the characters, put them into farcical situations?

15. The references and signposts to various classics of French film-making?

JAMES’ JOURNEY TO JERUSALEM

Israel, 2003, 91 minutes, Colour.
Siyabonga Melongisi Shibe, Arie Elias, Salim Daw.
Directed by Ra’anan Alexadrowicz.

An unexpected pleasure – though a rather caustic critique of modern Israeli materialistic goals (which are, of course, shared by so many cultures).

The opening credits offer a chant about pilgrims going to Jerusalem accompanied by brightly coloured paintings. These suggest something of an African myth, a jaunty and cheerful fairytale. But, this is not to be. James (Siyabonga Melangisi Shibe), a Zulu who has been sent to Jerusalem by his village before he becomes their pastor, is a really good young man, full of ideals and hopes. When he finds that immigration interns him and he is bailed out (because of this apparent goodness) by black market labour organisers to work and pay off his debts, he is puzzled, resigned but earnest and hard-working. He even befriends the crusty old father of the boss who does not want to relinquish his fallen down house and shambling garden to million dollar developers.

But, so the screenplay says, no one should be a ‘frayer’. That is, no one should be manipulated by others – in, fact, you should do the manipulating! This is the temptation that James succumbs to (egged on by fellow workers and the local reverend who is prone to want James’ donations) and which he has to face if he wants his integrity back (and a visit to Jerusalem which always seems to elude him).

This is a film where Israelis are criticising themselves, holding up a model for good living who can transcend the material temptations. But, because James is so nice, you tend to watch this critique while smiling.

1. An entertaining story of an innocent abroad? An African in Israel? The comic side, the serious and critical side?

2. The Israeli locations, Tel Aviv, the poorer side of Israel, the city? The final glimpse of Jerusalem?

3. The credits sequence, the colour paintings, the fable look of the drawings, the colour? The African abroad? The folk song and chant? The spirit of optimism about the song and the pilgrimage to Jerusalem?

4. The introduction to James, the African, simple (the Candide kind of character)? His high hopes, sent by the village, his being the next pastor? The encounter with the passport control, the offhand attitude of the woman, her criticism, her not listening to his biblical quotations, thinking he was a con man? Putting him in prison?

5. James in prison, his bewilderment? The other prisoners? Their attitude towards him? His being sustained by his faith?

6. Shimi, his arrival in the prison, his attitude towards the prisoners, overseeing the work force, the illegal immigrants, the choices? The discussions with James, his being impressed by James’ attitude, bailing him out? James not realising he was being trapped, the debt to Shimi, having to work to pay it off? His decision to do this?

7. James, the men in the house, the rules, the Balkan overseer and his harsh attitudes? Playing cards? The men virtually in prison? The other men, their characters, wanting to make money, more offhand, less reliable?

8. James and his work, in the fields, the factories? His going to Shimi’s father? Salah and his attitudes, initially critical, his descriptions of James? James and his innocence, breaking through Salah’s prejudices, his diligence in cleaning the house, talking to Salah, making the garden? Salah and his backgammon and James throwing the double-sixes?

9. Shimi and his having to allow James to go to Salah, Shimi and his wanting his father to move out, to sell the site, the building plans, the million dollars?

10. James, Salah relying on him, Salah’s personality, age, experience, not wanting to move, dislike of his son, double dislike of his daughter-in-law? His hold over James and the double-sixes, cheating with his friends and relatives?

11. The concept of the frayer, not being taken advantage of? Everybody exhorting James not to be a frayer? His working for Shimi’s wife, friends? His doing double shifts? The money?

12. His going to church, religious, enjoying the community, the singing, the Africans praying? The minister, his appeals for money? His later appeals to James when he had money, relying on James’ generous donations? Mercenary?

13. James and his organising of the business, undercutting Shimi, arranging all the workloads? The phone calls, the mobile? His being able to outdo Shimi? His lazy friend and his work for Salah? Salah encouraging him? Their deal and James shooting the double-sixes?

14. James, material benefits, going to the supermarket, buying goods, clothes, the television and everybody watching, the supervisor and his smashing the television, Shimi and his ousting him and sending him back to Europe, putting James in charge?

15. The effect on James, his becoming materialistic, the challenge to his faith?

16. The party, Salah agreeing that the sale could go ahead, James and his relationship with all the Israelis? The revelation of what he had been doing, Shimi and his anger, getting him arrested?

