THE GURU

US, 2002, 94 minutes, Colour.
Heather Graham, Marisa Tomei, Jimi Mistry, Michael Mc Kean, Dash Mihok, Christine Baransky.
Directed by Daisy von Scherler Mayer.

A cheerful bit of nonsense in the Crocodile Dundee tradition but with the Bollywood treatment. Jimi Mistri (from East is East) is Ramu, a dance instructor in India. But his movie dreams compel him to go to New York to become a star. Instead, he finds himself a waiter who unwittingly auditions for porn movies. (Michael Mc Kean is expertly satiric as the director.) Since his life is always unpredictable, he finds himself stepping in for a guru, the worse for drink, at a swanky party (managed by Christine Baranski who is also very funny as the snobbish hostess).

Before you can say swami, Ramu is all the rage, dispensing advice, consulted by wealthy women. Actually, he gets all his wisdom from his porn costar, played with a sweet naivete by Heather Graham. He is also entangled with his hostess's daughter, Marisa Tomei. How can it all end?

There is a lot of fish out of water comedy as Indian culture meets New York. There is a great deal of satire at the expense of New Age trendies as well as of the 'adult' film industry. The climax, as in so many recent films, is a wedding which ends in a shambles - even though everybody lives happily ever after. If you want to see a song from Grease done Bollywood style, this is your film.

1. An entertaining sex comedy? The capitalising of interest in Bollywood?

2. The Indian setting, the atmosphere of the Indian city? The contrast with New York City, the cityscapes? The world of apartments and poverty? The world of affluence? The world of the chattering classes? The world of the gurus? How well did the film combine these?

3. The musical score, the Indian tone, the songs? The songs and quotations from Grease, the Bollywood treatment of the song from Grease?

4. The popular framework of the film – the stranger going to New York City, being taken in by the city, falling in love, being honest, the happy ending?

5. The focus on Ramu, his family in India, their ambitions for him to marry, his dance classes, his watching the Bollywood films, going out as a boy to watch Grease? His decision to go to America? High hopes? Meeting Vijay and his friends? The reality of their lives, sharing the apartment? His going to work in the café, his being taunted, putting the Chicken Tikka Masala over the client’s head, his being sacked? His wanting to be an actor, answering the advertisement, not realising that it was a pornography company? The audition and his missing the ambiguities? His song and dance routine? His being hired, going on the set, meeting Sharonna? His awkwardness? His friendship with Sharonna, meeting her boyfriend? The discussions, her giving him advice, the common sense – which could be interpreted as wisdom?

6. Ramu and his going to the birthday function for Lexi? Treatment by the staff? The drunken guru? His having to take his place, his innocuous statements, his ambiguous statements, leading them in song? His being a great hit? Lexi and her falling for him, taking him home, the sexual encounter? Her thinking that he was a sex guru?

7. Ramu and his having to maintain his status, his relationship with Lexi, her taking him everywhere, meeting the celebrities, the collage of giving them advice, even Lexi’s mother? His being at a loss, translating Sharonna’s words? His becoming a celebrity, in the media? Sharonna’s discovery of the truth, her being hurt?

8. Sharonna, her background, Catholic, the parish priest, her parents? Engagement to Rusty? Her performance, getting the money, saving for her marriage, for the cake, showing Ramu the cake and his ambitions to buy it for her? The bonds between the two? Frank discussions, falling in love without realising it? Her fear of Rusty finding out the truth? The meal, people approaching her as the porn star? The priest and his reaction? Her being upset?

9. Vijay and Ramu’s friends, their jobs, sex talk, lonely men in New York? Capitalising on Ramu’s success? Going to the shops, the clothes, the cars, the women? Their enjoying their life? Wanting Ramu to support them?

10. Lexi, rich young girl, her parents, the party, giving her everything she wanted? Her seeking her inner self? The sexual relationship with Ramu? Thinking it would lead to wisdom? Her chaperoning him, promoting him? At the television show – and the revelation of the truth? His speaking to her, giving her the turban – and the possibility of her becoming a guru?

11. The sketch of her parents, her society mother, the deadpan remarks, her husband, the sexual relationship – and their being influenced by the guru?

12. The phone call from Alaska, it being Rusty at the church, Ramu’s answer? Leaving the television station? The inane questions? He and Vijay rushing to the church?

13. The ending – like the Hollywood movies as he said? His previously imagining Sharonna as a Bollywood dancer – and the song from Grease? At the church, arriving at the same time as the boyfriend? The marriage ceremony, the hold-up, his declaration of love, Rusty and his boyfriend? The happy ending – and the car flying into the sky?

14. A fable, satirising the world of fads and New Age, satirising the pornography industry, especially with the crass attitudes of the director, the innocuous behaviour of his staff? The scenes, the island, the Roman epic? The business world and the promotion of gurus? Sex comedy? All fitting together with a certain cheerful naivety?

KICKING AND SCREAMING

US, 2005, 95 minutes, Colour.
Will Ferrell, Robert Duvall, Mike Ditka, Kate Walsh, Dylan Mc Lachlan.
Directed by Jesse Dillon.

(As an initial aside, Jesse Dylan, music video director and director of American Pie 3: The Wedding, is the son of Bob Dylan – not sure if his father would really want to rush out and see his son’s movies!)

The plot is practially The Bad News Bears, The Mighty Ducks etc all over again, except that this time the coach is as inept as the rag-tag team we know are eventually going to win the competition! It’s just a matter of watching to see how the victory is accomplished.

