KHAKESTAR-O-KHAK (EARTH AND ASHES)

Afghanistan/France, 2004, 102 minutes, Colour.
Directed by Atiq Rahimi.

A film from Afghanistan in the aftermath of Taleban wars and American invasion and bombings. The film concerns itself with bombings and the destruction of villages and the deaths of innocent civilians – but does not specify who are the initiators of the bombings. It does not matter since the film is a powerful denunciation of indiscriminate bombing and killing.

An old man and his grandson are walking in the middle of the desert to seek a lift to go to visit the mine where the old man’s son works as a miner. He wants to tell him about the disaster for the family. They are stranded while they wait for the truck to the mind. As they wait, they encounter a little girl with whom the boy plays and her shell-shocked mother sheltering in the shade of a tank. A kindly storekeeper gives them food and credit as well as stories about the upheaval in the cities and the ambitions of his military son. There are drivers who collect sheep and goats who have trodden on mines. There is a seller of wooden toys. Though their lives have become somewhat aimless, they have some sense of purpose.

The film is beautifully photographed in widescreen. It is also full of deep humanity. The old man is so convincing, it is difficult to believe he is acting. His grandson has been deafened by the bombs but thinks that everyone has become mute.

The style of the film is slow in the Iranian manner, but its cumulative effect is strong.

1. The impact of the film? For those in Afghanistan and neighbouring countries? For overseas audiences? A picture, a contemplation, a challenge?

2. The wide-screen location photography, the mountains and the desert, the road and the bridge, the fields, the store, the final mine and the offices? The musical score?

3. The confined locations, the audience immersed in the desert, in the experience of the old man and the boy, the sense of loss, the sadness of war and death, imagination, the possibilities of hope?

4. The slow style of the photography, editing? The long takes, vehicles moving in the distance coming to the foreground in the desert? The focus on the human elements, the grandfather and the boy, the people travelling through, the people at the bridge? The mine?

5. The grandfather, his age, dignity, his simplicity, his asceticism? His experience of the bombing of his village? The death of his wife, the close family, the survival of Yassin? His decision to go and see his son, travelling with the boy, on the back of trucks? Waiting at the bridge? The way that he was treated – by the kindly storekeeper? By the drivers? By the man selling rattles? His waiting, missing the truck, the boy playing in the fields, the sheep, the mine blowing up? Missing the truck? Walking back to the village, getting the lift? His meeting his relation, his being stunned by the deaths, sitting at the grave, the explanation of the old woman? The return to the bridge, the boy playing, giving him something to eat, to drink? The danger of missing the truck again? The conversation with the man at the store, his gifts and hospitality? The men going to get the animals destroyed by the mine? His finding the driver of the truck, the truck driver being urged on but kindly taking him? His imagination about what had happened, especially to his daughter-in-law, imagining her running naked, throwing out the cloth that she could put it on? Leaving the boy behind? The visit to the mine, the discussions with the manager, the discovery that the news had got there, that it was considered a lie, that his son was working? His not believing his son was alive unless he saw him? His having to return, leaving the token of the snuff box? His lament about his son not returning to the village? His returning to find the boy – and the film ending, leaving the audience wondering about the future?

6. Yassin, five years old, his witnessing the bombing and the deaths, his going deaf, not acknowledging this, thinking that everyone else was mute, including the donkeys and the rattle? With his grandfather, impetuous, playing, the sheep in the field, the mine blowing up? Playing with the girl, going into the tank? Thinking that the tank had stolen the voices? Returning to the village with his grandfather, waiting at the bridge, going into the tank, looking for the voices? The rattle and his disappointment that it had no sound? His being left with the storeman? What hopes for the future?

7. The man at the store, his telling the story about the son who was the officer and became pompous, the father disowning him and moving away from the city? His being that man? The comments by the others about what a good man he was? Kindness, offering water, tobacco, not taking the money? Minding the boy?

8. The people at the bridge, the men getting the carcasses of the animals blown up, giving lifts? The man selling toys, his being hard – but relenting, listening to the boy? The truck driver going to the mine? The mine foreman, the managers at the mine? The woman hiding at the tank, the young girl and her playing? A picture of an isolated group?

9. The anonymity of the war, Afghanistan bombings or American bombings? The lack of relevance of who did the bombing but the impact of the terrible destruction?

IF THESE WALLS COULD TALK

US, 1996, 95 minutes, Colour.
1952 segment: Demi Moore, Shirley Knight, Catherine Keener, Jason London, C.C.H. Pounder, Kevin Cooney, Robin Gammell.
1974 segment: Sissy Spacek, Xander Berkeley, Joanna Gleeson, Harris Yulin.
1996 segment: Cher, Anne Heche, Jada Pinkett- Smith, Eileen Brennan, Lindsay Krause, Craig T. Nelson, Diana Scarwid, Rita Wilson, Rusty Schwimmer, Matthew Lillard.
Directed by: 1952, 1974: Nancy Savoca; 1996: Cher.

If These Walls Could Talk raises issues of abortion. Ultimately the film is pro-choice. However, in its three separate stories, set in the one house, it gives arguments for both sides of pro-life and pro-choice.

The first film, set in 1952, shows a backyard abortion in its most gruesome way. The film stars Demi Moore as the mother who wants the abortion after her husband is killed in the Korean War. The film shows the family and the variety of attitudes, Shirley Knight as the mother of the dead man, Catherine Keener as her sister-in-law. The film shows the underground networks for abortions and the role of the law.

The house changes for the 1974 segment, much more open and light. A family lived there, mother and father played by Sissy Spacek and Xander Berkeley. When the mother becomes unexpectedly pregnant again, the issue is whether she will have an abortion or not – or keep the child. The emphasis is on keeping the child.

Things change considerably in the house for 1996. No longer is it a home, it is a centre for women to move in and out. Anne Heche is the pregnant woman. Cher is the doctor. The film, treating contemporary issues of the 1990s, shows an abortion clinic, Cher as a doctor, the harassment by the protesters, their religious fervour, the pressure on the mothers, the obligations for the clinic to offer advice for the mothers.

Nancy Savoca made an impact with her films True Love, Dogfight and Household Saints. This is a rare occasion for Cher to direct.

There was a sequel, If These Walls Could Talk 2, but this focused on women’s relationships rather than straightforward abortion issues.

1. The impact of the film, for a television audience? Abortion issues from the 1950s to the 1990s?

2. The telling of stories for moral discussion, the issues, the emotional response, the rational response?

3. The focus on the house, the three decades, the changes in people living there, their stances and attitudes, lifestyles of the 50s, 70s, 90s? The musical score?

4. The importance of the prologue, the collage going back from the 90s to the 50s on the history of abortion, change in legislation, illegal abortions and their consequences?

5. The 1950s, quiet, proper, the focus on family, on marriage, issues of sexuality? The secrecy of abortion? The law? Illegal abortions and their practice? The money, the callous attitudes of many of the abortionists, the consequences for the women?