17. James in jail again, handcuffed – and the drive towards Jerusalem, his asking for the photograph, handcuffed yet the police taking the photo?

18. The innocent abroad, the possibilities for materialistic corruption, the challenge to faith? The importance of the critique of the materialism of the Israelis, getting money, double deals, illegalities – while the setting is Israel, the criticism is worldwide?

SANTA FE PASSAGE

US, 1955, 90 minutes, Colour.
John Payne, Rod Cameron, Faith Domergue, Slim Pickens.
Directed by William Witney.

Santa Fe Passage is a routine western from Republic Studios. John Payne appeared in a lot of this action adventure in the 50s as did Rod Cameron. Faith Domergue was a protege of Howard Hughes. Slim Pickens appears, rather youthful in comparison with so many films from which he is familiar.

The film is about scouts, wagons crossing the dangerous west, the threat of the Indians. It is also about gun-running as well as prejudice against the Indians. John Payne is a scout who occasions a massacre of settlers and has a hostility towards the Indians. This is very vocal in the film – and he has to change because Faith Domergue is half Indian, half white. Rod Cameron seems upright – and his change to a touch of villainy seems out of place.

This is familiar material reflecting attitudes in Hollywood towards the history of the 19th century.

1. Interesting western? Entertaining? Familiar material?

2. The colour photography, the west, the mountains? The action sequences? The musical score? The title and the reference to wagon trains in the west?

3. Kirby Randolph, Sam, their work as scouts? The wagon train, the threat of the Indians, the information about the chief attacking? Their taking the gifts, the music box, the altered guns? The encounter with the Indians, the barter? Their double-dealing in giving false gifts? The Indians and the war party massacring the wagon train?

4. Randolph’s reputation, people refusing to employ him, spitting? His approaching Griswold? The attack on him by the foreman, by the woman? His being employed?

5. The journey, his work, his shrewdness, his harsh attitudes towards the Indians and verbalising these? The dangers? The stampede of the horses and his wise moves to prevent destruction, firing the wagon?

6. Griswold, the gun-running, his love for the girl, proposal, her refusal? The confrontation with the foreman, with Kirby? Shooting the foreman because of his betrayal to the Indians? His jealousy of Kirby?

7. The girl, her background, her being protected by the squaw who drove the wagon, the squaw advising her, giving her life for her? The antagonism towards Kirby, the change of heart, his saving her life, her apology, the attraction, falling in love?

8. The confrontation with the Indians, Kirby and his shrewdness? The defeat of the Indians, the wagons getting through?

9. Popular ingredients – from a Hollywood in less sophisticated times, especially interpreting race relationships and racism of the 19th century?

CHARLIE AND THE CHOCOLATE FACTORY

US, 2005, 115 minutes, Colour.
Johnny Depp, Freddie Highmore, David Kelly, Helena Bonham Carter, Noah Taylor, Deep Roy, Liz Smith.
Directed by Tim Burton.

Probably the best thing to start with is saying that here is a film for the holidays, one that parents (and grandparents) can happily take all of the children, except the littlies, to see and enjoy.

It is forty years or more since Roald Dahl wrote what is his best known children’s story, Charlie and the Chocolate Factory. It is a tale of Charlie Bucket and his family, a very poor family, who live not very far from the Wonka chocolate factory. Grandpa used to work there but was laid off years earlier when rival sweet-makers stole the recipes and put the Wonka factory out of business. However, even though no worker is seen going in or out of the factory, production is again in full swing (and the opening credits have an intriguing montage of chocolate-making, wrapping and labelling).

Well, most people will know that Willy Wonka, the eccentric owner is giving away five golden tickets for special children to visit his factory. Charlie would love to have one and, as everyone guesses, he does find one.

The film sets up the scenes with the Bucket family very nicely, cosily, even though their meals are meagre (‘cabbage goes best with cabbage), the four grandparents are all crammed and cramped in the one bed and dad loses his job putting tops on tubes of toothpaste. But, the family is very loving and Charlie is a really nice boy.

The other finders of the golden tickets are definitely not nice. We know that they will get their comeuppance (as do the parents who have not educated them well): the greedy boy, the absolutely spoilt girl, the win-at-all-costs girl and the know-it-all boy. The film is definitely serious in reminding us what good children are like and how really awful bad children are.