Along the way, there are the usual crises, training sequences, gradual success and the final showdown. Where Kicking and Screaming is a little different is that the sport here is soccer, not the usual sport for an American film. Another difference is that Will Ferrell is a gawky adult, who was an accident prone child, the despair of his sporting goods store owner and coach supreme, played in his genially gruff style by Robert Duvall.

There are loads of pratfalls, barbed father and son conversations and some one-liners. Real-life coach Mike Ditka portrays the next door neighbour whose mission in life is to upset Duvall and who takes on assisting the team to thwart his neighbour. Ditka comes across as a good character actor.

The subject matter is fairly limiting in its audience appeal. The treatment is conventional at best – and often seems somewhat lame. Which means that its drawing appeal is probably to boys, 8 to 12 say, who are not really good at sports but would like to be – and to their fathers who want to re-live sports years through their sons.

1. The popularity of films about sport? About underdog teams? Their training, spirit and victories? This film as a variation on the theme?

2. Suburban US, homes, sports fields, schools – audiences identifying with ordinary life? Heightened for the sake of comedy? The musical score?

3. Phil and his growing up, his voice-over comments, his being weak and puny, his being accident-prone, his father’s exasperation with him? His attempts at sport? His growing up, at college, still being awkward at sport? His encounter with Barbara, marrying her? His own son?

4. The character of Phil, Will Ferrell’s screen presence, comedy style, deadpan, one-liners? His relationship with Buck? The tension? His father always criticising him? His still being accident-prone and his father correcting him? His love for his wife, love for his son? His not wanting to work for his father? Selling vitamins? His going to the sports practice, the absent coach, the other parents, his volunteering? His motivation? His encounter with the kids, their disregard for him? His father transferring Sam to the Tigers? Sam’s expectations? His attempts at training? The kids’ awkwardness? His encounters with Mike Ditka, Mike and his antagonising Buck? Phil inviting him to be the coach? Their working together? The gradual improvement, the techniques? The Italian boys, his going to the shop, the issue of meat first? The boys, their skills? The season, the gradual victories, the Italians and their terrifying the others? Phil and his being caught up, neglecting Sam, Barbara’s criticisms? His vying with his father? The build-up of the season, the clash with Mike and letting him go? His becoming more and more obsessed, more like his father? Sitting Sam on the bench as his father had sat him? The coffee sequences, the humour, his not drinking, Mike challenging him, his continued drinking, going to the shop, becoming an addict, screaming in the queue, being ousted? His becoming an expert? His becoming dependent? The first half, the Italian boys not there? The defeat? His coming to his senses, his apology to Sam, the change of heart at half-time, playing the team – and Sam’s final victory and kick? The celebration, going into partnership with his father – the TV ads?

5. Buck, Robert Duvall’s style, his being an expert at everything, sport, selling sports goods, the comedy of his commercials and watching them with Phil, his acting classes? Transferring Sam, the team? Continually correcting Phil? The irony of Phil coaching, the antagonism with Buck? Buck’s over-confidence? Mike Ditka and the putting the grass over the fence? Antagonism? The build-up to the end of the season, the final match, his team, the irony of them losing – but his graciousness in congratulating Sam? The final barbecue, celebration, the commercials with father and son working together?

6. The boys, Sam, awkward like his father, neglected, being affirmed by his father, then sat on the bench? The training, the final match, the final goal? The contrast with Bucky, fostered by his father, encouraged, Sam outmanoeuvring him in the end?

7. Barbara, her love for Phil, supporting him, criticising him when necessary? Her love for her son? The contrast with Janice, young, marrying Buck, Bucky and the same age as Sam? Her being in the background?

8. The other parents, jobs or not, coming to the matches, not coaching? The mothers, the lesbian couple? Their support of the children? The picture of the children, the little Japanese boy, the big boy – and his powerful kick? The goalie and his needing glasses? The other members of the team? The Italian boys, the shop, their work, their skills?

9. The American spirit, the portrayal of soccer – unusual for an American film? Sport and its place, parents and sport, fathers and sport, coaches? The underdogs winning? The symbolism

FESTIVAL

UK, 2005, 107 minutes, Colour.
Amelia Bullmore, Billy Carter, Johah Loton, Stephen Mangan, Lyndsey Marshall, Stuart Milligan, Daniela Nadini, Chris O’ Dowd, Lucy Punch, Clive Russell.
Directed by Annie Griffin.

Festival refers to the Edinburgh Fringe festival. The writer-director, Annie Griffin, was American-born but moved to Scotland and has lived there for several decades. She captures the atmosphere of the city of Edinburgh, especially the world of stand-up comedy in clubs, streets, all kinds of performance.

There is a rather large cast with a whole range of different comedians, journalists, producers, the public. It also focuses on ordinary people in Edinburgh, especially those who run boarding houses for the visitors.

The film offers a lot of stand-up comedy, some of it in bad taste, some of it very funny. It is an atmospheric film with a rather dark sense of humour.

1. A character portrait? The Edinburgh Festival? Edinburgh as a city, a character? Interaction of characters? Festival situations, crises?

2. The use of Edinburgh city, its life, the people, vitality, the crowds, the festival atmosphere, the street scenes, behind the scenes: accommodation, messing accommodation, restaurants, theatre spaces?

3. The structure of the film: the introduction to Faith, entering into the festival with her? The introduction to the range of characters, the interviews, their being intercut? The musical score?