6. Demi Moore as Claire, the widow, husband dying in the Korean War, her love for him, her work in the hospital, relationships with the staff, wanting advice, asking the doctor, his caution? Asking the nurse and her being very careful? Her memories, the interlude with her husband’s brother, the sexual encounter? The visit by her pregnant sister-in-law, the language, the focus on marriage and children? Her friendship with Louise, the discussion, asking for her help about information about abortionists? The dinner with the family, the family loving Claire, insisting she get the lift home with Kevin, their talking and the revelation of what had happened?

7. The phone call to Audrey, the high demand for money, having to go to Puerto Rico? Her wanting a local contact? The man, the phone calls, his hard attitudes, wanting cash, her hesitation and his wanting to walk out? His not sterilising the implements? The physical effect of the abortion experience? Emotional? The barbaric aspects, her being left, the blood, on the kitchen floor, her trying to make the phone call? Did she die?

8. The rational aspects of the illegality of abortion, for medical staff, for application of the law? The consequences of backyard abortions, kitchen abortions? The lack of commitment and the greed of many of the abortionists? The emotional impact in watching this story?

The 1970s, the change, the family living in the house, characters, their interactions, the pregnancy of the mother, unexpected, her reaction, the husband’s reaction, the children?

MANDERLAY

Denmark, 2005, 140 minutes, Colour.
Bryce Dallas Howard, Danny Glover, Lauren Bacall, Jeremy Davies, Chloe Sevigny, Willem Dafoe.
Directed by Lars von Trier.

Could it be that Lars Von Trier is becoming more focused and disciplined? He even remarks that unwarranted provocation is ineffective – though good provocation is a challenge. He has always been a director with a challenge, especially about women and their exploitation by men. This was the experience of Grace, the gangster’s daughter as she tried to serve people and do good in Dogville.

Manderlay opens with Grace (now in the form of Bryce Dallas Howard instead of Nicole Kidman) and her father (now Willem Dafoe instead of James Caan) leaving Dogville and stopping at an old plantation in Alabama: Manderlay. Grace does the same thing as she did before in Dogville but now she is not so tentative. She discovers the blacks are still living in a slave regime (it is 1933) and sets about putting things right because the plight of the blacks is the fault and responsibility of white Americans.

Grace is a complicated mixture of the dominant and the naïve. What she has to discover is that crusading liberalism can be too idealistic and may ignore the real experience and aspirations of those it claims it is trying to help. Liberal disillusionment can be a dramatic shock. As Grace works with the plantation blacks (always in danger of patronising them), she imprisons the whites and uses her gangster guards and lawyers to make sure the order is kept and that everyone comes to her classes which will change them for the better. As she found in Dogville, what she thinks is best is not what people want. She also misreads characters and is surprised when people turn against her.

These are only a few key points in Manderlay. It is a much better integrated film than Dogville (using the same techniques, especially the artificial stage floor for the locations and dividing the film into chapters). Von Trier offers a challenge to both liberals and conservatives, especially those who would simplify issues into black and white. His cast is fine, with Lauren Bacall as the Mam of the plantation and Danny Glover as the chief slave. Once again, John Hurt narrates with a literate script that is descriptive, informative, ironic and philosophical. Once again, the film’s final credits are over a broad collage of stills, this time illustrating American race relations. Von Trier’s best.

1. Part two of the trilogy? How much presuppositions from Dogville? Characters, themes? Continuity? How well did this film stand alone?

2. Lars von Trier and his interests, themes: human nature, good and evil, race relations, African Americans? Their history, slavery, freedom? The themes of America – and his critique?

3. The staging of the film, the theatricality, the stage, the demarcations? Atmosphere? Theatrical performance – and cinematic style?

4. The interaction between realism and stylisation? The effect on the audience – for understanding plot and themes? The musical score?

5. The voice-over, John Hurt’s delivery, the quality, the literary nature of the exposition? Information, comment, moral conclusions?

6. The structure of the film: the introduction to Grace, her travelling with her father, the presuppositions from Dogville, arrival at the community, her being willing to serve, community and their reaction, the community turning on her, her final options to go or stay? Their traching her?

7. American themes of the 1930s, the abolition of slavery, slaves continuing in southern states? The old man and his memories of the Civil War? The history of African Americans, coming from Africa, the slave masters, American guilt about slaves, responsibility? Patronising attitudes? Bosses? The facilitation from slavery to freedom? The effect of oppression, the psychology of victims? The good and the bad, the gangsters and their attitudes, especially towards Timothy? Timothy, his double standards? Wilma and her eating the food? The final collage and its comments on the American issues?

8. Grace, her name? Her history in Dogville, her relationship with her father, the gangsters? 1933 and the travel along the maps of the US? What she brought from Dogville as regards community, service, disillusionment? Her antagonism towards her father? Grace and the possibility of a grace-filled future?

9. Manderlay, Mam and her ruling of Manderlay, the build-up to her death, Grace surprised at her racist attitudes? The book, the declaration of the Principle of Mam’s Law? The nature of the plantation, the slaves, their work, rules and regulations, the success of the plantation?

10. The old man and his age, experience, the aftermath of the Civil War? African American dignity? His being a spokesperson for the slaves? The discussions with Grace, with the others? His skills in management, his explanations? The ending and the fact that he wrote the book? His understanding the slaves, his complete classifications? His final decisions about justice, Timothy, and Grace staying?

11. The details of the slaves and their routine, the houses? The fact of their being freed, ability to cope, inability? Their incapacity for decision-making, for taking responsibilities? For mending tools, the situation with the plough, sowing? Their routine of life? The gangsters being present, pressures on them? The white family, the interactions with the slaves? Claire, her illness, her hunger, the death? Wilma, her age, hungry – and her eating the food, the justice decisions to be made, the death penalty? Jack and Jimmy, Grace’s error in not being able to distinguish one from the other? The drawings? Elizabeth and her place in the community, the little girl? The issues of voting?

12. The portrait of Timothy, music, his being aloof, relationships with others, the guards, his own work? Pride, sexuality? His claiming a false identity and basing his reputation on it? Issues of drinking and gambling? The truth about him? The whipping – and Grace and her reaction? Stopping the whipping? The end? His being unmasked, betrayal, exploitation of the other slaves?

13. The classifications, the detail, the comments on the slaves as persons, as workers? The irony of the old man writing the classifications? His pride in managing Manderlay?

14. Grace and her relationship with her father, her father and his character in the car, the decision about her staying, his race attitudes, attitudes towards the gangsters, leaving the gangsters there? Their arguments? His coming back, his setting the conditions? The irony of the time – and Grace making the mistake? His leaving the letter and the flowers and his going?

15. Grace, her becoming the boss, the danger in her patronising the slaves, her assurance in her command of people? Yet her wanting them to be free? Her explanation of her ideas, her demand that they come to lessons? Democracy, the votes – and their inexperience of democracy? Sewing and work? The clowning – and no answers?

16. The crops, the slaves and their inability to till the land, the broken implements? The consequences? Hunger? Claire and her suffering, her mother? The issue of the meat, the stealing of the meat, Claire’s death? Grace and her having to assess the situation? Her attitude towards Wilma, her tenderness and yet her having to be just?

17. The change, the development, the harvest, bringing in the harvest, the white family and the test? Prospering? Money coming in?