Once the children begin the factory tour, the screen lightens with bright colours, lots of movement, music and song. The film is continually inventive as it shows Willy Wonka’s creative chocolate-making and the design and machines in his factory. There are also some flashbacks (introduced for the film and not in the book) which explain Willy’s strange mixture of aloofness and being a showman. His dentist father was severe and unloving – and forbade him all those sweets that would decay his teeth!

The film has been directed by Tim Burton who, for twenty years now, has both mesmerised and enchanted audiences with films that are truly fantastic – in both senses of the word. They are really good and they are full of imaginative fantasy. His fans will have their favourites, from Beetlejuice to Ed Wood or Sleepy Hollow. (For me Edward Scissorhands and Big Fish are marvellous stories about storytelling.)

Johnny Depp continues to surprise audiences. He can be an oddball swashbuckling pirate of the Caribbean or he can be the reticent J.M.Barrie in Finding Neverland. He has created Willy Wonka as a lovable eccentric who makes you laugh but takes a long time to really warm to. His Finding Neverland co-star, Freddie Highmore, shows us that an ideal child can be nice without being nauseatingly goody! Helena Bonham Carter and Noah Taylor are Charlie’s parents and, while the film affirms parents, it also offers a great plug for grandparents. David Kelly (who was so entertaining in Waking Ned) is the grandfather who accompanies Charlie on his tour.

Roald Dahl would be pleased with this film. It captures the magical spirit of his imagination. It also captures his vision of goodness, especially for children and family.

1. The popularity and success of the film? For younger audiences? For adults?

2. The work of Roald Dahl, his imagination, his focus on family, the dark side, the optimistic side? The popularity of his work?

3. The films of Tim Burton, highly imaginative, his ways of storytelling, magic, fantasy, the dark side, the moral?

4. The colour photography, the initial muted colour for the credits, for the home? The transition to the factory, Willie Wonka and the brightness of the factory, the special effects? The computer graphics for the Oopah- Loopahs, the flashbacks for the dentist sequences? The film as a kind of visual theme park?

5. The musical score, the songs, the Willie Wonka theme, the song sung by the Oopah-Loopahs? for each of the children, Danny Elfmann’s contemporary score, Dahl’s lyrics about the children?

6. The title, Willie Wonka as the centre?

7. The Bucket family, the narrator’s voice-over, the commentary about the family, their plight, what might happen? The fairytale look of the house, the edge of the contemporary city, the drabness of the city, the blocks of flats, the huge factory? The chimneys? Overshadowing the house? The ordinariness of the town, the mix of American and British? The poor family, the poor meals, the cabbage meals, the four grandparents stuck in the one bed? Dad and his working at the toothpaste factory, putting on the caps? The quality of life? The theme of family? Poor yet generous? Charlie and his birthday, the chocolate bar once a year, his sharing the chocolate with everyone? The hope for the ticket – and everyone watching the ticket winners on television?

8. Mum, plain, loving, caring? Dad and his work, preoccupied, getting the sack? Grandpa and his being genial? The other grandparents, the sardonic comments, the supportive grandma, the grandma who was a bit out of it?

9. The credits, the mixing of the chocolate, wrapping, labelling – and the insertion of the five tickets? The sugar and sweet factory?

10. Grandpa’s story, the success of the factory, Willie Wonka and his inventiveness, the spies, their stealing the secret recipes, the other shops and their success, the shutting of the gates, Willie Wonka closing down? Yet the irony of the more recent success – and no workers going in and out?

11. The winners and their presentation on television, the interviews, the photography? The German boy, fat, gorging chocolate, his genial mother? Veruka and her petulance, demanding everything from her father including the ticket, her weak and exasperated mother, her well-to-do father giving her everything? The American girl, her winning, martial arts and deadly, her record-breaking chewing of gum, her flirtations mother, the satire on the American style? The TV boy, the deadly computer games, the bewildered parents not understanding anything? The blend of bad children, greed, spoilt, determined to win, know-all?

12. Charlie’s birthday, sharing the chocolate, no ticket? Finding the money note, buying the bar, winning, the excitement in the shop, people wanting to buy the ticket, Charlie and his thinking that he ought to sell the ticket to get money for the family? The sardonic grandpa telling him there were only five and that it was precious?

13. The families assembling at the gates, the solemn entry, Willie Wonka’s appearing with them, wanting to watch the spectacle? Entering the factory – and the transformation inside?

14. The visual creation of the factory, the colours, design, processes, machines, different rooms, the lift, the invention? The spectacle of a chocolate factory theme park?