4. The film as a comedy? As serious? The dialogue and the nature of comedy, being funny, the nature of satire, black comedy, verbal, pratfalls? The topics of humour? Crass and sexual humour? The need for laughs? The audiences making the comedians?

5. The Fringe Festival, the range of performances, the venues, the people performing, the audiences, the jury and their meetings, the award night?

6. The members of the jury, the meetings, the expression of views, the pretentious attitudes, the mouthing of platitudes, personal prejudices, bias, pressuring juries? The satire on arts juries?

7. Faith, her arrival, eagerness, giving out leaflets about her play, the venue, meeting Roger, his insulting her? The discussion about props and daffodils? Her encounter with Brother Mike, his performance, the current issue of paedophile priests? Scenes of his performance, of her performance, her rewrites? Giving daffodils to the audience? Their friendship, their changing? Meeting Shaun Sullivan, Faith not knowing who he was, infatuated, leaving the message at the hotel, his attempted seduction, her almost succumbing – but her feeling that the play was the most important thing for her and her running off at the end?

8. Shaun Sullivan, his reputation, the radio interview, his surliness, his treatment of Petra? The verbal sparring with Joan on air, the hostility, his intention of making it funny but his actually meaning it? The encounter with Nicky, the sexual encounter, indulgence? Using Petra to set people up? His going to the various performances and leaving? His performance at the jury, being obnoxious? His wanting the agent? Tommy and his seeming hostility? Petra and her leaving, her tantrum? The discussions with Arnold? The cavalier attitude towards his fans, autographs, smiling in public? The attitude towards Nicky, his becoming jealous of her? His meanness at the announcement, tricking her and her making a speech, her punching him? His seeking out Faith, the ending and his being abandoned in the lift?

9. Petra, the serious personality of the film, the details of her work as an agent, having to act as a pimp for Shaun? Her exasperation? Keeping him up to the timetables? As a person, as a recovering alcoholic, the drink, her ringing her counsellor, not having the drink? Her angers, her treatment of Nicky, trying to placate Joan, liaisons with Arnold and the agencies? Playing to Shaun, helping him? The meeting with the architect and his positive affirmation of her? The awards night and her being abandoned in England?

10. The owner of the house, her husband, his being a barrister, his looking after the baby, her moodiness, her going into the house, cleaning up after the Canadians? Watching them, watching Rick and his movement? Imitating it? The decision to leave her husband, the criticism, the smashing of the car, her arrival? The possibility of making a new life in Canada?

11. The Canadians, in the house, their trashy behaviour, their performance and its artistic style, their interaction with each other, relationships? Rick, going into the owner’s basement, the clothes, trying them on, his appreciation of style, using them for the performance? Talking to the owner, the bond with her? Inviting her to the company? Her coming at the end, his kissing her?

12. Tommy and Con, the interview with Joan, the Irish humour, Tommy and his preoccupation about himself, nine times at the festival and not being nominated, his performance? The interaction with Joan, the sexual relationship, the initial hesitation and her frankness? His boasting about his behaviour to Con? Phoning his wife? The mixed motives, liking Joan, wanting her to influence the jury? The second encounter, her disgust with him after supporting him? His phone calls, the discussions with Con, moaning and weeping? The information that he had won, the awards and Nicky’s speech, his own ill-mannered speech? Ringing his wife?

13. Joan, hard, the interviews, the antagonism towards Shaun, the discussions with Tom, the sexual encounter, her work on the jury, her vote, at home with Doug? The second encounter and her disgust with Tommy and his selfishness? Her comparing the awards?

14. Con, the puppets, losing them in Ryan Air, trying to buy other puppets, listening to Tommy, supporting him, the sexual encounter in the bar?

15. Nicky, her act, the come-on to Shaun, her giddiness yet her seriousness, the clashes with Petra, sex with Shaun, pushing, clashing, her performance and the agent liking her? At the awards, her speech and her anger?

16. Arnold, the smooth agent, the American, everything geared towards the Americans? His clash with Petra?

17. The overall impact of the film: comedy, bitterness, backstage at the arts festival, the personalities of artists, clashes and crises?

THE DESCENT

UK, 2005, 99 minutes, Colour.
Shauna Macdonald, My Anna Buring, Natalie Jackson Mendoza, Molly Kayll, Saskia Mulder, Alex Reid, Laura- Jane Noone, Oliver Milburn.
Directed by Neil Marshall.

The Descent was the second feature film from British director Neil Marshall. He had attained some fame and notoriety for his first film, Dog Soldiers, which was set in Scotland but is very much a werewolf film, werewolves terrorising a group of British military. After The Descent he was to make Doomsday, an over-the-top elaborate film which drew on all kinds of horror genres from Twenty- Eight Days Later to Escape From New York.

The Descent received great critical attention, a number of awards and was very popular. It is a horror film – it has a caving expedition, the explorers all being women. They bond together, get each other through difficulties, but eventually become trapped and, after about an hour of the film, strange monstrous predators appear and wreak havoc on the women.

A British film made in Romania, The Cave, was released at the same time but The Descent seems to be a horror classic of people trapped in caves.

1. The director and his work in the horror genres? The creation of terror and horror? Grounded in realism and moving to mythological horror?

2. The re-creation of North Carolina in the UK, the rapids, the forests, the caves?

3. The special effects for the creatures, for the blood, for the confrontations?

4. The action sequences, editing and pace, shocks? The musical score?

5. The sense of menace, the preparation, the psychological allusions, the spirituality situations, the interactions of the women, the role of leadership, betrayal, tension, the fight for survival?