18. The portrait of the white family, their being farming people, ignorant? The parents, their attitude towards the blacks, the children, spoilt, exploitative? The final decision and their staying?

19. The gangsters and their staying at Manderlay, their being bored, their being used to criminal activity, the fact that they stayed, a certain loyalty to Grace? The lawyer and his presence, the discussion of the contracts? His finally going, his being blamed?

20. Grace and her sexuality, awareness of Timothy, the attraction, her dreams? The consequences of the liaison with him? His exploiting her? Her unwitting exploitation of him?

21. Timothy, leaving, the gangsters getting him? The truth, her anger?

22. Grace and her being told to stay, the old man and his explanations, the vote and its consequences? Her wanting to leave – but her making a mistake with the time?

23. The overall impact of the film, the narrative plot, the characters and their symbolic names, preserving the past, challenging the future?

24. The final collage that von Trier assembled of photos of the American experience, the race experience, the past, its relationship to the present – in the time of the G.W. Bush administration?

WAR OF THE WORLDS

US, 2005, 120 minutes, Colour.
Tom Cruise, Dakota Fanning, Jason Ritman, Miranda Otto, Tim Robbins.
Directed by Steven Spielberg.

At one stage, Tom Cruise’s daughter, both puzzled and terrified by the frightening events, asks whether it is the terrorists. Perhaps that is one of the reasons Steven Spielberg decided to do an elaborate contemporary American version of H.G. Wells’ classic novel.

Spielberg does not make this claim. At the time Wells published his novel (and it is a bit hard to try to appreciate how outlandish an alien invasion would have seemed to readers in 1896), Britain was concerned about warlike rumblings from Germany. When the small-budget film version came out in 1953, it was in the middle of the Cold War. In 2005, the world seems a far unfriendlier place. There are many fears, including terrorist attacks, that War of the Worlds can play on.

Steven Spielberg certainly knows how to tell stories. He has always had a passion for exciting stories and War of the Worlds is one of them. Of course, he now has an abundance of computer graphic techniques to work with, to create all kinds of disaster sequences. And, to put it mildly, some of them are both spectacular and scary. But, he has also worked with more traditional techniques of models, getting the best out of the old and of the new.

Although it is a blockbuster movie, War of the Worlds is small-scale. It is small-scale in the sense that we are not shown the world picture and what this alien invasion means for the globe. Rather, the setting is confined to Bayonne, New Jersey, the highways along the Hudson River into Connecticut with a finale in Boston. The action is virtually confined to the one family, so that the audience shares the experience of the few rather than of thousands (though, of course, they are always there in the background).

His family are very ordinary. The father is a container lifter on the docks. He lives alone, estranged from his more middle-class wife and their two children. Parenting is not his forte and his seventeen year old son, Robbie, is surly and angry at him. His ten year old daughter, Rachel, is a mixture of common sense, fears and ailments (and when called on, quite a screamer). So, this is a terrifying experience that ordinary people endure, using their wits rather than weaponry (though there is some) or the military (who appear only briefly).

Spielberg also knows how to pace his film. It starts like any working-class story, on the wharves, then at home when his ex-wife asks him to look after the kids for the weekend. He doesn’t waste any time introducing the frightening action. What makes the film all the more edgy is that, while the audience has been briefed by Morgan Freeman’s narrative about what is happening, the characters know almost nothing all the way through. They are being pursued but have little idea by what or why. When there are some quiet moments after literally earth-shattering terrors, we think there couldn’t be anything worse. And then there is.

Tom Cruise is not exactly your dock worker but when the action gets tough, we accept him for what he is and hope that he will not only save his cantankerous children but will learn to listen to them and love them. Jason Chatwin is Robbie. Dakota Fanning (who was referred to once as the whey-faced child with the frightening work-ethic) is both authoritative and fearful. Mirando Otto is the mother.

You know that Wells had a happy ending (as much as you could with all the destruction preceding it) and the film uses his theory for the defeat of the aliens – they could not adjust to the range of creatures in earth’s atmosphere. However, along the fearful way, there is quite a lot to think about: family relationships, the human response to unexplained terror, both noble and savage, and how thankful we can be to be alive.

1. Steven Spielberg and his capacity for storytelling, his long career, action stories, myths – and his treatment of aliens in Close Encounters and E.T? Aliens for the 21st century?

2. The significance of H.G. Wells’ book, for the end of the 19th century, unknown space exploration, unknown space invasion? The vulnerability of society to attack? The film versions of Wells’ story? Orson Welles and 1938?

3. Science fiction in the 19th century, imagination, the development of technology, motivation for war and peace, humans as victims? The tone of pessimism? Ultimate hope? After destruction? 21st century perspectives?

4. The 21st century and war, terror, invasions, dialogue in the film about terrorists and September 11?

5. The blockbuster style, special effects? The B-style story and style?

6. Audience response to this kind of horror and terror, vicarious experience, catharsis, what if…? The worst happening? The human response to crises, bad, heroic, wanting to save people?

7. The New Jersey setting, opposite the river from New York? The docks, homes and streets, the ordinariness of New Jersey? The roads, ferries? The climax in Boston?

8. The computer graphic effects, the models, Spielberg’s pre-visualising of the sequences by videoing the locations and planning the scenes? The combined effect? Editing, pace, John Williams’ score?

9. The plausibility of the plot: the prologue, Morgan Freeman’s voice and tone? Alien envy? Why did they strike in the 21st century? Burying the Tripods, the method of activating them, the complete ruthlessness, destruction of Earth and human beings, the taking of the blood, its pouring out? The creatures, the small Earth creatures and cells, evolution on Earth and the destruction of the aliens? The epilogue spoken by Morgan Freeman?

10. Tom Cruise as Ray, his container work at the docks, his skills, work with other men, working class? Separation from his wife, her visit with her new husband, her being pregnant? Bringing the kids? His home, living by himself, the empty fridge, his lack of parenting skills? The children surly and their reactions to him? Not wanting to stay with him? Robbie taking his car? Ordering out? Rachel and her decisions about food and health? Watching the television? The family setting for the crisis?

11. Themes of family, the focus, the limited focus on a small family, dysfunctional? Their having to learn, values emerging? The terror they experienced? The limits of the screenplay by focusing on this one family, their struggle, their not having any information about what was happening? The audience sharing their point of view?

12. The changes in the weather, the appearance of the sky, the backyards in New Jersey, the clouds, the winds? Ray and his fears, going to the junction, the crowds of people at the junction, the special effects for the ripping of the road, the collapse of the church? The people running away? Robbie and his taking Ray’s car, Ray finding him, the panic?

13. The television reports, the radio reports – some information but not enough? The television reporters and their wanting a story? The military appearing – guiding people, the trucks going past, but the limits of the information given?

14. The decision to go, trying to reach Boston and Ray’s ex-wife? The resistance, the fears of the children, the angers and bewilderment? Ray and his making sure that Rachel didn't see what was happening? The mechanic discussing the car – and his sudden death? Taking the car, driving through the countryside, seeing the destruction, seeing the Tripods, the wrecks? The interactions of Ray with his children, sleeping, driving?

