HOCUS POCUS

US, 1994, 105 minutes, Colour.
Bette Midler, Kathy Najimy, Sarah Jessica Parker, Omry Kurtz, Thora Birch, Vinessa Shaw, Charles Rocket, Stephanie Faracy.
Directed by Kenny Ortega.

Hocus Pocus is a piece of magic nonsense designed for Disney audiences. It opens in Salem during the witch hunts of the 17th century, focusing on three witches who cast spells over the village, wanting to get children so that they could have perpetual youth. They turn a young man, who is trying to save his sister, into a cat. When they are hanged, they disappear for three hundred years, only to be revived in 1993 by a young man who lights a magic candle and reincarnates the sisters. The film is set on Halloween Eve, the sisters pursuing the children of the town, the parents not believing then put under a spell, the young man and his sister and girlfriend combating the witches. All ends happily. Bette Midler, Kathy Najimy and Sara Jessica Parker ham it up exceedingly as the witches. Omry Kurts is a sturdy young man. A very young Thora Birch is a dominatingly precocious young girl. The direction is by choreographer Kenny Ortega.

1. A popular and broad comedy? The background of Salem in the 17th century and the witch hunts? The reality and seriousness of witches and their being executed? A comic treatment?

2. The title, magic, not to be taken seriously? The three witches, their spells, the magic book with the eye? The spells and turning the young man into a cat? Raising the zombie from the dead? The magic candle and the witches coming alive in the 20th century? Audience enjoying this kind of hocus pocus?

3. Salem in the 17th century, costumes and décor? Manners? The contrast with the 20th century, teenagers, attitude, school, homes, rebellion? The Halloween costumes, the Halloween parties? The musical score – and the song about putting a spell on people?

4. The actresses portraying the three witches? Over the top performances? Grimaces, sounds, songs? The make-up and their faces? Winifred and her domination, leadership, the spells? Mary and her twisted mouth, being able to sniff out children, being bossed around by Winifred? Sarah, younger, boy-mad? Her not having any brains? Being silenced by Winifred? Their behaviour, the little girl they had lured to the house, the spells, turning the young boy trying to rescue his sister into a cat? Their being taken by the people, hanged, the spell?

5. The 20th century, the teacher explaining the history of the Sanderson sisters? Max and his disbelief? Alison and her explanations? The attitude of the young people – and Halloween?

6. Max, age, not wanting to leave California, infatuated by Alison? Riding his bike, the encounter with the two louts and their taking his sneakers? At home, dreaming about Alison, Danni and her being in the cupboard, making him take her trick or treat? The parents, their going to the party?

7. The children, the costumes, Halloween, trick or treat? The encounter with the two louts wanting the toll? Max and his being humiliated? The clashes with Danni? Going to the mansion, finding Alison, deciding to go to the Sanderson mansion?

8. The mansion, cobwebs, the lighting of the candle, the spells, the reactions? Binx and his talking, guiding the children? The reappearance of the witches?

9. The witches and their adaptation to the 20th century, the sprinkler and their being afraid of the water, the bitumen road? Going in the bus? Adapting, going to the party, sniffing out the children, singing the song about the spell, making the parents dance all night? The pursuit of the children, their continually being thwarted? Taking Danni, Max to the rescue? The confrontations, trapped in the house, burning and the smoke, their coming to life again, pursuing the car, finding the book? The ultimate confrontation and their disappearance?

10. Max as a young lad, his friendship with Alison, maturing? Danni, precocious and annoying? Vinessa and her being attractive, nice? Their friendship with Binx, his gradually changing into the young man that he was, reunited with his sister? The zombie and his turning against Winifred, losing his head, helping the children, going back to eternal rest?

11. An entertaining piece of nonsense?

MILLION DOLLAR BABY

US, 2004, 137 minutes, Colour.
Clint Eastwood, Hilary Swank, Morgan Freeman.
Directed by Clint Eastwood.

If you intend to see this Clint Eastwood film about a female boxer which has plenty of bouts as well as some serious issues and don’t want to know about the twist turns, it is better to go to see the film and not read on.

On the other hand, if you are reading further, you have seen the film and are thinking over its questions.

Eastwood has proven himself not only a legendary screen presence but also one of Hollywood’s most important directors. After the success of Mystic River, it is, at first, a surprise that he has turned his attention to the world of boxing. He is obviously at home in this world as he plays a grizzled trainer with guilt memories of abandoning his daughter and being responsible for fighters’ injuries. In his old age, he is trying to be protective, especially of his champions. He also goes to Mass every morning and spars with the priest over personal spirituality and theological and moral issues. His best friend and sometime confidant is Scrap (Morgan Freeman), former fighter and general manager and cleaner upper of the gym. The gym attracts some good fighters and some oddballs as well, all tolerated by Frank (Eastwood) – except for Margaret Fitzgerald (Hilary Swank) who is from a ‘white trash’ background but who has a knockout gift for fighting. He says she is not tough enough – girlie! Naturally, she wears him down and mellows a lot of his sourness (although he studies Gaelic and reads Yeats).

The film is narrated by Morgan Freeman in his wonderful resonant voice that he used in The Shawshank Redemption. The first two acts of the film focus on Frank, Scrap and Margaret’s training. The second act is Margaret’s success in the ring. Not knowing what was to come, the scene of Margaret’s knockout at the hands of a vicious fighter was more than a shock. It was disbelief. This means that the third act is not what we might have been expecting. Margaret is a quadraplegic, entirely dependent on nursing and machines. She is abandoned by her greedy hillbilly family but Frank is absolutely devoted. Then she asks him to turn off the machines. Frank’s crisis is not only the morality of doing this, but also what effect it will have on him and his guilt about fighters’ injuries, destroying a second chance at having a daughter, not being protective enough.

He discusses the issue with the priest who is rather cold yet challenging. This means that the resolution of the film is based on emotional response to the situation, the morality of using extraordinary means to keep a person alive, the request for assisted suicide (a theme which is central to the Spanish film, The Sea Inside). It leaves the audience who has gone to see a boxing movie going out of the cinema needing to give more thought to the moral issues, at an intellectual principle level and at an emotional level, to ask whether compassion is the final criterion – and what are the immediate and long-term consequences.

Million Dollar Baby, so well directed by Eastwood, with excellent performances, especially by Hilary Swank as the fighter. It is a film for questioning and reflection.

1. Acclaim for the film, Oscars and other awards? A mood of 2004?

2. The work of Clint Eastwood, director, actor? His style, his interest in storytelling, strong characters and action?

3. The boxing world: gyms, rings, training, the bouts? Homes and apartments? The church? Hospital? The south? The diner? The film rarely going outside? The musical score?