6. The focus on women their experiences, their psychology, their ways of bonding, friendship and betrayal, grief and support, the different ways of handling fear, crises, survival?

7. The introduction on the rapids, the introduction to the group, in vigorous action, the father and daughter watching? The tension with Paul – and his seeming attention to Juno? The drive, Sarah thinking he was distant – and the sudden impact of the crash, its violence, the visuals of the pipes? Sarah, in hospital, her grief?

8. One year later, going to North Carolina, Sarah and Beth together, Beth as supportive? The cave plan, Juno and her idea – and possible feeling of guilt? Her bringing in Holly? Sam and Rebecca? The meeting of the women, memories of the past, bonding, the decision to help Sarah? Driving to the caves with high speed? On the way, the light-hearted discussion of the range of phobias? Going on adventure, being fit, their skills, their expectations?

9. Audiences and response to caves, to crawlspaces, to the dark, to the deep, the tunnels, the need to find where fresh air was coming from, flames, accidents, falling and injuries, equipment, loss of equipment, the need for light? The characters and their ability to cope – and the audience making comparisons? Identifying with characters and situations?

10. The realism of the opening of the film, the descent into the caves, the women together, the tunnels, the small space? The testing of the light, the spaciousness of the caves? The cave-in and it testing Sarah? Having to get across the chasm? Light? The suggestion for fears?

11. Sarah, her mental state, emotional, grief? The decision to come on the expedition? Hearing the child’s cries, the noises? The flashbacks and her memories?

12. The range of characters: Sarah and her fragility, Beth as the strong woman, friendship for Sarah? Coming to help her with the cave-in and her panic? Sam and Rebecca, their relationship, strong, getting across the roof of the chasm? Juno and her leadership, the truth about not bringing the book, changing the venue of the caves? Wanting to face the difficulties, to name the caves? Holly, younger, impetuous, her fall and breaking her leg, the gruesome aspects of resetting the leg? The women having to carry her?

13. The creatures, their appearance, the initial presence, the attack, the fierceness of the fighting? The blood – and the bloodthirsty way in which the women killed them? The story about the creatures, discovering they were blind, relying on sound, their attacks, destruction, the initial visualising of the bones, their seeing their prey? The blood pool?

14. The attacks and the effect, Juno and her fears, the accidental wounding of Beth? Sarah finding Beth, Beth’s words, her angers leading to her killing Juno? Sarah alone, Juno trying to cope, the others and their being destroyed?

15. The use of the video camera, the screening in the dark, a record of what happened to them?

16. Juno and the final confrontation, her lies about Beth, her knife, Sarah’s wounding her – and the attack of the creatures?

17. Sarah, imagining her daughter? The escape, coming up into the light, the air, getting into the car, driving, passing the logger? The irony of that ending and the true ending of the reality of her imagining her daughter, seeing her alone in the cave?

18. The overall effect of the experience of this kind of realistic horror film? Fear, excitement, tension?

RETURN OF THE BADMEN

1948, 90 minutes, Black and white.
Randolph Scott, Robert Ryan, Anne Jeffreys, Jacqueline White, George “Gabby” Hayes, Lex Barker, Steve Brodie, Robert Amstrong.
Directed by Ray Enright.

Return of the Badmen is a routine 40s western. Randolph Scott had appeared already in many westerns and was to continue to do so for the next fourteen years. George “Gabby” Hayes had also appeared in many westerns, especially with Gene Autry. Robert Ryan is a sadistic Sundance, the villain of the film.

The film focuses on Oklahoma territory, features the Oklahoma Run. It also features a range of outlaws from the past, the Younger brothers, the Doolans, Billy the Kid.

Randolph Scott appears, as usual, as an upright farmer who becomes a marshal and has to confront the outlaws.

1. Entertaining western? A western of the 40s? Fifty-plus years after the events portrayed? The change in the United States from the 1890s to the 1940s?

2. Black and white photography, the re-creation of the west, the western town, the banks, the saloons, the open range? The musical score?

3. The gangs, the outlaws, the bank robberies? As law and order was prevailing, as Oklahoma territory was opening up? The last stand of the bad men?

4. The history of the gangs, the Younger brothers, the Doolans, Billy the Kid? The role of the marshals? The presumptions of the outlaws, robbing banks, being gunfighters?

5. The change in civilising the west, becoming respectable? The cattle auctions? The reliance on the banks? Law and order? Judges, marshals?

6. The presentation of the outlaws, Cheyenne and her being a messenger, the sadism of Sundance, the Doolans and the hesitation, the Youngers? The staging of the robbery – announcing it to the bank owner and then doing the robbery? The falling out amongst the group, Sundance and their disapproval of his action? Cheyenne and her change of heart, returning the bonds? Their arrival in town, the confrontation with Vance and the law enforcers? The shoot-outs, Doolan in prison, Sundance trying to set him free, Sundance murdering Cheyenne, the fight with Vance and his loss?

7. Vance, experience, the farmer, engaged to Madge? The plan to go to California? His love for Johnny? Respect for John and the bank? His encounter with Cheyenne, getting the doctor, talking to her, his being taken by Sundance, the murder of the Indian? His return, persuading Cheyenne to give herself up? Her being allowed out on parole under his care? Madge and her reaction? The final set-up, his being officially the marshal, the fight with Sundance? The future with Madge, the bank?