15. Rachel and her age, Dakota Fanning’s screen presence, sure and authoritative? Her ability to control life, her coping – yet her screaming, Ray not wanting her to see the destruction, the singing device for calming herself, her reliance on Robbie? A better bonding with her father? Sharing the terror with Ray, his trying to protect her – leaving her on the hill and the couple trying to rescue her, his getting her back?

16. Robbie and his age, the baseball cap, different team from his father, his surliness, blaming his father? Driving without the permit? His outbursts? Helping Rachel? His heroics to help people onto the ferry? On the hill, his wanting to see more, arguing with his father? Reappearing at the end?

17. The Tripods and their being visualised, the height, their effect? The sounds? Their destruction, the destruction of the cars, people? The burning train rushing through the level crossing? The blood gushing forth when they were destroyed? Taking people, the clothes falling from the air, Ray and Rachel in the pod, its being like a prison? Ray and his use of the grenades and their falling free?

18. The crowds, crowding around the car, the threats, the violent mob, the gun, the shots, the killing of the hijacker? Ray and his children in the diner watching? The military, helping people to the ferry, the Tripods appearing, the threats, going on the boat – the ferry leaving and its not being full, Ray’s appeal, the friends left behind? Pushing forward? Robbie and his rescuing the people – and the visualising of the capsizing of the ferry?

19. The family’s escape, travelling forward, going up the hill, the fire, the military?

20. The loner, his hiding Ray and Rachel, his family destroyed, his motivation, his sense of being on a mission? Ray and his sleep, his fears, arguing with the loner? The invasion of the Tripods, the spying mechanism going through the cellar, Ray restraining the man, the detailed search, the ability to hide from its visuals, the attack on it? The noise, the three creatures searching, their being summoned back? Ray and his clash with the man who was trying to help but who was mad?

21. Ray, taken, the rescue?

22. The final arrival in Boston, the experience of the travel, his ex-wife seeing him on the road, the reconciliation, Robbie present? The guest appearance of the original stars of War of the Worlds as his ex-wife’s parents? The happiness in the being reunited – and the possibilities for the future?

23. The collapse of the Tripods, the final destruction, breathing the air, the microbes? How much hope – and how much ability to rebuild the world?

HITCH

US, 2005, 119 minutes, Colour.
Will Smith, Eva Mendez, Kevin James, Amber Veletta.
Directed by Andy Tennant.

There is something about Will Smith that makes you like him no matter what. Whether he is a man in black, in the wild wild west, challenging robots or flying on independence day, he is the genial figure who combines the joke and the sentiment as you like it. Which means that Hitch is a hit for Smith fans.

He is a date doctor with quite a flair for helping men overcome their shyness, awkwardness or just plain stupidity to marry the girl of their dreams (and this is just during the credits). As for himself, he was disappointed in love when he was a gawky student and he avoids entanglements. When he tangles with a dedicated reporter (Eva Mendes) who is equally unwilling to be disappointed in love, they really hit it off well and there are some enjoyable dates, especially a visit to Ellis Island where she sees documents about her ancestor (unfortunately he was a serial killer, a butcher, not a purveyor or meat!)

Hitch takes on an above average awkward client who is infatuated with one of the richest women in New York City. When the reporter starts stalking the celebrity, we have a recipe for disaster all round – which is what happens. But, of course… and there is a very happy ending with everybody at the wedding and dancing. Who could ask for anything more!

Actually, Ken James as the geeky client shows that a little bit of extra weight should be no impediment to true love. The object of his affection, Amber Valetta, is much taller and much thinner (and richer), but she needs love not money. Eva Mendes is a lively partner for Will Smith, she can give as good as she gets.

An enormous success in the US, and a really nice film about love and commitment, allowing for its fairytale affluent setting, it could be successful anywhere.

1. The popularity of the film, romance, love and commitment?

2. The New York settings, affluent world, apartments, restaurants, offices, the marina? The opening credits songs? The musical score?

3. Will Smith, his popular presence, comic style, romantic lead?

4. The title, his name Hitchens, the play on Hitch and marriage? The Date Doctor?

5. The credits, seeing the different men and his coaching them, the performer, the black man, the man with the dogs, the shy balding man? Their success?

6. His philosophy of dates? Alex and the flashbacks to Cressida, his gawkiness, learning, his being shunned by Cressida? His learning techniques, wanting to share them with others? With Albert, the discussions and coaching? Sarah in the restaurant and his getting rid of Chip? His phone call to her, the gifts, his wit, the Sunday date, on the water – and his awkwardness?

7. Alex, his personality, the past, the advice and his finesse, with the dog and the suitor and his accident? Researching Allegra? Albert’s discussion at the door and his handing him the pen etc? The discussion with Munson and his not wanting his case? The attraction to Sarah, on the water, the tour, the disaster about her ancestor and his being a murderer, his being accident prone? The coaching of Albert, intercutting with the meeting with Allegra and his success? The post mortem of the meeting with Albert? His theory about kissing – and practice at the front door? The door and the keys, ninety percent and holding back? His going to the fish market with Allegra, the cooking of the fish, Max and Louise and their observations, the allergy – and his taking the medicine, singing, telling Sarah about the Nicks game? In Sarah’s apartment? The story about her sister? Getting the breakfast, the kiss? His being set up at the zoo, Sarah at his apartment, her behaviour, his puzzle, seeing the newspaper, the argument with Sarah, the interviews for the couples, his being outspoken, meeting Casey? Albert accusing him of being a coward, that he did not love, that love was only his job? The revelation of the truth about Munson, the confrontation with Albert, his going to Sarah’s, gabbling at the door, his being hit by the car – and his declaration of love?

8. Sarah, the introduction to her, her friend, holidays and gossip, her boss, being a loner, workaholic, in the bar, the encounter with Chip and her remarks, Alex saving her? His phone call at the office, her agreement to the date, going on the water, the accident? His shirts? Her judging that Alex had failed after the tour and the information about her ancestor, but failing with flair? Her anger at the lost photo opportunity of Albert and Allegra? Calling about the sauce, the fish market, cooking the fish, his allergy, at the apartment, the story about her sister almost dying in the ice, the breakfast and her wanting to appear nice? The kiss? The truth, watching Jerry Maguire on television, the argument at the dating service? Her apology? Alex at the door? Tom, hitting Alex with the car, the declaration of love and her explanation?

9. Albert, his awkwardness, employing Hitch, accident prone, their talk, the meeting and his asserting himself to defend Allegra and her interests, Allegra coming to his office – his handling of the situation, the pen, fainting? The phone call to Allegra? Taking her to the fashion show, the photos? Being coached by Alex, the dance steps and Alex forbidding them, the actual dancing, reaction to the photos? The problem about the kiss, the practice, the doorstep and the keys? His back hair and its being removed? The Nix game, her whistling? The actual scene at the door? Their dancing together? The paper, his arrest? Chasing Alex to the boat? The final revelation of the truth, Alex and his talk with Allegra?

10. Allegra, rich, subject of gossip columns, her boyfriend double-dealing? The phone call and the appointment with Albert? The fashion show, wanting to invest her money? The dancing, the door and the kiss, the Nix game and the whistle? The board meeting and Albert absent? The confrontation with Alex, learning the truth, that the awkwardness was all genuine Albert?