4. The tradition of boxing films, the bouts, the training, competition, life at the gym, dressing-rooms, the journalists, the managers, the commentators, the audiences? This film explaining the various skills?

5. The voice-over, Morgan Freeman and his tone, dignity? His views, his experience, his own career, the bout, the loss of his eye? His comment that boxing was more than the fans? His kindness, seeing dangers? His willingness to let Maggie have a go, his continually challenging Frank? His comments on Frank’s reputation, skills, imagination and magic of boxing, dreams of success?

6. Frank, a Clint Eastwood character, his age, crusty, his relationship with friend? His prayer at home at night, his petitions, the memory of his family, the letters written to his daughter and returned? Going to Mass, needling the priest, discussion about the Trinity, the Immaculate Conception? His seeing Maggie, refusal? His comments about his gym, inexpensive bleach? Maggie and her wanting to pay, his seeing her work, discovering she had the speed bag, arguing with her, her age and being too old, giving her the bag? A man of feeling, his training Willie, Willie and the money for the car, Willie’s return, his leaving him? His protective attitudes and the people that had been hurt, especially Morgan Freeman? His learning Gaelic? His giving in to Maggie?

7. Maggie, watching the training, approaching Frank, calling him “Boss”? The flashbacks and the comment about her being from somewhere between Nowhere and Goodbye? Southern trash? Working in the diner, saving the coins? Her training, Morgan Freeman and his advice, giving her the speed bag? Taking the meat and pretending it was for her dog, poverty? Running on the beach? As a waitress and the customers, the information from Frank about moving her feet, moving while she served people? Her giving in to Frank?

8. Morgan Freeman’s character, a good man and wise, helping Maggie, having only one eye, cleaning, protecting? Abstemious, the holes in his socks? Gym life, the office, his own room? His relationship with Danger, the others taunting Danger, Danger and his being soft in the head, his dreams? The banter? Danger and his question about ice in the bottle? The bout with Danger and the fight, his being hurt? Morgan Freeman and his challenging the opponent, knocking him out?

9. Willie, the training, the fights – not having the possibility of championship, the money for the car, his wife’s gratitude, leaving Frank?

10. The rapport between Frank and Morgan Freeman, talking easily together, remembering the past, the bonds, the bets? His offering Freeman to be his second and his refusal, staying with the gym, cleaning the toilet?

11. The interactions between Maggie and Frank, training, her possibilities, not questioning Frank, the experience of hurt, Morgan Freeman watching, the KOs in the initial bouts, Frank’s advice not to do this, her continually doing this? His payment of a manager, her not leaving Frank, his taking over during the bout when the manager was not helpful? Claiming her as his fighter?

12. Maggie and her fights, Morgan Freeman and his comments, the knockouts, the going up a grade, the experience of the broken nose and her fighting on, going to the UK and the surprise win? Her touring?

13. Maggie as Frank’s substitute daughter, Katie and his memories, regrets, the letters? Maggie as champion, a successful daughter? His advice to her about getting a house? His spoiling her, going to Las Vegas, the pipers, the Gaelic robe? Macushla and its meaning?

14. Frank and his Catholicism, twenty-three years at Mass every day, prayers at home, the encounters with the priest, the priest and his exasperation and swearing at Frank, the taunts, the theological discussions? The importance of the ending, Frank praying about taking the life support away, the discussion with the priest, the priest talking about his regrets and not being able to forgive himself, and, if he took off the life support, that he would be lost?

15. The house, the visit to the family, Maggie buying the house for her mother, the upset sister, the mother and her concern about welfare grants and medicine, their meanness? Advising Maggie to get a man, saying that people laughed at them, Frank observing? Maggie and her watching the little girl at the service station, waving to her, regrets?

16. Maggie and the story about Axel, the dog and the three legs, “I got nobody but you”? Going to the diner, praising the pie, memories of her father and telling Frank, Frank and the possibility of buying Ira’s diner?

17. Las Vegas, the challenger, East Germany, playing dirty, Morgan Freeman watching on TV? Elbowing during the fight, the referee comments, the dirty fighting, her hitting Maggie and her falling and crashing against the stool?

18. The hospital, Frank and Morgan Freeman’s visits, her feeling hurt? The injuries, the prospects? Frank and his discussions, trying to get her to go to study, being with her, reading Yeats? The flashbacks and his memories? Her having to lose her leg? His washing and caring for her?

19. The family’s visit, taunting her that she lost, wanting her to sign the document and their greediness, their threats, her strong reaction and her threatening to sell the house over them?

20. Her growing helplessness, not being able to breathe, the long time washing her, dressing her for the wheelchair? Frank spending the time, wanting her to study? The memories, the fact that she had her shot and Morgan Freeman’s explanation that this was an achievement?

21. Maggie and her concerns, her time passing? Asking Frank to do what her father did for Axel? His moral dilemma? Saying that her life had gone? His asking her not to request this? Her insisting that she was asking? Her biting her tongue, the blood, her almost dying? The stitches, her biting them out again, padding her tongue? Her desperation?

22. Frank in the church, with the priest, reminiscing about Maggie’s strong will? His wanting to keep her with him, a sin to kill her, a sin to keep her alive? His being urged to step aside? His final decision, explaining what he was doing to Maggie, the insertion in the drip, turning it off?

23. Maggie’s achievement? Morgan Freeman’s comment about Frank’s disappearance – and the possibility that he bought the diner?

24. Clint Eastwood’s achievement in producing a boxing film, personal drama, raising controversial moral issues about assisted suicide?

A LOT LIKE LOVE

US, 2005, 107 minutes, Colour.
Ashton Kutcher, Amanda Peet.
Directed by Nigel Cole.

Unless you are under thirty, A Lot Like Love is going to make you feel a bit old – more than a bit old. Here is Ashton Kutcher again (Cheaper by the Dozen, Butterfly Effect, Guess Who) turning on the charm of little boy lost, the puppy and puppy love variety. Even if he irritates you no end (which could be more than likely), he still comes across as basically nice. Amanda Peet is the ‘like love’ interest until the end when (at long, long last) they realise they are made for each other. The film is made up of successive flashbacks, taking us to when they were about twenty and moving forward gradually by couple of year stages. This gives them the chance to have different clothes, hair styles, jobs as they remain friends until the penny drops that their ‘a lot like’ is actually love.

It is froth and fizz and does not aim to be anything else. It is romance with pratfalls – an easy pastime if you’re in the mood (and not feeling too self-conscious about how old it makes you feel).