15. The Oopah-Loopahs?, the flashback and Willie Wonka’s explanation, the jungle, the coconuts, their not being able to reach them, Willie Wonka’s deal with them, getting them chocolate, their returning to work in the factory with him? The computer graphics and the single actor being multiplied, for the songs, for the different work, the psychiatrist, the secretary…?

16. The German boy and his greed, Willie Wonka explaining that everything could be eaten, even the grass? The boy drowning? Swirling down the vortex, his mother having to go with him – and his emerging thin and elongated?

17. Veruka, the squirrels, her demanding one? Her wearing a fur? The squirrel attack, her father having to rescue her, their emerging covered in garbage?

18. The dominant girl, her flirtatious mother and Willie Wonka’s ignoring her? Her greed, the blueberry, her turning blue, swelling and bouncing?

19. The know-it-all boy, his wanting to control the equipment, his despising Willie Wonka’s ignorance about technology, going into the television, the parody from 2001: A Space Odyssey, the shower sequence in Psycho, his being reduced to being very small?

20. The tour, its wonders, Charlie and his enjoying it, Grandpa enjoying it, friendly with Willie Wonka and trying to stir memories? Charlie as a pleasant boy, a good boy? His being the winner?

21. The arrival in the lift at the house, Willie Wonka’s proposal that Charlie take over the factory, his having to go and live there, give up his family, Charlie’s firm saying no?

22. Charlie wanting Willie Wonka to reconcile with his father, Willie Wonka’s block about parents, stammering at the word “parents”? The flashbacks to the dentist, his wearing the enormous brace, Halloween and his getting the sweets, his father throwing them away, banishing him, Willie Wonka’s return, his father examining his teeth and recognising him, love for father and son, reconciliation? The dentist and his living in the isolated house?

23. Willie Wonka invited to share the meal, his being at home with the family, his changing his conditions for the ownership of the factory?

24. A satisfying entertainment, moral lesson for children (and for parents!)?

SKELETON KEY

US, 2005, 107 minutes, Colour.
Kate Hudson, Gena Rowlands, John Hurt, Peter Sarskgaard.
Directed by Iain Softley.

If you judge a city by how it appears in the movies, then New Orleans is exotic, to say the least.
With its distinctive architecture and its special jazz sound, it is a favourite location for thrillers. With its voodoo traditions, it is also a favourite location for eerie and strange horrors. Just the place for a skeleton key.

It is all a bit different for Caroline (Kate Hudson) who hails from New Jersey. Nevertheless, she takes on a job of caring for an elderly man who has suffered a stroke (John Hurt). It takes some time for his wife (Gena Rowlands) to get used to her. In the background is the family lawyer (Peter Sasgaard). Al proceeds fairly well, but there are hints… A locked room of an attic which the skeleton key will not open. What seem like voodoo relics. Mysterious photographs. And, of course, deep and dark secrets.

Kate Hudson plays the nurse as fairly tough and intrepid. By the end, you see why. Gena Rowlands has the chance to do her variation of old Gothic horror. John Hurt’s role is almost wordless (showing what a good actor he is through non-verbal communication).

It is all hokum – unless you are a superstitious type and can be taken in by ‘hoodoo’. Not particularly memorable, but classily done.

1. The title, the literal meaning, the actual key? The imaginative use of the title, cupboards and skeletons?

2. The New Orleans setting, the look, the feel, the buildings, the history and the past, the present, the sounds and the jazz, the dance? The contrast with the hospice?

3. Louisiana, the bayous, the swamps, the history, the mansions, the Gothic atmosphere? The interiors of the house? The score?

4. The explanations of the difference between hoodoo as practical magic, voodoo as a religion with a mixture of all the traditions assembled in New Orleans?

5. The familiarity of the plot, the haunted house, the magic? The twists of the plot, especially the ending? Making it all credible? The magic?

6. The introduction to Carolyn, twenty-five, her love for her father, wanting to have cared for him more before he died? Reading to the dying man, his death, taking away his personal effects, his being neglected? Her decision to change her job, reading the advertisement, discussing with Jill? The night with the jazz club, the dancing? Her driving out to the mansion, stopping for gas, the suggestions of voodoo, the blind woman? Her being alert to the Gothic aspects of the swamps?

7. The visualising of the mansion, the long drive, no trespassing? Violet and her reaction against Carolyn, Luke and his putting in a good word for her? His discussions on the phone with her? Ben and his condition, the stroke, bedridden, unable to speak? John Hurt’s communication, non-verbally? The situation, Violet and her (his?) dependence on her, her decision to stay? The rules of the house, for tending Ben? Violet exercising her control? Ben, his medicine, his ‘remedies’, the bath? Violet and the ordinariness of the house, especially her constant work in the garden? Doing the housework?