11. The tour of Ellis Island, the photos, the Kissing Post, the signature of Sarah’s relative, the story? Larry as guide? Sarah’s reaction? The Butcher of Cadiz?

12. Maggie – Magnus and his fashion design, inspiration, Allegra wanting to invest her money?

13. Max and Louise, at work, the gossip, the cooking at the fish market, Louise as psychologist and her observations about Sarah, the allergy?

14. Munson, Casey, his crass way of talking to Alex, his anger after the sexual encounter, her anger, Sarah presuming the worst, the truth?

15. The dance at the end, the atmosphere of the happy ending?

HELL BELOW ZERO

UK, 1954, 90 minutes, Colour.
Alan Ladd, Joan Tetzel, Basil Sidney, Stanley Baker, Joseph Tomalty, Niall Mc Guinness, Jill Bennett.
Directed by Mark Robson.

Hell Below Zero is a star vehicle for Alan Ladd, who had made a number of films in England at this period including The Red Beret and The Black Knight. He was a popular action star of the late 40s to the mid-50s. The film also stars stage actress Joan Tetzel who made very few films. There is a strong British supporting cast led by Basil Sidney and Stanley Baker. Jill Bennett has an unusual role as the captain of a whaling ship.

The film was made on location in South Africa and in the Antarctic. Often, the film has a somewhat documentary tone, especially in life on ships in the Southern Ocean.

The film is conventional action, based on the novel by popular writer of the 50s, Hammond Innes. There are the expected attitudes, mysteries, double-dealings, fights – with a climax on the Antarctic snow.

1. Popular action adventure of the 1950s? Impact now?

2. Location photography, Southern Africa, Cape Town, the Southern Ocean? Antarctica? The action sequences? The ships locked in the ice? The fight on the snow? The musical score?

3. The title and the indication of themes, difficulties in Antarctica?

4. The whaling companies, money deals, the ships, owners in London, business in South Africa? The background of the captains, from Scandinavia – and the World War Two background and the Resistance and espionage?

5. Alan Ladd as Duncan Craig, suave, quiet, meeting Judy on the plane? Attracted towards her, meeting her in Cape Town? Signing on for the ship, getting the ship out of the harbour, the interaction with the captain? The meeting with businessman and his attitude towards him on the ship? The encounter with the doctor, his drinking? The information about Judy and Eric, his stern stance towards her, finding out the truth? Romance? The meeting with Eric, the mystery of the death of Judy’s father? The witness in the brig? The clashes with Eric? Being trapped in the ice, the help of the captain, her explanation of work in the Antarctic? Luring Eric and his ship, his crashing it? The fight in the snow? The happy ending? The American hero?

6. Judy, the news of her father’s death, going to Africa, the business discussions, the relationship with Duncan? On the boat, the romance, her being hurt by his indifference, the resolution of the problem? The dangers, the clashes with Eric? The happy ending?

7. The business partner, his tough attitudes, his reliance on his son? On the boat, handing over to Duncan after the injury to the captain? Eric, his war background, Nazi? His plan, the murder of Judy’ father, the engagement? His dealing with matters, his henchmen? The interactions with Duncan, especially over the interrogation of the prisoner? The crashing of the ship, imprisonment of the group? The fight on the snow and his death?

8. The doctor, drinking, friends with the dead man? The operation of the captain, being trusted by Duncan? His information about Judy and Eric, his rehabilitation? The captain, friendliness, injury?

9. The witness, imprisoned, interrogated by Duncan?

10. Popular ingredients for an action adventure?

THE LEGEND OF ZORRO

US, 2005, 129 minutes, Colour.
Antonio Banderas, Catherine Zeta- Jones, Adrian Alonzo, Giulio Oscar Mechoso, Nick Chinlund, Rufus Sewell.
Directed by Martin Campbell.

Action, romance and comedy. Ingredients for a crowd-pleaser. Capitalising on the huge popularity of 1998’s The Mask of Zorro, stars, director and many of the production team have come together again to bring us what may well be one of the most popular films of 2005.

It comes as something of a surprise to learn that Zorro was created for a 1919 novel, ‘The Curse of Capistrano’ by an American writer, Jackson Mc Cully. Almost immediately, Zorro starred in a silent film in the form of the swashbuckling Douglas Fairbanks, who then appeared as Son of Zorro in 1925. Since then he has been continually on screen, including a 1930s serial of twelve episodes, a television series in the 1950s and many films. For those who enjoy some internet research, there are 69 entries under the name of Zorro in the Internet Movie Database!

This time around, Antonio Banderas and Catherine Zeta- Jones have settled down into a comfortable family life with their son, Joaquin. But, of course, that is all on the surface. Don Aleyandro is always available when the mission bell tolls and the people need Zorro. This happens as soon as the film starts. It is the day of voting for California to become the 50th state of the Union. Everyone is rejoicing to become American and free. However, the vote does not go smoothly. They seem to have had far more trouble and disturbance in old California than in modern Iraq. Robber barons try to steal the ballot papers. Zorro to the rescue. With athletic prowess and skilful stunts and special effects, the film is off and definitely running.

This is really old-fashioned film making on a contemporary big-budget and none the less entertaining for that. James Horner’s score with orchestra crescendos, guitars and castanets keeps us in the mood. The 19th century costumes and décor evoke the past. The continuous cliff-hanging climaxes capitalise on our eagerness for excitement. And, by the end, with Zorro, his wife and son disarmed and at the mercy of the villain, you don’t exactly fear for Zorro and the family but wonder how on earth they can all possibly get out of this fix. It does not spoil the ending to know that they do!

Antonio Banderas still cuts a dashing figure as Zorro. He is matched by Catherine Zeta- Jones as Elena. In The Mask of Zorro, she had to join in the sword-fights and she does again. It reminds us, even though there are punch-ups and knocking people on the head, sword fights look visually spectacular.

There is a literally ugly villain played by Nick Chidlund and a suave villain, a British actor, of course, Rufus Sewell. There is always a grandee with ambitious plans for self-aggrandisement. However, this time the writers have been absorbing Da Vinci Code conspiracies and present us with another variation: the Knights of Aragon whose sway in Europe is being menaced by the power of the United States and who, therefore, must resort to sabotage. They plan to produce a weapon of mass destruction in a plant hidden underground, nitro-glycerine, and, with the help of Southern Army generals, explode bombs in Washington DC.

The serial-like scenario is not without its parallels with contemporary American world leadership issues and terrorist attacks.

One of the reasons given for the continued popularity of Zorro is that he is a hero of the people, a defender of ordinary people’s rights against ruthless and greedy oppressors. He is a mysterious masked man who, unlike the comic book heroes with special powers, relies on his own wit and stamina and sense of justice to do good.

1. The popularity of the original film? Audience expectations? Critical dismissal of the film? Audience enjoyment?

2. Zorro popular since 1919, the novels, the many films, serials and television series? The legend? An ordinary hero, defending the poor, gymnastic and athletic, the swordfights, the champion of justice?