1. The audience for this film? Age? Romantic, light, a perspective on love and relationships?

2. The title, the meaning of love, sexual relationship, intimacy, commitment, long-lasting love?

3. The California settings, the use of the city of Los Angeles, San Francisco? The east coast and New York? The 1990s? The 21st century? Younger audiences identifying with the characters? Work, parties, friendships? The musical score, the lyrics and their referring to the behaviour and attitudes of Oliver and Emily?

4. The flashback structure of the film: seven years, five years, three years, getting closer to the present? Watching the two grow and change?

5. Oliver, arriving at the airport, seeing Emily clashing with her boyfriend, staring at her, on the plane, the accident and his going to the toilet, Emily’s approach, his smile on emerging? Arriving at the airport, meeting his brother, his brother being deaf, the fiancee and her not being deaf, Emily and the introduction? Giving his name, her not giving her name, her saying that these were strikes against him? His age, lack of experience, his hopes for the years, his plan?

6. Emily, her appearance, going into the toilet, the sexual aggression? Her offhand attitude? Her going to the cemetery, the information on the grave about her mother?

7. Oliver and the stolen jacket, seeing Emily, approaching and talking, spending the day, the cemetery, taking the photos – and her keeping the roll of film? Her discovering the roll of film later, looking at it, what it meant to her? Her change of attitude about his striking out?

8. Emily, her relationship with Peter, in bed, his being with the laptop, breaking off the relationship, her going to the audition, the real feeling in it? Being glum? The phone call to Oliver, Oliver and his being at home, his mother, his sister being cantankerous, on the phone, the shouting? His going to see her, the joke with his brother pretending to be him? Their talking, the meal, the accident? Going to the party, their behaviour at the party, her drinking, the New Year’s kiss? Going home with him, his moving, her sleeping, the note and his going to San Francisco?

9. Oliver and his success, the bid for the New York money, the achievement? The company, his assistant, the staff? The loss of the money, the closing down of the company, selling it, the repercussions? The screenplay not giving any explanations?

10. Emily, her friends, the advice from her girlfriends? The encounter with Ben, the meal, the possibilities of a relationship, talking?

11. The failure of the company, the background to Oliver’s relationship with Bridget, his being a workaholic, her breaking off the engagement? His going to the house, Emily baby-sitting? Their going for a drive, talking, going out into the desert, parking? The photo, the nudity – and the later use of the photo in the exhibition? The national park, the trooper advising them to go? The separation?

12. Emily engaged to Ben, her hesitations? Her friend and seeing Oliver getting fitted for the suit? Her presumptions? Emily, engaged, Oliver serenading her, the applause? The build-up to the wedding?

13. Emily, the wedding, gatecrashing? Expecting the worst? Oliver, preparation for the wedding, the revelation that it was his sister’s wedding? The kiss at the car – and his sister shouting again? Happiness for Emily and Oliver?

14. A film for those in their twenties? Contemporary attitudes towards relationships, fragility, impermanence, the need for something that was a lot like love? Commitment? The final collage of Emily and Oliver?

THE WEDDING CRASHERS

US, 2005, 119 minutes, Colour.
Owen Wilson, Vince Vaughn, Rachel Mc Adams, Christopher Walken, Jane Seymour.
Directed by David Dobkin.

The Wedding Crashers was an unexpected success in the summer of 2005. It appealed to the American audience looking for some laughs.

The basic premise is fairly crass: two divorce lawyers have a plan to crash weddings in order to meet up with prospective bridesmaids or other guests at the wedding for sex. Whatever the wedding, whatever the background, whatever the religious tone, they crash the wedding party with charm.

They have a series of rules – which come into difficulty when they crash the wedding of the treasury secretary (played by Christopher Walken, his wife by Jane Seymour). As they crash the party, they look to two of the bridesmaids. John (Owen Wilson) actually falls in love with Claire (Rachel Mc Adams) while Jeremy (Vince Vaughn) does his usual spiel with Gloria (Isla Fisher) who is very much in the wedding crasher league herself.

Complications occur when they break their rules and go to a weekend at the Cleary household. There are a great number of mishaps, especially with the enthusiasm of the patriarch of the family getting sports teams and playing off against each other, especially with John being the target of Claire’s fiancé (Bradley Cooper).

Jeremy seeks out the advice of a counsellor whom he admires – a cameo by Will Ferrell.

While the film starts with crass moments, it does have a lot of funny jokes and situations. With Owen Wilson playing against his usual type, rather more reticent, there is a bit more pathos and humanity in the comedy. Vince Vaughn, on the other hand, has never been better as the completely amoral wedding crasher.

The film moves towards a much more ethically acceptable ending, the two crashers realising something of the truth and the wastefulness of their lives and the crassness of their attitudes.

The film was directed by David Dobkin (the thriller Clay Pigeon, with Vince Vaughn, and Shanghai Nights with Jackie Chan and Owen Wilson).

1. The appeal of the film? Age target? Men’s response? Women’s response?

2. The film as comedy, laughs, satire on yuppies, sex, comic issues? The seriousness of the issues – and the moral stances?

3. The world of lawyers, the opening, the two lawyers and their incessant talking, the couple and their clash, their giving up?

4. John and Jeremy as wedding crashers, their philosophy of life, the rules, the set-up by Chas? Going to the Jewish wedding, the collage of the other weddings, eating, dancing, their back-stories for each wedding, playing with the kids and making balloons, being charming to the adults, being the life of the party, the photos etc? Crashing to pick up girls, the sexual encounters? The moral tone – immature as the commented later, or in the words of Claire, pathetic?

5. The comic styles of Owen Wilson and Vince Vaughn, their working together, patter, timing, slapstick comedy? Jeremy as full-on, gorging when eating, sexual appetite? John, more restrained, charm?

6. The Clearys and the plan for crashing their wedding, Cleary as a significant politician, the wealthy family? The making up of the story as being the children of Uncle Ned? Crashing the party, making the balloons and the demanding boy wanting a motorbike? Playing with the kids? Jeremy and his being struck by Gloria, the dancing, the sex on the beach, her story about being a virgin, changing her story because she thought that was what he expected? His later shock? John, change of attitude, glimpsing Claire, watching her during the wedding? The discussion about her speech? Helping her? His being approached by her mother, her mother coming on to him? The discussion with the secretary, the talk about economics? The encounter with Sack(?) and his antagonism towards him?