8. John, the bank, the grizzly old man, letting his friends have loans but not letting it be seen? Love for his daughter, grandson? In the Oklahoma Run? His being robbed, the money returned? His finally going off to California?

9. Madge, the widow, love for Vance, reticent? Jealousy of Cheyenne, Vance asking her to look after her? The marriage? Her son?

10. Cheyenne, tough, the messenger, participating in the robberies, injured, looked after by Vance, remembering his words, pulling the gun on Sundance, her return, giving herself up, paroled, with Madge, telling her the truth about love and getting married, her being murdered by Sundance?

11. The familiar picture of the west, the pioneering days, the outlaws, the establishing of law and order?

FANTASTIC FOUR

US, 2005, 106 minutes, Colour.
Ioan Gruffudd, Jessica Alba, Chris Evans, Michael Chiklis, Julian Mc Mahon.
Directed by Tim Storey.

After all the films based on comic books, especially those published by Marvel Comics like Batman, Superman, Daredevil and X Men, Fantastic Four is a pleasant surprise. It will probably be best liked by a teenage audience – and fathers who might go along with their children may well find it an enjoyably guilty pleasure.

It cannot be said that the film is ‘fantastic’ in the ‘never-seen-anything-like-it-and-it’s-marvellous’ sense. Rather, it is more in the vein of original meanings of the word: that it belongs to the world of fantasy. It is a variation on popular science-fantasy themes.

In the past, Dr Frankenstein tried to create life and, instead, created a monster. This time, the four scientists are prepared to make themselves available for space research to learn more about DNA but find themselves transformed. There is a touch of the monstrous in what happens to them, but they are firmly on the side of good. What they do not realise is that their arrogant, wealthy boss (Victor Von Doom), has also been affected and chooses to become monstrous to gain absolute power.

What makes the four fantastic is that one can become invisible, another can turn into fire and their leader finds that he has the power to stretch all his limbs. (Someone sitting next to me whispered that she thought that she had already seen this story in another film – and, of course, these powers are similar to those of the Academy Award winning family of 2004, The Incredibles.)

Fantastic Four does two things quite effectively. It sets up the characters as (more or less) real and realistic people during the first half hour. There is Reed, the idealistic scientist who lives in his head. Susan Storm is a geneticist who has linked up with the wealthy Victor Doom (eventually the arch-villain). Her brother Johnny is an immature young man who is constantly attention seeking. Ben Grimm is the older, more serious pilot. This means that when they become fantastic, we identify with them as persons rather than simply comic strip characters.

On the other hand, the screenplay is pretty straightforward, fairly simple and plain in plot and dialogue. There is no intended depth as in the Spiderman films. There is no darkness and secrets as in the Batman films. Another thing is that everybody knows who the four are by name. They don’t have secret identities although they get the fantastic nicknames. In fact, they give press conferences and the media and the public love them.

We normally expect superheroes to save the world, either individuals in peril or endangered groups. Apart from a smash-up on the Brooklyn Bridge soon after their transformation where they do save lives, their mission in this film is trying to get themselves back to normal. When Victor capitalises on his becoming ‘metalised’ (for want of a better word), then the battle is the simple one between good and evil.

The cast is not particularly well-known. Rather, the producers have drawn on faces popular from television series. Welsh Ioan Gryfudd (Reed), now Americanised, was Captain Horatio Hornblower. Jessica Alba (Susan) was Dark Angel. Michael Chiklis (Ben Grimm) was The Commish and is currently the star of The Shield. Chris Evans (the rather genial John, despite his ‘I am’ attitudes) was in Opposite Sex. Australian Julian Mc Mahon (Victor) (son of an Australian Prime Minister, William Mc Mahon), now Americanised, is the star of Nip/Tuck. This is a production device to entice the television audiences away from the box to see their stars on the big screen.

No, it is not a great example of comic book films like X Men or Spiderman or Batman Begins. But, it has plenty of action, special effects and an entertaining confrontation between good and evil.

1. The popularity of films on comic book characters, the Marvel comics and their reputation?

2. The audience for this film, the younger audience, audiences wanting more straightforward entertainment, depiction of characters, plot, straightforward dialogue?

3. The importance of set design, the hotels and the laboratories, the business world, the externals of the city, especially New York? Space and space stations? Machinery, technology? The locations?

4. The computer graphics, for space, for the space storm and its effect, the transformation of the characters, the visualising of their characteristics, invisibility, fire, elongation, turning into monsters, metal characters? The action?

5. The tradition of the comic book films, the screenplay and the explanation of the characters and their situation, the crises, action, confrontation, battle between good and evil? The atmosphere of the musical score?

6. The fact that these were ordinary characters, seen in their ordinary humanness? Audience identification with them, their having names, their being known to the public? Not having any secret identity? Their transformation, nicknames, superheroes? The publicity, the attempt to reverse the situation and become ordinary again?

7. The science and technology situation, Reed and Ben and their presenting their case to Victor, his sitting in judgment? Science and exploration of DNA? Having to go into space, the space storm? Reed and his pitch for Victor, Ben and his presence, the bond between the two? Sue Storm and her past history with Reed, love for him, his reticence, living in his head? The break, her being with Victor, his misinterpreting her being with Victor, the scientific collaboration? Johnny as her brother, his being a show-off, attention-seeking? Not obeying orders? The expedition, Johnny and Ben and the piloting? Victor’s presence, the investment of his money? The mistake about the calculations, the coming of the storm, Ben and his being exposed, trying to get back on time, Victor’s harsh decision? Their all being affected by the storm?