8. Carolyn, settling in, her room, the absence of mirrors, the mystery about the mirrors, the revelation about the spells, going to the attic, the locked door? The rumbling sounds? Finding the photos, especially of the children? Of the black couple? The stories, her curiosity? Finding the record, listening to it, Jill’s reaction?

9. Luke, personable, helping, the visits, the discussions about the will, about her looking after Ben, his visits? Her finally taking refuge with him, his seeming to help, the phone call, the recording? His changing, threatening to strangle her, tying her up, the return to the mansion, his involvement with the spells? The ending and the revelation of who he was and his having taken possession of the real Luke? After going out of Ben?

10. Violet, her personality, age, the history of the couple coming in 1962, the brother and sister who inhabited the house? Her telling the stories? The visualising of the flashbacks, the horror of the children with the black couple, the voodoo, the lynching party, the hangings and the burnings? The party crowd and their glee? The motivation for the killings? The motivation for the black couple getting revenge on the parents, possessing the children? Moving from people to people?

11. Ben, the storm, climbing out on the roof, his falling, his asking for help on the sheet? Fears, his upset at the mirror? Carolyn vowing to save him, dragging him out, hiding him in the shed?

12. Violet and her transformation, chasing Carolyn, Carolyn escaping in the canoe? The spells, the horror, the confrontation with Violet, her falling down the stairs?

13. The final spell, Carolyn protecting herself, Violet pointing out that she could not escape the circle? The collapse? The reality, Carolyn being possessed? Violet and her being in a stroke condition, being carried away with Ben? Luke and his being at home with Carolyn, the possessed? The threats to Jill for her drive away?

14. A satisfying enjoyable horror story, magic, ghost story?

HUE AND CRY

UK, 1946, 82 minutes, Black and white.
Alistair Sim, Jack Warner, Valerie White, Douglas Barr, Harry Fowler, Joan Dowling.
Directed by Charles Crichton.

Hue and Cry is one of the first postwar Ealing Studios films. It was written by T.E.B. Clark, former policeman, who was to go on to write a number of films including classics like The Lavender Hill Mob, Passport to Pimlico. It was directed by Charles Crichton who had already directed an episode of Dead of Night and was also to direct The Titfield Thunderbolt and The Lavender Hill Mob – and co-directed A Fish Called Wanda in the 1980s with John Cleese.

Alistair Sim appears as a writer of some pulp fiction. Jack Warner who usually appeared as a policeman and an upright character, is the villain.

The film uses bombed London as location, giving a vivid sense of the immediate postwar period and the look of London. The film is both comedy, with the young kids of London discovering some gangster activity, modelled on a comic book that they read, and set out to thwart it. The film turns a touch violent towards the end with the fight between the gangsters and the children, especially the final confrontation between Harry Fowler and Jack Warner.

However, it is interesting to look at many decades later, an example of Ealing Studios’ fine film-making – and presenting images of British life.

1. Ealing Studios, their skill in small-budget films, comedies, slices of life?

2. A picture of 1946, the immediate postwar period, life in London, shops and stores, activities of gangsters, of the police? The pulp fiction writer? The ordinary sequences of streets, locations and buses? The musical score?

3. The title, the reference to the activities of the children and their pursuit of the criminals?

4. The opening and closing with the choir, the innocent-sounding boys, singing “On the Wings of a Dove”, the finale with the same song with their black eyes and injuries?

5. The choirmaster, taking the comic, throwing it out the window? The older boys reading it? Their attitudes towards each other, the touch of bullying? The discovery of the criminal activity, the numberplate, the police not being able to find it? The boys realising what might have happened?

6. Their discovery of what was actually happening, Rhona and her taking home the manuscript, the writer and his sending it in, the printing of the comic, the reading of the story, the adaptation by the criminals?

7. The boys and their pursuit, Joe and his leadership, Alec and his Scottish accent, Clarrie and the girl’s presence? Their visiting the author, his fluster? Their deciding to follow it up – later getting him to write another copy, using their information, blackmailing him? His fears? A funny turn by Alistair Sim?