7. Being persuaded to stay for the weekend, Jeremy wanting to go, John wanting to stay, Gloria’s tantrum with her father? Sailing, the home, the football match and its violence, especially from Sack and his friends? The group and the ethos of playing football? Jeremy being hit? The meals, Gloria and her sexuality at the table? John and his charm towards Claire, putting the medication into Sack’s drink? Claire and her being concerned about Sack? Todd and his behaviour, attitudes, paintings, homosexuality? His disdain for his father? The father trying to cope? His wife and her talking about infidelity, coming on – especially with John and in his bedroom, the breasts, calling him a pervert? Jeremy’s night – and Gloria, tying him up, Todd’s arrival, advances, the painting? Cleary coming in for discussions?

8. Cleary, the realism of his job, the speeches, economics? The families and his wanting to bring them together through marriage? Sport, expectations? The embarrassment of his mother and her forthrightness at the table? His wife and their leading separate lives? The dancing, the engagement party? The engagement – and his pride in his daughter? The married daughter and the speech about her being aware of people’s opinion of her? Todd and his art, homosexuality?

9. Gloria, personality, sexual encounter, Jeremy, talking to the priest, seeing it as equivalent of confession, the priest telling the mother? The months passing, the relationship with Gloria, being caught, wanting to marry her?

10. John, the drops, the clash with Sack, his sickness, learning the truth, being ousted? The talks with Claire, the walks, trying to be honest with her, her asking him whether the report was true or false?

11. The aftermath, John’s moping, dressing up as a waiter, Sack punching him out again?

12. The visit to Chas, Chas and his personality, dependence on his mother, the girls, his rules? Gross attitudes? Crashing funerals, John going – seeing Chas’s behaviour, coming to his senses?

13. Jeremy asking John to come to his wedding, his finally going? The ceremony, the declaration of love? Sack, the punch?

14. The ending – happy, moral?

15. A film of and for 30somethings, affluent, worldly? More than a touch pathetic in the characters and their crashing ambitions? Their coming to their senses?

WINTER SOLSTICE

US, 2004, 95 minutes, Colour.
Anthony La Paglia, Alison Janney, Aaron Stanford, Mark Webber, Ron Livingstone.
Directed by Josh Sternfeld.

A small-budget feature screened at festivals and made with the assistance of the Sundance Festivals. Not essential viewing, but audiences who catch it and like family dramas may find it quite satisfying.

The winter solstice is the dead of winter, the deepest cold when we look forward to spring and new life.

The Winters family here are in a cold season in their lives. Jim, the father (Anthony La Paglia), works as a local gardener and landscaper. The older boy, Gabriel (Aaron Stanford) is restless. The younger boy, Peter (Mark Webber) is unsettled and not doing well at school. The reason for this is the death of their mother in a car accident five years earlier which Peter escaped.

1. Small-budget film, its impact, the intended audience?

2. The winter season, the trees and the streets, the town, the bleak weather, family life, homes, the streets, schools?

3. The title, the winter solstice being the deepest part of winter, leading to spring – death coming to life? The musical score?

4. The portrait of the family, the three men, the shared grief, the angers? Work, a sense of being losers? Hopes? Antagonisms, love, bonds, crises?

5. Jim as father, seeing him at work in the gardens, losing his wife (and his explaining the story to Molly)? The mementos and Gabriel’s wanting to keep them, his taking them? His relationship with his sons, the five years of bringing them up? Gabriel, his work, not communicating with his father, the sudden announcing of the decision, Jim’s anger, hitting his son? His concern about Pete, getting him up in the morning? The teacher-parent meeting and learning of Pete’s abilities and his lack of commitment? Ordering him to study? His helping Molly, the invitation to the dinner, the boys not going, his going alone, the talk with her, the attraction? His putting the mattresses out on the lawn in anger with the boys not turning up? Meeting Molly, the talk in the car, the kiss? The later visit, the plan for calling by? The birthday party, the bond with the boys, packing, letting Gabriel go?

6. Gabriel, his age, the effect of his mother’s death, seeing him at work, with his friends, fighting Pete, the ordinary way of life, his girlfriend? The decision, the suddenness, telling his girlfriend? His own angers? Packing, the mementos of his mother, the beds on the lawn? The final dinner together, the end and his going to establish a new life?

7. Pete, his age, grief, deafness, surviving the accident, his inner angers? Fighting Gabriel about the television? At school, lack of interest, talking with the teachers? The basketball and his friends? The class, his being reported to the principal, sitting and waiting? History, the teacher, the discussion about Genghis Khan, his answering the questions and getting the time off, his doing the test, passing? The confrontation with his father, meeting Molly, friendly with her, not going to the dinner? The scene in the dining room, exchanging the paper with the teacher? The final party, seeing Gabriel off?

8. Molly, her background, coming to the town, unpacking, the lazy boys not helping, even for money? Jim and the cart? Returning it, meeting Pete and his friend, the invitation to dinner, Jim going alone? The ease with which they could meet, talk? Molly and her hopes, a new life, paralegal, her artwork? Not enough to make a living? Making friends, riding the bike? Meeting Jim, the discussion in the car, the kiss? Her seeing him and his promise to call by?

9. The teachers, the sympathetic history teacher and her discussions with Jim? The history teacher, the class, exchanging the paper, the questions about Genghis Khan, giving Pete the day off, his doing the test, a successful teacher?

10. Jim’s work, the clients, the gardens, Gabe and his work? The teachers, the restaurant personnel, the glimpse of ordinary people and their ordinary way of life?

11. The moral of the film about relationships, communication, angers, decisions, hope?

SIN CITY

US, 2005, 123 minutes, Colour.
Jessica Alba, Devon Aoki, Alexis Bledel, Powers Booth, Rosario Dawson, Benicio del Toro, Michael Clarke Duncan, Carla Gugino Josh Hartnett, Rutger Hauer, Jaime King, Michael Madsen, Brittany Murphy, Clive Owen, Mickey Rourke, Nick Stahl, Bruce Willis, Elijah Wood.
Directed by Robert Rodriguez and Frank Miller.

As a tour-de-force of state of the art CGI and cinematic technology, this is a fascinating experience. Storyboarded exactly like the graphic novels it is bringing to the screen, it combines black and white photography with splashes of colour (mainly blood red), white on black silhouettes, swift editorial cuts and a pace that rarely lets up. An impressive gallery of actors do their comic book stuff with great relish. Mickey Rourke is particularly impressive as a both kindly and monstrous. Clive Owen is better than usual, though Bruce Willis does his world-weary good-hearted cop again (reffering to himself as 60ish and old). In fact, the extensive cast is quite star studded, including Nick Stahl as a loathsome paedophile, Elijah Wood as a kind of supernatural killing maniac, Rutger Hauer as a corrupt cardinal, Powers Boothe as his corrupt brother, a senator. Benicio del Toro (made up, as is Mickey Rourke, to look like a comic strip character) is a corrupt police officer. Rosario Dawson and Brittany Murphy lead the female cast (who are not made to look ugly in any way!).