3. The sets and the design, the 1850s, the town, the hacienda, the vineyards, Armand’s mansion, the plan for the production of nitroglycerine, the train? The special effects, especially the explosions?

4. The enjoyment of the stunts, athletic? For Zorro, for Elena, for Joaquin?

5. This film and its contribution to the continuing legend of Zorro – Zorro in middle age? The touch of the serious, the touch of the comic?

6. California in the 1850s, the vote to join the Union? The very strong pro-American stances? Mc Givens and his attack, taking the ballot box, Zorro to the rescue, fighting, on the bridge, winning and taking back the ballot box? The three months necessary for the ratification of the joining to the Union?

7. Aleyandro and his skills, his friendship with the friar, his difficulties with his son? The derring-do as Zorro? At home, with Elena? The life of a fop – drinking and playing cars with the other grandees in the bars etc? A cover for Zorro?

8. Mc Givens and his brutality, wanting the land, the threatening of the couple, the siege of the house, the deaths, Zorro and his confronting Mc Givens? The explosion and the huge crater in the ground?

9. The Pinkerton officers, their watching Elena, kidnapping her and her fighting back? Forcing her to institute divorce proceedings – and the reaction of Aleyandro? His drinking, complaints? The support of Fra Felipe? Relying on him for advice? The encounters with Elena in public?

10. Armand, his butler, his French title? His mansion? The hospitality, the ball, Aleyandro going – and creating a scene with Elena? Armand’s love for Elena? The incident in the marketplace, the buying of the pipe? The revelation of the truth, the Knights of Aragon, his plan, his assessment of the United States and its power, the nitroglycerine and the combining with the military from the southern states? The fights with Zorro? His capturing the three – sparing Zorro’s life for the moment? On the train, the elaborate fight, on the roof? The changing of the tracks – and the ending and his dying in the explosion?

11. The anticipation of the Civil War, loyalties of the south, the interest in California, power, European assistance?

12. Mc Givens, his thugs, the confrontations, the taking of Joaquin, his escape, taking the soap? The gang – and Mc Givens and the final explosion?

13. The nitroglycerine, its manufacture, the soap? Joaquin and his capture, rescued by his father? Learning the truth about his father and his admiration? Getting him out of the jail?

14. The proclamation, the danger for the people assembled, Joaquin and his changing the rail line? The final crash?

15. Fra Felipe, his continued support, knowing the secrets, helping Joaquin? The confrontation in the church, Mc Givens shooting him – and the irony of his being saved by the cross? The religious motifs throughout the film – and Zorro praying before the statue?

16. The happy ending, the family – and Zorro still at the service of the people?

17. The overtones of old-fashioned action adventures, the serials with their cliffhangers – and matinee enjoyment?

THUMBSUCKER

US, 2005, 96 minutes, Colour.
Lou Taylor Pucci, Tilda Swinton, Vince Vaughn, Vincent D' Onofrio, Keanu Reeves, Benjamin Bratt, Kelli Garner.
Directed by Mike Mills.

In recent years, there have been many films about angst-ridden teenagers, like The United States of Leland and Imaginary Heroes, with their portraits of dysfunctional families. It is a surprise then to find that a film named after a symptom of angst and delayed adolescence is so agreeable and, finally, hopeful with a touch of exuberance.

That’s not to say that the Cobb family is not dysfunctional. They have huge communication problems, especially Dad (who prefers to be called Mike so as not to seem old), a successful businessman who still pines about his high school injury that cost him his professional football career. Vincent D’ Onofrio gives one of his best performances as the bewildered Mike. Tilda Swinton is very good as Audrey who, it turns out, is a completely loving and kind mother who helps her children and finds fulfilment in working at a celebrity addiction centre where she aids one of her favourite TV stars (Benjamin Bratt). This makes the thumbsucker, Justin, very suspicious. Surprise supporting roles are taken by Keanu Reeves as a New Age orthodontist and an excellent Vince Vaughn as the debating team teacher.

Justin is played by Lou Taylor Pucci who has to act reserved, sometimes ‘weird’, and infatuated with one of his classmates, Rebecca. When the school authorities decide he suffers from Attention Deficit Syndrome, his medication makes him almost change personalities. Pucci is just as convincing as the hyped Justin who excels in class but particularly in the debating team. The film has some critical observations on the too quick prescribing of medication to solve adolescent problems – and the danger of their being only a few steps away from addiction. Just when you think the plot is going to come crashing down in guilt and anxiety, it brightens up, has an amusing dream when Justin is on his way by plane to New York University, a kind of summing up of himself and all the people in his life. It concludes with an exhilarating run.

Thumbsucker is a very pleasant surprise. Lou Taylor Pucci won the best actor award at the 2005 Berlin Film Festival.

1. Small-budget independent film? Acclaim, awards?

2. The Oregon settings, authentic, the particularities of Oregon as a state and its environment? The credits and the focus on the town? The universal application of story and characters?

3. The musical score and the range of songs?

4. A film of teenage angst yet one of optimism?

5. The portrait of the family, an ordinary family, nuclear family? Communication and lack of communication? Love and members not being aware of others’ love for them? Anxiety? Possibilities, gifts and talents? Suspicions, underlying wariness – yet a basic goodness and love?

6. The portrait of Justin, his age, appearance, the thumbsucking and its background? The interpretation? Mike and his writing his initials on his son’s thumb? Touching his thumb to test whether it had been sucked? Justin not being able to communicate with his father, his father not communicating, wanting him to call him by his Christian name so that he wouldn't seem old? Aud, her love for her son, care, support? His clashes with his younger brother, Joel? At school, the teachers, Mr Geary and his support? The debating team, the focus on Rebecca? Perry and the orthodontic work, trying to rid him of his thumbsucking, the use of hypnosis and New Age style advice? The manifestations of his anxiety, change around him, not wanting his mother to work, suspicious of her interest in the television star? His inability to communicate with Rebecca, her making demands? She changing and going with the drug students? He and his clash with Mr Geary, the anti-fox signs spoiling the bike race? The interviews, the teachers discussing his need for medication?

7. The transformation, on a high, his skills in debating, articulating ideas, in class, his place on the team, the debates, winning trophies? His mother going to the debates, his absent father? Mr Geary and his support, warnings? The hotel and his wanting to go with his age group, the drinking, persuading Mr Geary to bring the beer, the noise and the complaints? The clash with his opponent, the discussion about his drugs being just above cocaine? The humiliation and his loss, wanting to withdraw from the team?

8. His stopping the drugs, throwing them out, his dream about the garbage containers? Going to Rebecca, talking with her, the pot-smoking? Talking with the other girls? Her blindfolding him, her sexual experimentation, his feeling in love, his disillusionment when she explained how she didn't love him and it was only for her own benefit? Discussions with Joel about Rebecca? His applying to go to New York University? The talks with Mr Geary, seeing Perry again – in the post office, Perry’s change? His suspicions about his mother, about the TV star? The attempts to talk with his father – especially to understand what it was like when his father’s knee was injured and he had to pull out of professional football, when he married Aud?