8. The aftermath, Ben in hospital, Johnny’s joke about the mirror and his appearance? Yet his changing, monstrous appearance? His love for his wife, ringing her, staying outside, her welcome, seeing him, her revulsion, leaving the ring? Her coming to him on the bridge – and leaving? Reed and his ability to stretch? Sue and her angers and love and becoming invisible? Johnny discovering that he was Fire? The jokey aspects of the changes, the serious aspects?

9. Victor, power, the opening with his statue, his vanity, his assistant and his sinister behaviour? Meeting the board, their condemnation of him, his failure? The notification – not negotiation – of his being fired? His angers, changing, the gradual emergence of the metal? The interview with the doctor and killing him, killing the guards? The executive and the confrontation and his death? His desire for power, manipulating Ben into hostility towards Reed? Suggesting the relationship between Reed and Susan? His wanting to destroy the Fantastic Four? The machine for reversal, his using its power, Ben going back to normal, Victor and his being all-powerful? His attempts to kill Johnny with the missile, freezing Reed? The final confrontation, Reed and his hanging from the building? The water cooling Victor and his freezing? The postscript irony of his being in the container – contained by all the containers?

10. The attempts to reverse the process, building the laboratory, Reed and his intensity, Sue and the relationship, his scientific bent, shyness, living in his head? Sue and Victor – and the beginnings of antagonism? Ben and the difficulties, his large fingers, picking up food, cracking glasses etc? Going out, the meeting with Alicia, her being blind, appreciating him without seeing him? Their discussions, things being manipulated by Victor? Ben and his returning to normal, going to the machine to become monstrous again to save the group?

11. Johnny and his vanity, driving, not being able to be told, discovering the fire, the comic aspects of its manifestation, his wanting to fly, going to the motor rally, the flying stunts, the missile pursuing him? His saying that he never thought – and his having to become more adult and mature?

12. Ben as thin, the appearance, his grief, his wife, Alicia?

13. The accident on the bridge, the would-be suicide, Ben and his trying to help, frightening people, the crashes of the cars, the range of stunt work, saving the fireman, the police, the press? Johnny and the interviews, on television? Victor’s reaction?

14. The confrontation between good and evil, the destruction of evil, the triumph of good, the happy ending?

15. A more straightforward heroic kind of story, characters, monsters, emotions, crises, good conquering evil, love?

BREACH OF TRUST

US, 2000, 95 minutes, Colour.
Roma Downey, William Russ,
Directed by Larry Peerce.

Breach of Trust is a telemovie about marital infidelity. It opens with a celebration of a twenty-years anniversary. However, despite the protestations, it emerges that the husband was unfaithful. When he is seriously injured in a plane crash, and his companion killed, the revelation that he had a child is overwhelming for his wife and son.

The film treats this shock and breach of trust in a fairly predictable way which is nonetheless moving because of audience identification with the characters and situations. However, mitigating circumstances are then introduced which alter the direction of the film.

Roma Downey (Touched By An Angel) also served as executive producer of this film. It is a moralising film, focusing on the nature of marital fidelity and the awful impact of a breach of trust. Larry Peerce directed a number of films in the 1970s and 1980s and then moved to television movies.

1. Impact of the film? Credible characters, situations? Or contrived for a television movie and its expectations?

2. Salt Lake City, the family home, workplaces, schools? An authentic feel? Musical score?

3. The title, the highlighting of trust in a marriage and the effect of the breach? An alternative title was Secret Lives?

4. The opening, Cassie and Mark and their gifts to each other on their anniversary? The banquet, the speeches? Their being a model of marriage? Their day-by-day lives, the revelation of the separation eight years earlier because of Cassie’s inability to have a child? Kevin, his place in the family?

5. The news of the crash, Cassie’s anxiety, Mark surviving although injured? The revelation that the woman next to him had died, the delivery of her case? Cassie and her reliance on her friend for support? Kevin and the revelation that he knew the truth but could not tell his mother? Her immediate response to her husband, dismay, to her son and his having to carry the secret?

6. The encounter with the woman with the child, the discovery that Mark had a daughter? Her taking the child, bewildered, taking her home, compassionate towards the child? The discussions, making her feel at home? Kevin and his finding the little girl, his mother’s explanations? His antipathy towards his father? Erica and her wanting to see her father?

7. Cassie, discussions, getting the clothes from Cheryl’s house? Her continued care for Erica? Erica and Kevin getting on together, the cooking, playing in the yard?

8. Mark, his gaining consciousness, learning that Cheryl was dead, his dismay, Cassie’s reaction, Kevin not seeing him? His love for his daughter? His explanations of the separation, the relationship with Cheryl, not being in love with her, being a parent with her? Erica blaming herself for the crash because they were going to see her campsite? Cassie’s reassurance?

9. Cassie, discussions with her friend, her friend advising her about her love, not getting a divorce? No option but to look after Mark in his recovery?

10. The contact with Cheryl’s sister, her sudden arrival, going out with Erica, Erica not eating? Discussions about her relationship with Cheryl? Her deciding then to adopt the child, getting the court order? Erica’s disappearance, her concern? Her giving up the child?

11. Cassie, her disbelief, having to cope with the truth? The photos? Mark’s declarations? His recovery, his lapse? Coming home?

12. A future, Cassie learning to love Erica as a daughter that she never had, Kevin and the bonds with his half-sister? The reconciliation with Mark?