Robert Rodriguez has co-directed with the author of the graphic novels, Frank Miller, who has been so pleased with the results that Sin City 2 is already in preparation.

Robert Rodriguez also has a credit which, instead of saying ‘photographed and edited by’, says ‘shot and cut’. That’s the clue. This is a movie full of shots and cuts. Frequent, even vicious. Friend of Rodriguez, Quentin Tarantino, directs one sequence (Clive Owen driving the dead Benicio del Toro to the tar pits). They collaborated, one remembers, on the graphically ugly, From Dawn to Dusk.

One of the cast remarked that the violence is part of the wit of the screenplay. In a post-modern way it is. However, this is a film that relishes excess, the splatter of video games and horror genres while using film noir conventions. One of the most frequently used words in the screenplay (apart from the expected four letter words) is ‘kill’. It demands a response to the question of how a creative pulp fiction aesthetic relates to an ethic of violence. (At a time when US military have been found guilty of torturing Iraqui civilians, this is a significant social question.)

1. The impact of the film, critical acclaim, audience reaction – entertainment, violence and excess? The comic strips, the graphic novels, post-modernist style and morality?

2. The popularity of graphic novels, film versions, the visuals like the comic book illustrations, the storyboards? The framing action? Larger than life? The splatter tone? The emphasis on the word “kill”? The overall pervading black and white, the touches of colour, bright reds and yellows? Make-up? The overall effect? Computer graphics and the film as a tour-de-force?

3. The work of Frank Miller, his graphic novels, his mentality, characters? Transferred to the screen?

4. Robert Rodriguez and his career, his interest in dramatising violence, graphic novels, the influence of Quentin Tarantino – and the tendency to excess?

5. The Quentin Tarantino scene – Clive Owen and Benisia del Toro? Rodriguez’s homage to his master?

6. The impact of the violence, issues of violence on screen, realistic, over the top? Violence and humour, wit and exaggeration? The violent mentality? Ethical issues?

7. The prologue, the killer and the girl, pretending to love her, killing her, the cheque – his reappearance and his charming Becky to kill her?

8. The Hartigan story: Bruce Willis’s screen presence as the weary detective, Elijah Wood as the cannibal, Nick Stahl as the abuser, Michael Madson as the tough partner? The detective, his age, the relationship with his partner and his partner’s criticisms? The authorities and the pressure on him? The confrontation with Roark, saving Nancy? Roark and his perversions and cruelty? Kevin as mad, cannibalistic creature? Hartigan’s partner shooting him? Roark and Hartigan castrating him with his shot? Hartigan left to die, Nancy’s escape?

9. The story of Marvin, Mickey Rourke’s style? His appearance, ugly, like the Hulk? Goldie and the splashes of colour? The sexual encounter, Marvin’s tenderness, Goldie being targeted, her trust in Marvin? The sexual encounter, her death? Marvin in himself, the prison background? His going to Lucille, her relationship with her partner, as parole officer, the questions? Her helping him? Her death? The bar and the girls? Sherrie and Dwight? The girls and Gail? The slap? The confrontation with Wendy – and her being Goldie’s sister? Marvin and the brutal interrogations, the thugs, the police? His maiming and killing, the confrontation with the Cardinal, the Cardinal supporting Kevin, his death? The death of Kevin? The senator and his protection? The portrait of Kevin, Elijah Wood as Kevin, evil, captured, his legs, the dog? The senator and Marvin’s capturing him? His not talking, going to prison, the treatment, the electric chair, Wendy and her believing in him? Her support of him?

10. Dwight and Sherrie, Clive Owen and Brittany Murphy? Jackie Boy – Benisio del Toro – and his gang? The tough, the confrontation, Dwight in the bar, Sherrie and her work? The girls in the neighbourhood? Gail and her command, the tough Miho and her martial arts, Becky? The confrontation of Jackie, Sherrie’s boyfriend, his gang, the intrusion into the house, Dwight’s reaction, the toilet? The killing of Jackie – driving the body – with the tool? The girls and their support of Dwight? Gail as tough, the leader? Becky, her mother, betrayal? The arrival of the Irish mercenaries? The confrontation at the tar pits? Dwight being rescued? Their exchanging the head? The explosives from the Irish?

11. Hartigan and his recovery, the encounter with Bobby, the senator? His refusal to confess? The eight years passing, kept alive in jail by Nancy and her letters? The letters stopping? The yellow creature? His deciding to confess to be free and find her? Finding her in the bar, exotic dancer? The yellow creature following and attacking her? The capture? The farm, the torture? Hartigan and his confrontation with Roark? His not screaming? His partner, the death? Hartigan and his claiming to be old, Roark’s death, wanting Nancy to be free, the decision to kill himself?

12. The initial killer arriving to murder Becky? The beginning and the end?

13. The cumulative effect of the visuals, the characters, the emergence in Sin City, the moral perspective, the violence and killing?

BROKEN FLOWERS

US, 2005, 105 minutes, Colour.
Bill Murray, Jeffrey Wright, Sharon Stone, Frances Conroy, Jessica Lange, Tilda Swinton, Julie Delpy.
Directed by Jim Jarmusch.

It is a pleasure both to watch and to listen to this film. With its African rhythmic musical score creating atmosphere, the film combines some serious themes with a light touch. It is often funny, sometimes satirical at American eccentricity, always genial.

After Lost in Translation and The Life Aquatic, we are getting used to Bill Murray being something of an icon of seemingly passive, laconic middle age. While he repeats this performance here, he varies it, often quietly brilliantly, with deadpan reactions to odd situations and simple eye and eyebrow movements that communicate volumes. It is a very clever and well-timed performance.

He is an ageing computer businessman who is compared to Don Juan, although his current girlfriend, Julie Delpy, is walking out on him. Unlike Don Juan, he has the opportunity to visit some of his past women, a quest for some kind of meaning to his life and affairs. He is urged to this by his computer-mad, detective fiction obsessed neighbout, Steven Wright.

These women include Sharon Stone, Frances Conroy, Jessica Lange and Tilda Swinton, quite a gallery of memorable performances, each with its sardonic comment on American ways, permissive, uptight, New Age, trailer trash.

Jim Jarmusch has never been so quiet and kindly in his films. It is smart, well-crafted and thoughtful, winner of the Jury Prize, Cannes, 2005.