9. His going to the institution, the window, being caught by Matt, the talk, Matt explaining how his mother was helpful with the drugs, his health? The weight off his mind? Confidence in his mother, confidence in his father? Talking with Joel – and Joel’s explanation of how weird he was and what a burden this was for Joel himself to be normal? His becoming normal again, winning the entry into the university, going to visit Perry?

10. Aud, her love for her husband, love for her sons? The household? Supporting her son, going to the debates, delighted in his victories? Her wanting the job, the application – but her interest in the TV series and the star, wanting to enter the competition? Her enjoyment of her work, wanting Justin to share it? Her work with Matt, Justin and his losing his suspicions? Her support of him and leaving for New York?

11. Mike, his disappointment in his lack of football career, marrying Aud, his work at the store? Unable to speak to his son, not understanding him, angry about the thumbsucking? The attempts to speak and his failure, not going to the debates? Justin’s change? His joy at his son getting into New York University?

12. Joel, age, his being normal, the martial arts, his way of talking, going on the protest at the bike ride? His frank explanation to Justin of how weird he was?

13. Rebecca, her talent at debating, her friendship with Justin, walking, her wanting him to explain the thumbsucking and his inability to do so, her breaking off with him? Her going with the drug students? Meeting again, the pot-smoking, the sexual experimentation, her disillusioning Justin?

14. Mr Geary, in the classroom, the debates? His support of Justin, the teams, the philosophy of winning? Talks with Justin, recommending the medication? His worry about his hair? His being disappointed in Justin?

15. Perry, the orthodontist work, his philosophy of life, hypnotism, the hippie philosophy, the change of heart, his final explanations – “I think”?

16. The principal, discipline, the advocating of medicating, the diagnosis of attention deficit? The comments about teachers being too ready to prescribe this kind of medication and get false performance from their students?

17. The end, the photo at the airport, farewell, on the plane, the girl in the seat next, his dream – announcing the news, the reaction of all the members of the cast, each in their own way? His running in New York?

18. Problems of adolescence, change? Parents – allowing their children to be themselves or not? Human nature, hope – an optimistic outlook on overcoming teenage problems?

THE DEAD OF JERICHO

UK, 1987, 105 minutes, Colour.
John Thaw, Kevin Whately, Gemma Jones, Patrick Troughton, James Laurenson.
Directed by Alastair Reid.

The Dead of Jericho is the first of the thirty Inspector Morse films made for television. The series went from 1987 to 2000, with the death of Morse and the revelation of his name, Endeavour.

The first film has all the elements which were to be incorporated in the succeeding films. John Thaw made Inspector Morse his own – his taciturn manner, grumpiness with Lewis, his drinking ale, his love for his car, his love for music and opera, his limp. In this film, he is shown as falling in love with a fellow choir member who is later murdered. Sometimes, there is this emotional touch in Morse’s character but he seems generally to be aloof from other people. Lewis is more or less the same as he is in all the other films. The ordinary married man, concerned about family and children, ignorant of high art and the classics.

Gemma Jones is the member of the choir, James Laurenson an ambiguous businessman, Patrick Troughton a busybody neighbour.

The film was written by Anthony Mingella who was to go on to a very successful writing and directing career with Truly Madly Deeply, The English Patient, Cold Mountain and The Talented Mr Ripley.

1. The popularity of the Inspector Morse series? The personality of Morse, of Lewis? The range of characters, the complex plots, the psychological portrayals of characters – related to the murder or not? The films based on the writings of Colin Dexter?

2. The Oxford settings, houses and streets, police precincts, the university? The musical score?

3. The title, the reference to the area of Oxford? The biblical overtones?

4. Morse in himself, 1987, singing in the choir, his love for his car – and allowing it to be crashed in order to stop a villain? The meetings with Lewis, discussions, treatment, Lewis on guard and meeting him at night outside the house? His authority, emotions with Anne, investigating her killing, his confrontations, hunches? With authorities – and not getting the promotion?

5. The character of Lewis, his hard work, investigations, not knowing the references, especially to Sophocles, his lack of rapport with Morse – but the beginnings of a friendship?

6. Anne, singing in the choir, her friendship with Morse, his taking her home? Ned, his emotions, the music? Her death? Her desperate phone call? Reading Sophocles – and the clues from Oedipus Rex? Her pregnancy? The relationship with the brothers? With Jackson and his doing jobs for her? The note about her death?

7. Ned, his love, music, law student, erratic, the relationship with Anne? Morse going to the college to see him, his room-mate and the mystery? His attack on Morse? His blinding himself? The drugs, Jackson and the blackmail?

8. Jackson, prying, doing the work, the blackmail, his death?

9. The brothers, Alan and Tony, Adele, the lecture, their company, Anne having worked for them, Adele and her role, the secretary, Morse and his investigations, the discussions in the family? Their deceiving Morse as regards identities?

10. Alan, his work, his alibi, relationship with Adele, Tony? Tony and the murders, his trying to escape?

11. Adele, her motivations?

12. The Morse mysteries, the twists, the theories, the resolution?

CONSTANTINE

US, 2005, 117 minutes, Colour.
Keanu Reeves, Rachel Wiesz, Djimon Hounsou, Tilda Swinton, Peter Stormare, Pruitt Taylor Vince.
Directed by Francis Lawrence.

It is amazing that in an age which is increasingly secular, the images and traditions of the Catholic church provide the basis for exotic popular storytelling. It can be irritatingly inaccurate as in Dan Brown’s The Da Vinci Code. It can be entertaining while sometimes irritating as in this version of a comic book hero exorcising people who have been possessed by half-breeds (both angelic and demonic), Constantine.

It is a reminder of G.K.Chersteton’s paradox that when people stop believing in something, they will believe in anything.

The film-makers here have definitely done some homework, or drawn on their memories of Catholic upbringing, to invent their own version of heaven, earth and hell. This has been a popular pastime in recent years with such films as The Devil’s Advocate where Al Pacino was the devil incarnate tormenting the star of Constantine, Keanu Reeves. There have been thrillers like The Sin Eater and Stigmata that played around with legends, myths and mysterious documents modelled on the Dead Sea Scrolls. Constantine is much more ‘high concept’ than these films.

John Constantine was a psychic child who could see beyond appearances, could see the demonic world behind the world. It so frightened him that he killed himself and went to hell. However, he was quickly released after seeing its horror and sent back to earth where he found his mission was to destroy the half-breeds and exorcise the hapless humans they inhabited.

Exorcisms have been a staple of screen stories since 1973 with The Exorcist. Possession and exorcisms are not part of everyday Catholic living but early in 2005, a Catholic university in Rome held its first course in the topic and the Catholic press featured articles on the course and the rather large number of participants, especially priests. This gives one pause for thought when watching Constantine.

There are all kinds of allusions to theology in the screenplay. They are not necessarily accurate, but they touch on a grain of truth which makes them plausible. God and the devil have made a wager to gain as many souls as possible. However, they cannot interfere with free will. They can indirectly influence humans by angels and demons who represent them on earth.

Another idea states that Jesus did not die from his crucifixion alone but from his side being pierced with the lance (a misreading of John 19). They follow this with the idea that the lance is ‘the spear of destiny’ which, since it was the instrument of the death of the son of God, could be the means of the birth of the son of the devil. When this evil spirit tries to come to earth, it enters into the womb of a psychic woman (called Angela). This gives a certain plausibility to a virginal conception.