8. The inspector, getting Joe the job with Nightingale? The irony that Nightingale was the crook? The episode with the furs and Jago? The intervention of the police? Joe and his contacts at the printers, their decision to follow Rhona, getting in the bus, her giving them the slip, following in the taxi? Tying her up, her being frightened of the mouse? Nightingale and his coming to free her? The boy on the side of the car? Their continually getting information?

9. The set-up with all the kids around London – the wide contacts, even the BBC? The preparation for Operation Seagull, the codeword?

10. Nightingale, presumptuous, with Rhona, reading the comic, finding Joe, the confrontation, not knowing the password?

11. The arrival of the crooks, tying Nightingale up, his later escape? The boys, the fight with the gangsters? The pursuit, Nightingale crashing the truck, the severity of the fight with Joe, his falling, Joe jumping on him?

12. The happy ending, the boys and something positive to do – and the police acclaiming their work? A period piece (even the boys wearing coats all the time)?

GANGWAY

UK, 1937, 90 minutes, Black and white.
Jessie Matthews, Barry Mac Kay, Nat Pendleton, Alistair Sim, Oliver Blakeney.
Directed by Sonnie Hale.

Gangway is a star vehicle for British light comedienne and singer and dancer, Jessie Matthews (a range of films including the very popular Evergreen). She is very cheerful and lively personality on screen.

The film is indebted to the musicals of Fred Astaire and Ginger Rogers (and verbally acknowledges these). However, while Barry Mac Kay sings, he is no dancer. The dancing is left almost completely to Jessie Matthews.

The plot is creaky – but has nods in the direction of the United States. Jessie Matthews is Patricia Wayne, a reporter who emulates the reporters of such plays as The Front Page. Barry Mac Kay is a Scotland Yard detective who suddenly inherits a lordship. Nat Pendleton is a Damon Runyon-type gangster and Alistair Sim shows the indications of what his comedy would be like in the future as a private detective.

There are the scenes in the newspaper office, in swanky hotels, the search for a jewel thief, a Transatlantic cruise, gangsters in New York City, the Trocadero nightclub and dancing and a shoot-out. The film is designed to be popular both at home and abroad. It is an example of British film-making in the 30s, striving for a touch of American sophistication.

1. An entertaining musical of the 30s? Comparisons with the Astaire- Rogers musicals? The particular British style? The nods towards the United States?

2. Studio settings, the black and white photography? The musical score, the songs, the choreography and the dancing? The insertion of the songs in the action?

3. The conventions of the Depression era comedies, the picturing of the rich, thieves, gangsters, detectives? The hero and heroine and the happy ever after?

4. Bob, Scotland Yard, the inheritance? The chief, sending him to the hotel to find the jewel thief? His friendship with Greta – and missing his opportunity to arrest her? Suspicions of Nedda, her husband? The encounter with Pat, the dropping of the glove, meeting her, suspicions of her, taking her out, falling in love? The Cinderella overtones? The discussions with the chief, the chief dancing with Patricia at the club? Going on board, finding Patricia in the trunk? His suspicions of Nedda? The voyage, the encounters with Taggett, finally tying him up? Trying to get Taggett to remember the nursery rhyme where the gangsters went? Coming in at the end, rescuing Pat, the humorous wedding sequence?

5. Pat, at work, reviewing the play, the dancer coming and objecting, their doing a song and dance routine? Her going to the hotel, encountering Bob, pretending to be the maid, Nedda’s haughtiness? The dresses, going out, late, being sacked? The press officer and the proposal that she steal the jewellery? Stealing it from the wrong person? Hiding, the trunk, on board? Enjoying the voyage? Getting friendly with Smiles, it being assumed that she was the thief? Landing, with the gangsters, the dancing rehearsal and the shots? The dance routine, the spotlights and her saving the day? Being rescued, the happy ending marriage?

6. Taggett, Alistair Sim’s comic style as the detective, his being tied up, unable to remember the place?

7. Smiles, the gangsters, genial and serious, the shoot-outs, the police, his being indebted to the police? In the final attack? The serious criminals, the plan to steal the jewellery, the rehearsals, with Pat, the set-up for the stealing of the jewels? Her thwarting them?

8. Nedda Beaumont, the haughty Hollywood star, imperious, imposing on her husband, the clause about marriage? Sacking people, changing rooms? In at the end? Carl and his being trodden on by Nedda?

9. Greta, the obvious candidate to be Sparkle, her not being on the ship, at the end, in the showdown, going to prison?

10. A cheerful kind of musical comedy for Britain in its pre-World War Two period?