1. The films of Jim Jarmusch, offbeat, this film as more mainstream?

2. The film as a piece of Americana, the places, travels, people and eccentricities, a search for family?

3. The musical score, the ethnic background, mood?

4. The mid-life crisis, the lost man, remembering his past, no longer present but still influencing him? The consequences and effect? The future and change? Living in the present?

5. The opening credits, the post office, the letter device, the delivery, Don reading it, the later letter and Sherry’s note?

6. Bill Murray’s screen presence, expression and seeming lack of expression, indication of moods, attitudes? Don, his name? Sitting, listening to the music, Sherry leaving and the drama, his not wanting her to go? The television showing The Adventures of Don Juan? His being likened to Don Juan? His blank expression, dozing off, the music, sitting again?

7. Winston and his happy disposition, Mona and the kids, the phone calls, his expertise about computers, Don’s background in building computers? The phone calls, the visits, the meals? Don and his attitude towards Winston’s children, a father figure?

8. Winston and his computer, his interest in detective stories, his being fascinated by the letter, coming over to Don’s place, meeting in the restaurant, the plan – and all his print-outs? A character in himself, phoning Don during the trip, his detail, clues? Dreams and images?

9. Don and his travels, the passengers on the plane and his being situated amongst them, his standing out, their ordinariness, different aspects of ordinariness? The hiring of the cars? The effect of his visits, his questions, trying to discern whether the woman had his son? His observance of the clues and Winston supporting this? The colour pink? The nature of the typewriter and its typeface?

10. The visit to Laura, an old flame, meeting Lolita, the adolescent sexpot, flaunting herself? The discussions with Laura, their respective lives, the meal, spending the night with her, Laura as a pleasant woman – and not the mother of his child?

11. The contrast with the visit to Dora, the prefabricated house, her being very proper, his bringing the flowers, the neatness, her husband, Ron and his geniality? The very fashionable meal – but inedible? Her having plenty of money, a comfortable life, respectability – but no children?

12. Carmen and her secretary, the secretary protecting Carmen? Her profession, communicating with animals? The talking, the books, law, New Age? The talking with the cat? The fun with her various clients? The discussion, memories? Her wanting Don out of her life? Her own daughter?

13. The travelling to Penny, the difficult road, the trailers and life with the trailers, the men and their tough style, Penny and her extreme hostility, bashing Don?

14. The return home, the discussions with Winston, Sherry’s new note?

15. The young man at the airport, Don’s noticing him, presuming that he might be his son? Offering him the sandwich, their talking, sitting in the street, philosophising? The gift? Frightening off the young man?

16. The overall effect of the journey on Don, helping to see his life in perspective, his desires and hopes? A change for him for the future?

WOLF CREEK

Australia, 2005, 99 minutes, Colour.
Nathan Phillips, John Jarratt, Cassandra Magrath, Kestie Morassi.
Directed by Greg Maclean.

The shadow of Crocodile Dundee

First time feature director, Greg Maclean, must have felt that he had fallen on his feet at the 2005 Festival of Cannes. He was an official selection film-maker in the Director’s Fortnight. He was feted. His film was well reviewed – and he had paid off his budget (and then some) through overseas distribution sales, especially in the United States. Wolf Creek was a hit.

It would be interesting, on the other hand, to hear the views of the Northern Territory and South Australian Tourist Bureaus. Wolf Creek is about tourism, but tourism that ends badly. It is a cautionary horror tale for visitors.

Maclean has said that his project was already in progress when Ivan Milat came to trial for the backpacker murders in the southern highlands of New South Wales – and he remarked in the Media kit that what was revealed in the trial was far more horrible than anything which happened on screen. Then came the disappearance of Peter Falconio and some scepticism, especially by the media, regarding the story put forward by his girlfriend about what happened. Echoes of that case are prominent in Wolf Creek. In the film, it is the girls who die and the man who survives and has to justify himself.

A French wit at the Cannes Festival suggested that Wolf Creek should be the winner, not of the Camera D’ Or for first-time director, but the Camera Gore. Funny but misleading – as were so many of the critical and puff pieces that linked it to splatter films like The Texas Chainsaw Massacre. These slasher films are genre pieces where the horror seems so impossible and excessive that one suspends disbelief and simply disbelieves and admires (or not) how writer and director exploit the conventions. Wolf Creek is more serious than that.

Because Wolf Creek gathers elements of real events in Australia, we know that, despite the bizarre killer, this kind of thing can happen. There are certainly some moments of horror (very grimly so), but they are in a more ‘realistic’ context, more credible.

It all starts off as a road movie, tourists on the beach at Broome and a whole lot of partying going on. Three of them (two British girls and a man from Sydney) decide to visit the meteorite crater at Wolf Creek. When they break down, a friendly truckie takes them to his home – and the terror begins.

We see three ordinary people on holidays, travelling and then trying to cope with vicious violence. While the screenplay is not so interested in developing their characters, they seem to belong to the majority of ordinary types and groups. The popular audience, especially the multiplex audience will identify easily with characters and behaviour.

What the screenplay is definitely interested in is dramatising the type of the killer.

At the end of the film, where the young man is finally cleared of suspicion in the deaths of his travelling companions, the final image is that of the killer. Crocodile Dundee style, he lopes casually, a touch larger than life, free into the sunset. In fact, there are several references to Crocodile Dundee during the film, including an alarmingly sinister reference to his ‘now, that’s a knife’. What Wolf Creek seems to be doing is showing us the shadow side of the image, if not the reality, of the average outback Australian male/loner/hunter/hero. What we see here is this potentially heroic Aussie battler stuck in his type with disastrous results.

The killer is genial, all smiles and generosity, looking and sounding like the Dundee image. Even though he is a cruel predator (of human victims, their videos and cameras and their cars), he is not like the Leatherfaces and other monstrous hillbillies of the American slasher movies. Veteran John Jarrat plays the killer in a commonsense, Ocker, humorous and deadpan way, making his violence and cruelty all the more alarming, the manic side of the lone hunter.

When he comes across the stranded tourists, they quickly lose their wariness and warm to the friendly extraverted behaviour. He has a practical plan for how to fix their car, details of what is wrong as well as information and reassurances that all will be well.

We don’t know really know what makes the killer tick. Rather, his pleasant side has been trapped by the shadow. Any development of his sensing is channelled into devising ways of tantalising, taunting and torturing his victims. Any development of his feeling has driven him into an insane subjectivity, king of the outback, king of the world in his lost world kingdom. He is one of the worst examples of the immaturity-wreaking havoc of the ‘puer eternus’.

In ocker terms, the good bloke who enjoys some larrikin attitudes and behaviour has become a deadly hooligan.