However, Gabriel is on earth and has tired of God’s being so merciful and forgiving that he is intent on destroying the woman and freeing the demon (a bit like Lucifer’s original sin of arrogance against God).

All this is filmed in a vividly visual style with plenty of mysterious special effects. Constantine is eminently watchable for its flair. It also manages to get the Latin correct (even as it invents Corinthians 17).

Keanu Reeves is a popular star, especially after the Matrix series. He operates on the passive presence principle where the audience tends to read into his somewhat blank features what they think he is thinking. He makes us do a lot of work.

Since Rosemary’s Baby in the 60s and The Exorcist and The Omen in the 70s, audiences have frequently been readier to believe what they see on the screen in highly imaginative and invented stories rather than believe what scripture and tradition have handed on to us for a life of faith. Films like Constantine are generally just a bit of a thrill. However, if they do get audiences thinking about issues of good and evil, God and church, that would be a bonus.

1. An interesting and entertaining variation on the angels and demons theme? The trend of interest in such themes? Religion, spirituality, New Age? The plausibility of the plot? Audience appreciation of angels and demons?

2. The opening in Mexico, finding the Spear of Destiny? The transition to Los Angeles, apartments, streets, the hospital, police precincts? The Midnite Club? The atmosphere of Los Angeles – a different kind if city, being transformed at times into a hellish landscape?

3. The importance of the special effects, transformations of Los Angeles, the appearance of the demons, the insects and their destruction, the Devil? The musical score? A film of style and pizzazz? The songs and the jazz style?

4. The finding of the Spear of Destiny, the Mexicans, the effect on the man who found it, the crashing into the car, his being alive, hitching the ride and taking the car, his influence and malevolence, the cattle dropping dead, the confrontation with the driver, his arrival in Los Angeles, the confrontation with Angela?

5. John Constantine and his assistant, his continued smoking and the comments about this, killing himself, suicide? His back-story, being able to see things, being taken to the doctor’s, the electric shock treatment, his attempted suicide, going to Hell, the two minutes there, returning with his gifts? The role of the Devil in allowing him to return? His performing exorcisms and eliminating the devils? His contact with the priest and his giving him contacts for exorcisms? His advice for the priest? His experience, the effect on him, his going to the doctor, the fact that he was going to die?

6. The place of demons outside the world, within the world, in the young girl, the experience of the exorcism, the metal burning on her, Constantine punching her, getting the mirror, seeing the Devil in the mirror, urging those by not to look – and the man who looked and his being blinded and his hair greying? The demon in the mirror, letting the mirror go out the window and crash, the destruction of the Devil? The effect of the exorcism on the girl, on Constantine?

7. Chas Kramer and his attitude, driving the taxi, assisting Constantine, reading up information, seeing himself in training? The talk in the rain? Chas and his cross? Participation in the different events, his saving Constantine at the end with the shooting, the demons destroying him?

8. The introduction to Angela, in confession, her police work, her ability to know things and track down criminals, shooting? The fact that she was a twin? Isabel and her wakening, in the institution, going to the hospital roof, flinging herself off into the pool? Angela and her sensing this, the clashes with Constantine and his being rude? Going to the priest, the erroneous information about Catholic burial and suicides, the harshness of the priest, Angela’s pleading? Her going to the headquarters, discussions with the police, identifying the body? The investigation?

9. Constantine’s friend who was the expert in the occult, his office, specimens, collecting religious evidence, the dragon’s breath and the fire? His advice to Constantine? Deciphering 1 Corinthians: 17, the chapters being read only in Hell? The psychic, the crossover? The final disaster, his fear, his death and the insects covering him?

10. The appearance of Gabriel, man/woman, the angel advising humans? With the priest, the role of Gabriel in the world, the confrontation with Constantine in the priest’s office, attacking him, accusing him of buying his way into Heaven, the discussion about God, belief, self-sacrifice, Constantine using his gift? Acknowledging his mission? The discussion about angels, Hell and his suicide?

11. The priest, his friendship with Constantine, alcoholic, his touching the papers and being able to read the information quickly, his fears, the morgue? Going to the supermarket and the drink not flowing, Balthazar killing him, his stabbing his own hand? The sign of evil in the blood on his hand? (And this being interpreted by Constantine’s assistant?)

12. Angela, her fears, watching the video of Isabel, going to see Constantine, the phones ringing, her fears?

13. Constantine, in the rain, on the road, his cough, the crab and the insects, the Devil in the form of insects, the fight, the crash and the disappearance? Going to see Midnite? Seeing Balthazar and knowing that he was a demon?

14. Midnite, his past, the bar and the people there, his character, the demons and their breaking through? His trying to be neutral? His being custodian of the Chair? Maintaining the balance – with the club patrons?

15. Balthazar, smooth, well dressed, looking sinister? With Midnite? In the liquor store, the confrontation with the priest and his death? The build-up to the confrontation with Constantine, their fight, his death – and the final blessing rites?

16. Angela and her interactions with Constantine, the badge, the questions, his callous attitude? The explanation, his explaining to her about God and Satan’s wager about human souls? That God and Satan could influence only from the outside, to see who would win? The lights going out, the crowds of demons, the burning? The cat and the confrontation, the chair? The visit to Hell? Los Angeles and the fire in the wasteland, the scenes with the devils? The visit to Hell? Constantine being pursued? His catching her armband?

17. Constantine, the continual smoking and people’s comments? Killing himself – and his terminal illness? The flashbacks, the child, the bus, seeing the demons? The shock treatment, his suicide, two minutes in Hell? His ability to see the world behind the world? The half-breeds and their influence, part demon, part angel and the balance?

18. Isabel’s story, what she saw, being frightened? Her being committed? Angela and her understanding of the truth? The text, 1 Corinthians: 17 – and the fact that there is no 1Corinthians: 17? The revelation in Hell, the father and son and the Devil’s own son, crossing over? The role of the Spear of Destiny? Memmon? To forge his own rule? Angela and her denying her gift, how she stopped seeing the half-breeds, feeling abandoned? Abandoning Isabel?

19. The bath, her fear and struggle? Knowing the plan? The death of the smooth half-breed? Her gradually being snatched, moving through the elevator, through the walls, into the pool, her drowning?

20. Midnite and Chas, Midnite and his pain, the chair in the sacristy, his going through the ritual? Seeing the Mexican? The hospital, the Mexican and his intrusion? The rescue, the plight of Angela in the pool? The making of the bullets, the devils in the hospital, violating the balance and destiny? Angela taken to Hell, Memmon? Drowning?

21. The exorcism, her giving birth?

22. Satan appearing, Peter Stormari’s style, cynicism, effete, clothes, no shoes? The bargaining with Constantine? Constantine defeating him?

23. Any restoration of balance? God’s winning or Satan’s winning? The role of the ambiguous hero like Constantine, part good, part evil? Angela and her goodness – and the overtones of angels? The final confrontation with Gabriel, Gabriel’s cynicism, arguing against God’s love, trying to intervene? Constantine defeating Gabriel?