13. The moral implications of this kind of television story, its moralising tone, the nature of marriage and fidelity, coping with the consequences of infidelity?

VERO SY HAINGO (VERO AND HAINGO)

Madagascar, 2003, 73 minutes, Colour.
Directed by Patrick Vergeynst.

Vero and Haingo offers an opportunity to see some of the film-making of Madagascar. This is a short feature film (73 minutes) that reflects life on the island nation and is a message film about current social problems. Made with the support of such organizations as UNICEF, if focuses on children and the dangers of child exploitation. The didactic tone is reinforced by written messages at the end.

Father is unemployed, mother busy at home with their five children and the housework. Older daughter, Haingo, can’t concentrate on school. Younger Vero is conscientious and wants to win a spelling bee. Haingo is led by her cousin into a life of prostitution, the parents benefiting from the money. Pregnancy and sexually transmitted diseases are central issues as well as the exploitative attitudes of the men. Of course, this kind of film needs, if not a totally happy ending, at least an uplifting one.

The film serves as a storytelling glimpse of Madagascan life.

1. The impact of this short Madagascan feature? For Madagascan audiences, parents, youngsters? The didactic tone of the film, a moral fable? For audiences outside Africa – an insight into African life, life in Madagascar?

2. The Madagascan settings, the island, the countryside, the houses, the big city? The clubs? The beauty of the scenery, the hardship of life?

3. The use of songs, ballads, the lyrics and their comment on the action of the two girls?

4. The structure of the film: the song, the focus on Haingo, the flashback and the explanation of what happened to her during the year? The resumption of Haingo on the street – but the happy ending?

5. The didactic tone of the film, child prostitution and parents benefiting? Children dropping out of school and being exploited? The possibilities for education and fulfilling ambitions? Parents and unemployment difficulties? Issues of pregnancy? Sexually-transmitted diseases? AIDS? The promiscuity of the men?

6. The portrait of Haingo, her age, relationship with her parents, love for her mother, the difficult relationship with her father? Vero seeming to be a goody-goody girl? At home, the work, washing the clothes and ironing? The contrast with Vero? Her chatting during classes and being reprimanded, her dropping out of school? The pressure from her cousin Mino? Her being persuaded to dress up and go out, the men at the bar, the meeting with Frankie, his seductive manner, the dance, taking her home? Promising her a ride? Coming to the house, his good manners, her going out? The drive, his sexual assault? Giving her the money? Her change of heart, wanting to make decisions, not wanting to be exploited but controlling her life? Becoming a prostitute, the picture of the various men, the pick-ups, her going with them? Arriving home late? Giving money to her parents? Buying better clothes? Her moving out, the possibility of sexually-transmitted diseases, her pregnancy? Her cousin being ill, looking after the baby? Running out of money for the rent? Vero’s visit? Her illness, going to the doctor, the pregnancy? The miscarriage? Her standing on the streets, her father rescuing her from the attack? Her return home, her apology? The future for Haingo?

7. The contrast with Vero, younger, at school, conscientious, the spelling bee, her practising for the contest, her resisting the boy visiting, the boy and his uncle, the special coaching, her doing the exam, her failing? Her wanting to drop out, the pressure from her mother to stay, her father getting the job and helping her? Her passing the test – and the epilogue with her becoming a teacher?

8. The portrait of the parents, poor, the father out of work, the mother and her dependence on her daughters? Taking the money from Frankie? Knowing where the money came from? Their taking the blame for failing Haingo? Their determined not to make a mistake with Vero?

9. Mina, her child, prostitute, the money, the good-time girl, leading Haingo into this kind of life? Her illness? Dominated by money, even from Haingo to board with her?

10. The portrait of the men, Frankie at the club, seductive, manners, giving the money to the parents? Taking Haingo out, assaulting her, giving her the money? The other clients?

11. School, the teachers, the possibilities for education, the children dropping out? The young boy and his uncle and their help?

12. Life in East Africa at the beginning of the 21st century?

BABU’S BABIES

Kenya, 2004, 60 minutes, Colour.
Directed by Christine Bala.

There are not many Kenyan feature films. This one lasts an hour and will find a niche on television but it is an entertaining as well as critically thought-provoking comedy.

Babu lives in Nairobi while his wife wishes they were back in the country. He is a courier and has to pick up a parcel by 2.00pm for an important board meeting. He operates on casual time and allows himself to be persuaded to deliver some stolen coffee to some dealers, to use his vehicle as a taxi service. It is the latter which proves to be his undoing. Someone has abandoned a baby in his minibus.

Babu and his associate, Jimmy, try various ways to get rid of the baby, Jimmy is quite callous. Babu, on the other hand, has children. As the day goes on, he takes more and more care of the baby – running the risk of losing wife, family and his job. There is a nice twist at the end which brings a smile to see virtue rewarded even if actions were more than a little shady.

The film immerses us in Nairobi life and its social problems while it also makes us laugh and feel sentimental.

1. An entertaining short feature, its effect, comic, serious?

2. The title and its humour, ironies? The children, the foundling baby?

3. The Nairobi settings, ordinary people, poor people, houses and neighbourhoods, workplaces, the roads, the suburbs of Nairobi, the criminal headquarters, hospitals, police stations? The range of locations? The musical score?