Greg Maclean may be surprised at a psychological look at his film. He would say that it is an entertainment with a grounding in fact. But his choice of the Crocodile Dundee imagery enables us to ask deeper questions – and wonder about the shadow side of the Ocker man.

1. The success of the film in Australia, overseas? Sales? The appeal? The audience? The genre?

2. The film based on true stories, the dramatisation of madness and violence, sexuality and oppression? The Australian locations and style – in comparison with similar treatments of American themes?

3. The use of horror/terror devices? The menace, the assault? The explicit violence?

4. The Broome locations, the beach, the party, the introduction to the characters? The British and the Australians in the Australian desert?

5. The desert, space, the car and the preparation for the trip, the pubs on the way, life in the pubs, the drinkers, the jokes? The vulgarity? Getting the petrol? The challenge, the laughter? The sense of menace at the same time?

6. Wolf Creek itself, the location, the crater, isolated? The visit, the sense of wonder at the size of the crater? The discussion about fate and that the meteor should have hit the earth at that spot? The kiss?

7. The watches stopping, the car breaking down? Mick arriving, the Crocodile Dundee style, laugh, practical, making decisions? The group wary, being towed, dozing, anxious, the arrival, everything seeming to be okay?

8. Liz, her character, the stronger of the two women, the relationship with Ben, Chris, the attraction, the kiss?

9. Each of the characters and the experience of waking in fright? The film and its explanation of each character, giving the story of each, as tormented by Mick?

10. Liz, breaking free, the explosion, helping Chris, driving, hiding over the cliff, the crash, the discovery of the bodies, the videos and looking at them, the cars in the garage, the fear of Mick, her fingers being lopped off, the comment about head on a stick – and her sudden death?

11. Chris, being taunted and tortured, her fear, dependence on Liz, hiding, the car, the crash? The old man and the possibility of escape – and his being shot?

12. Ben, the Australian, jovial, being nailed, pulling himself free, walking, being picked up, the irony of the suspicions, the trial, his being set free?

13. Mick and the portrait of the mad Australian, the Top End, his hide-out preying on people, the sadistic games, his seeming practical commonsense, his intensity and madness, the water, tying people up, torture, sadism – yet shrewd? The shooting? The escapes, the pursuit, the old man, the car over the cliff? How plausible a character in this kind of isolation?

14. The outback and terror, dangers – and the effect on tourists? The mock Crocodile Dundee ending as the mad man from the Territory walks into the sunset?

L’ENFANT

Belgium, 2005, 95 minutes, Colour.
Jeremie Renier, Deborah Francois.
Directed by Jean- Pierre and Luc Dardenne.

The Dardenne Brothers know Liege and its environs well. They know the life of the working classes and the unemployed. They have been in the territory of L’ Enfant before, with their Cannes award-winning Rosetta. It is something of a surprise to see them return there after the powerful complexities of Le Fils. In fact, L’ Enfant needs some of these complexities.

L’ Enfant is rather a misleading title. The newborn child, Jimmy, is important to the plot, showing us the love of his young and naïve mother and the callow and irresponsible attitudes of his father. But, then the film focuses for the most part on Bruno, the father, a petty thief who traps himself in impossible situations. Bruno is not a likeable character, the cyclist whose pillion passenger snatches bags from helpless people in the streets and then spends the money on jackets and arcade games. As a portrait of this young man and his assumption that society owes him a living, the film is effective if not particularly engaging. It is full of naturalistic sequences and detail that ring true – but perhaps the Dardennes can make a sequel. It would be much more interesting to see whether Bruno can really change and make something worthwhile of his life.

Winner of the Palme d’Or, Cannes, 2005.

1. The career of the Dardenne brothers, their direct cinema style, social concerns, portraits of individuals, lower-class members of society, insights into society and individuals?

2. The Liege settings, the river, streets, shelters, apartments, shops? The police stations? The river and the bridges for the climax? Authentic atmosphere?

3. Cinematic style, naturalistic, cinema verite, the use of the hand-held camera? Musical score?

4. The title, the reference, to the young baby? To Sonya? To Bruno – especially Bruno? The effect of the birth on Sonya and Bruno? Bruno and his love, callow attitudes, willing to sell the baby, his actions to recover the baby, the consequences for all concerned?

5. Sonya, her age and experience, love for Bruno? The opening, kicking at the door, the phone? Bruno and his cavalier attitude? The happiness together, playing together? The shelter, the pram, buying the jacket? The selling of the baby, the effect on Sonya, her collapse, antagonism towards Bruno, in hospital, her silence and anger, ousting him? Visiting him in prison? The final scenes with him – and weeping?

6. Bruno, the portrait of a young man, age, experience, his relationship with his mother, her friend, his visiting, her telling lies for him? His going to the shelters, his interaction with the young kids, as a thief, dividing the money? Spending the money, buying the jacket, the hat, playing the games, gambling? Irresponsible? The contact and the arrangement about robberies, the phone card? His relationship with Sonya, the birth of the baby, his love, lack of love, irresponsibility? Playing, decision to sell the baby, the phone calls, his lies? Getting the money, telling Sonya? His reaction to her collapse? Decision to get the baby back, the issue of the money, getting into more debt, not turning up to repay? The police, the interrogations? Going to his mother, getting the alibi? The bashing, the gang? Selling the pram? His hunger? With the young boy, having nothing, Sonya refusing to let him in? The final stealing, the chase, the water, Stephen going into the water, his saving him, reviving him? Giving himself up instead of Stephen?

7. His final decision, going to the police, the money back? Some acceptance of responsibility?

8. The portrait of the young children, gangs, stealing, amoral backgrounds?

9. The adult gang, callous, the pressure on Bruno, demanding the money, their violence?

10. The picture of the police, their work, interrogations, concern?

11. The background of families, Sonya and her lack of family, Bruno and his mother?

12. The final sequences in prison, the emotion, Bruno facing Sonya, her facing him, their weeping – the possibilities of a more decent future after he got out of jail?

A GOOD WOMAN

UK, 2004, 98 minutes, Colour.
Helen Hunt, Scarlett Johansson, Tom Wilkinson, Stephen Campbell Moore, Marc Umbers, John Standing, Milena Vukotic.
Directed by Mike Barker.

A Good Woman is an adaptation of Oscar Wilde’s play, Lady Windemere’s Fan.

Oscar Wilde would not have called himself a moralist but in his plays and in his stories like The Portrait of Dorian Grey, he definitely proposes to his audience and analyses issues of right and wrong. The plays do it with wit and elegant style. If we listen carefully to Wilde’s epigrams, we realise that under the felicitous vocabulary and phrasing, under the ironic contradictions, he is making strong moral judgments. It is done with the lightest of touches in The Importance of Being Earnest. In A Woman of No Importance, An Ideal Husband and Lady Windemere’s Fan, there is an abundant of wit but more substance and depth.

Lady Windemere’s Fan is a morality play about appearances and reality. Mrs Erlynne is a lady of the world, elegant in style but dependent on the whims and cheque books of the married men in her life. Society (and injured wives) have no difficulty in branding her a bad woman. (She is similar to but less destructive than Mrs Chevely in An Ideal Husband.)

By contrast the young and innocent Mrs Windemere is one year married, turning twenty one, believing only good about people and, though fearful of sounding priggish, she believes in standards and decorum. Everyone considers her a good woman.

When Mrs Erlynne goes to the Amalfi coast for the season, gossip about her abounds, especially as Mr Robert Windemere is seen, suspiciously and often, in her company. As she remarks, condemning gossip, ‘You have bought gossip and should ask for a refund’.

Wilde loved upper crust society but he also knew how to highlight their foibles and the genuine nastiness underlying the respectable veneer. This is where his clever dialogue bursts pretensions. (Having seen the film with a paying audience rather than at a press preview, I was surprised and delighted how Wilde’s aphorisms elicited so much delighted laughter.)

The director is Mike Barker who made The Tenant of Wildfell Hall and Lorna Doone for television and the intriguing film about Oliver Cromwell, George Fairfax and Charles I, To Kill a King. He has not gone so far back in history here, nor has he gone back to Wilde’s 1890s London. Rather, the action has been internationalised with Mrs Erlynne and Meg and Robert Windemere now Americans. It has also been brought into the 1930s, the period of Noel Coward, one of Wilde’s most obvious literary and dramatic descendants.

This transposition works quite well and contrasts American new money with the decaying old money of Britain and Italy in the form of idle and stupid aristocracy.

The casting and performances are interesting. Oscar winner Helen Hunt (As Good as it Gets) is a brittle Mrs Erlynne who has to do a self-sacrificing deed to save Meg Windemere. Meg is played be the versatile Scarlett Johansson. There is a very genial performance by Tom Wilkinson as a rich man who admits he is ignorant but has a penchant for telling the truth. Stephen Campbell Moore is the charmingly caddish Lord Darlington.

Ultimately, superficial perceptions and judgments are overturned. Mrs Erlynne does the noble thing and Meg is able to overcome her presumptions and pronounce her a good woman. Meg, on the other hand, has been too rigid in her expectations and her moral fragility has cracked. She is in danger of losing her reputation and becoming a bad woman.

It is something of a surprise to hear so many of Wilde’s lines and realise that they have become part of the culture, seemingly off-hand, throw-away wit, but humorously ironic – and moral.

1. The status of Oscar Wilde, his plays, wit, moral perspectives?

2. The adaptation of the story to the 1930s, the background of the Depression in America, wealthy Americans going to the Italian coast for the Season?

3. The New York opening, the fashionable restaurant, the hotels? The move to Italy, the beauty of the sea, the old town, buildings, décor and costumes, the re-creation of the period? Songs and music?

4. The transition of the title from Lady Windermere’s Fan to A Good Woman? The tone of the title, the moral statement? The use of Lady Windermere’s Fan story from the original?

5. Mrs Erlynne and her voice-over comments? Her life, men in her life, her husband marrying the wrong woman? The wives and the chatter at the tables at the New York restaurant, the closing of accounts? Her pride, her marriage, her daughter and abandoning her? Living by her wits, sexuality and allure, her selfishness, wanting comfort and fashion? Seeing the information about her daughter’s marriage, going to Italy, her motivation? A bad woman?

6. Italy, her presence, clothes, place in society, being shunned, the subject of gossip? The meetings with Robert Windermere, the cheques? The women and their criticisms, the men and their gossip? Tuppy and his attraction towards her, their encounters, her mellowing, discussions with him, explanations of her life? The possibility of love? The plain talk and honesty? The use of Oscar Wilde aphorisms?

7. Mrs Erlynne and her daughter, seeing the photo of Meg, going to Italy, seeing her in the shop, the discussion about the dress, decency? Mrs Erlynne and the blackmail? Her meeting Robert, the explanation of all the communication by the fan? The parties, the birthday, her not being welcome there? Robert and his clash with her? The talk with Tuppy, the proposal, the ring? The clash with Meg, going to the room, finding her letter and destroying it? Listening through the door to Robert’s denunciation of her? Going to the boat, talking with Meg, hiding, the loss of the fan and her returning it? Going to the plane? Her sacrificing herself and her reputation for her daughter? Listening to Meg’s explanation of her mother as a guardian, the locket? Tuppy in the plane, the return of the fan? Her being a good woman? Not revealing the truth to her daughter?

8. The audience, being led to believe that Mrs Erlynne was a bad woman, in relationship with Robert? Audiences believing the gossip and the lies?

9. Meg, her age, memories of her mother, the locket, her marriage to Robert? The encounters with Lord Darlington, her being uncomfortable with his compliments, trying on the glove? Going walking with him, alone, the fish? Her love for Robert, the gift of the fan? The preparation for the party, not wanting gifts, Lord Darlington’s gift? The chequebook, her grief and reaction? Her behaviour at the party, her drinking? Her leaving and the note? On the boat, her surprise with Mrs Erlynne? The discussion between them, her being saved, the fan, her not telling Robert the truth? Her belief in decorum, her expectations of perfection, her fragility and its being shattered?

10. Robert, his character, work, the political background, love for Meg, the buying of the fan? The rendezvous and meetings with Mrs Erlynne, the cheques? People’s gossip, Lord Darlington’s reaction? His being hurt, not wanting Mrs Erlynne to come to the party, going to the yacht and being with Darlington?

11. Darlington, the cad, idle, rich, flirting, his reputation, his gossip with the men, attention to Meg, the party – and his quota of Wildean aphorisms?

12. Tuppy and the men, their wealth, Tuppy and his admitting that he had no brains, the background of his marriages and divorce, plain talk, the relationship with Stella, respect for her, love? His disappointment concerning the fan? The happy ending and the plane?

13. The foppish men, their talk – very Wildean? Their comments on life, people, gossip, the Season? Dreaming about Mrs Windermere’s identity…?

14. The countess, her enjoying the gossip, her daughter and her plainness, the binoculars, watching everything, gossiping and making judgments? The other women and high society?

15. The Season in Italy, the lifestyle, wealth, idleness?

16. The secrets and lies in families, the keeping of secrets, the preservation of relationships by secrets and lies?

17. The skill of Oscar Wilde’s dramatising people, issues, moral issues? His wit?