4. The structure, a day in the life of Babu?

5. Babu, his moving from the country to the city, his wife not happy, the children, the boy sick with malaria, his need of medicine? Babu and his not coping well, the coolness towards his wife, his going to work? The bosses, his courier work, the emphasis on getting the parcel from the airport at 2 o’clock for the board meeting? His need of money, the offer to deal in smuggled goods, his initial resistance, agreement? The meeting with Jimmy, the pressure of the bosses? The co-worker and his collaboration, getting the coffee? The police and security and the bribes? The stealing of the boxes? Their eventually getting to the bosses – and the fiasco with Babu arriving with the baby? His refusing further jobs?

6. The way to the airport and his getting waylaid, the series of misadventures?

7. The van, getting money for it as a taxi, the abandoned baby? Babu’s attitude, Jimmy’s attitude, wanting to get rid of the baby, the various attempts to abandon it, their being seen, caught? The baby needing to be fed, Babu buying hot milk, the demands of the lady at the store, the deposit for the glass and the spoon, the baby not taking it, Jimmy drinking the hot milk? Jimmy and his more callous approach, his attempts to get rid of the baby, taking it to the Barnardo home, the authorities unwilling to take the baby, his taking the baby to the neighbour, wanting to give the baby to his wife?

8. Jimmy, his character, working for money, for the bosses, his callous attitude towards the baby, taking the used-by medicine to Babu’s wife, the final confrontation with the bosses and his losing his job?

9. The neighbour, friendly with Babu’s wife, helping out, taking the baby, taking Babu in when he was locked out by his wife? Her pleading his cause to the wife?

10. The wife, the need for the medicine, her not wanting to be in the city, the phone calls to Babu, her anger, Jimmy bringing the wrong medicine, the baby, her misinterpretation, the girlfriend at the café, ousting him?

11. Babu and his being locked out of the house, his seeming to have no hope? The kindly neighbour?

12. The boss, giving Babu the sack, his wanting to tell the truth, the irony of the press wanting to get into the conference, Babu as a hero, the reward, the boss and his having to claim him – and the final photo, the reconciliation with his wife, Babu the hero?

IMPIAN KEMARAU (RAINMAKER)

Indonesia, 2004, 83 minutes, Colour.
Directed by Ravi Bharwani.

To make an impact on its audience, especially an audience unfamiliar with Indonesian cultural and religious traditions, this film needs its sub-title: a poem of hope, dreams and illusions.

It is certainly a poem. Its narrative is difficult to describe. Rather, a meteorologist hoping to study the weather over a village and indicate when the clouds can be seeded for rain intersects with a village singer who also acts in what one might call a geisha manner and her servant who cares for her mistress and an ox. The young man lives in the modern world of technology: his scenes are more realistic. The singer both sings and serves the men of the village in a solemn (slow) and dignified ritual: leisurely paced scenes. The maid takes on the languorous mood of her mistress, or else is busy caring for and washing the ox. Interwoven with the characters are some performances of the Indonesian puppets, the Wayang. As the three different characters and the moods cross, as pace changes, as beautiful, painterly photography and tableaux are edited together, the poetic, dreamlike nature of the themes is developed.

Towards the end there is a hanging due, it seems, to the influence of a falling star, an ill omen. But who dies is unclear. Is it a dream also? Or, has the meteorologist dreamed it all? Or has he died and come alive again – because there is speculation about the past and the future (the theme of illusion). There is very little hope as the man and the woman may never meet again and, back in the real world, the scheme for making rain is revealed as phony political promises – and all that is rained down on the villagers are pages of propaganda.

This is a film for those who like their cinema as art and enigma.

1. The film subtitled as a poem of hope, dreams and illusion? How well did the film illustrate its subtitle?

2. The poetic nature of the film, the different styles and paces, the contemporary and technological present, Indonesian country life and the village, the imaginative and poetic landscapes and seascapes, the ritual traditions in relationships between men and women? The combination of realism and magic realism? Myth-making? The importance of the present, the changing nature of the past and the future?

3. The location photography, the island, the seascapes, the village, the meteorologist’s room, the room for the singer where she conducted her ministrations, the bar? The musical score?

4. The structure of the film: the introduction to the meteorologist, to the singer, their interactions, the men of the village? The cynical background of Indonesian government and the experiment for rain-making – and the political ending? The mythical aspects, especially the falling star, the hanging and suicide?

5. The focus on the meteorologist, the realism of his studies, the weather and the balloons, the clouds, the possibility of seeding the clouds for rain? His computer, contact with headquarters? The contrast with his relationship with the singer, his going to the bar, the puppet performance and the wayang? The villagers and their criticism of him? Their not believing his mission? His further experiments? The relationship with the singer, washing of his feet, ministrations in slow traditional ritual? The final sexual encounter? Did he hang himself – why? His reappearance? The information about the sending of leaflets from the plane, this happening at the end?

6. The singer, her place in the village, in the club? Performances? Her maid, the ministrations of her maid? Her rituals with the men, the meteorologist, the head man of the village? The reaction to the suicide? Her going into the bush with her maid? The realism of her future – the mythical significance of her future?

7. The maid, her care for the oxen, washing it, cleaning it, tending it, in the sea, on the beach? Her service of the singer, dressing her, sewing the thread? In the house, witnessing the visits of the men? Her going with her mistress into the jungle?

8. The village, village life, the men at the club, their cynicism about the government, the wayang performance and its beauty, criticism of the young man, the comment on the singer? The head of the village, his going to the singer?

9. A perspective on Indonesian life at the beginning of the 21st century – realism and mysticism?