LEGALESE

US, 1998, 105 minutes, Colour.
James Garner, Gina Gershon, Mary- Louise Parker, Edward Kerr, Brian Doyle- Murray, Kathleen Turner.
Directed by Glenn Jordan.

Legalese was written by Billy Ray, prolific writer and director of Shattered Glass, the expose of the writer who faked his articles for the New Republic. It was directed by Glenn Jordan, a director of many television movies during the 70s, 80s and 90s.

The film focuses on the law, on the lawyers who exploit the law and exploit the media for their own success. James Garner seems very much at home as the public-eye lawyer who manipulated people and succeeds in manipulating the law. Gina Gershon is the actress who commits murder but who finishes up as a celebrity with her own talk show. Mary- Louise Parker is Garner’s assistant. The leading man is Edward Kerr who plays a naïve young man who is also ambitious and admires James Garner. He is manipulated by Garner and has to make a final moral choice.

The film is satirical, pokes fun at law and its amoral practitioners as well as the media and its exploiters (especially Kathleen Turner as the anchor for a television channel called Scandal Centre).

1. The impact of this kind of American satire? Hard-hitting? Funny? Cynical?

2. The Los Angeles settings, affluence, media, show business? The courts?

3. The title and is jargon tone, irony?

4. The opening, Angela and her performance in the corridor, the revelation of the killing? Her going to hospital? Her composure, injuries? Going to Norman Keane? His putting her on to Roy Guyton? Her demure style, her plea for her sister, the discussions with her sister? The audience knowing that she was guilty?

5. Norman Keane, in the public eye, success, presumption? No holds barred? His relationship with Rica, her admiration for him? The encounter in the parking area with Roy, his reading into Roy’s ambitions, deciding that he would help him? Going to his office, bringing Angela to him? The earpiece, the press conference, his guidance, especially about the accident when he was young? His continued use of Roy? His motivation? The expose of Roy and Rica, on television? The revelation that he had organised Brenda to expose Roy? His stepping in when the work was done? His going on the television show? The final confrontation with Roy, the discussion of morals – and lack of morals? Of knowing that this was what the law was about? The irony of Ted Koppel ringing Roy – when he was about to go on show with Angela?

6. Angela, her sister, the relationship, the witness in the corridor, his asking Roy to picture what happened, the flashbacks and Roy picturing it? The truth about the killing? The offer of the TV show? Her going on, standing up for women, not being anti-men, her emotional appeal – especially after the interview with Brenda and the discussion about her being raped? The cynicism in the presentation of her character?

7. Rica, ambitious, admiring Norman, working for him, initiating the affair with Roy, their time together, meeting Roy’s father? The expose, the repercussions for her career? Standing by Norman, Roy’s appeal to her, her finally making a decision to go with him?

8. Roy’s father, the back-story, his drinking, his hearing about Roy, driving to meet him, the confrontation, the talk about lies and truth? His return, admiration for his son’s decisions?

9. Brenda, interviews, muckraking, Scandal Centre? The deal with Norman? His going on her show as legal adviser? The filming of Roy and Rica? The discovery of the truth – and her exposing Norman?

10. The law, the judges, the prosecutor, the spies, taping of stealing documents?

11. Roy, as a character, his studies, lying about his father, admiring Norman? His getting the case? The accent, the earpiece? His succumbing to Rica’s advances? His being publicity-shy, being sick after the press came with Angela? The press conference, the facing of the press? With

SIEGE OF THE SAXONS

UK, 1963, 85 minutes, Colour.
Ronald Lewis, Janette Scott, Ronald Howard, Mark Dignam, John Laurie.
Directed by Nathan Guran.

The Siege of the Saxons is a brief production by Charles Schneer, producer of a number of fantasy films in the early 1960s, including various films about Sinbad, Jason and other Greek legends.

This film is rather stodgily written and not persuasively performed. It focuses on a rebellion against King Arthur by Edmund of Cornwall. Mark Dignam plays King Arthur, Ronald Howard is Edmund. However, the focus is on a rather Robin Hood-like character called Robert Marshall, played by Ronald Lewis who appeared a number of stiff-upper-lip British films of the 50s and 60s. Janette Scott is Katherine. There is a cameo by John Laurie as Merlin.

The film is fairly conventional, the battles are not particularly well staged – it finishes up more like a Saturday matinee adventure for the broadest possible audience rather than a serious look at Camelot in the vein of such action adventures as Knights of the Round Table, Lancelot and Guinevere and, even, Camelot itself.

1. An entertaining picture of King Arthur, Camelot, rebellion, a siege from the invading Saxons?

2. Colour photography, re-creation of a mediaeval setting for Camelot? The castle, the woods? The staging of the battles?

3. Historical background, mythical background about Arthur, Merlin, Excalibur?

4. The character of Arthur, the establishing of his kingdom, the opening joust, the Saxons and their ambitions towards Camelot? Edmund of Cornwall as the national hero? King Arthur’s love for his daughter? His age, illness, the feint of going hunting, the murder in Cornwall? The Saxon murderer?

5. Edmund, the champion at the joust, his loyalty to Arthur, the memory of his father, his love for Katherine? His being in league with the Saxons? His hesitations, his being persuaded by his love for power? The journey to his castle, the encounter with Robert Marshall, sending him ahead and his being framed for the attempt on Arthur’s life? Katherine not believing that he was a traitor? His taking Excalibur, setting himself up, his being crowned King of England? The confrontation with Robert and Katherine, his inability to unsheathe Excalibur, the Saxons killing him?

6. Katherine, queen, love for her father, disbelief, being taken by Robert, the disguise in the forest, being the mute brother on pilgrimage? The fights with Robert, falling in love with him? Finding the blacksmith, finding Merlin? The return to the castle, the lords laughing at her, asserting her authority, the happy ending with Robert?

7. Robert, the Robin Hood type, joking with King Arthur, robbing the rich, not robbing the poor, not giving the money to the poor? His going ahead to the castle, seeing the plot, his being blamed, his escape, hiding in the castle, helping Katherine after the attack by the soldiers? In the forest, his accent, Katherine as his brother? The final heroics, confrontations and fights? The happy ending?

8. The Saxons, their ambitions towards Camelot, the representative at the joust, in league with Edmund? Edmund’s soldiers disguised as Saxons to attack Arthur? The final, the Saxons killing Edmund?

9. The limping man, sinister, firing his arrow, not killing Arthur, the later attacks, his death?

10. The local people, the doctor attending Arthur? The blacksmith and his men in the forest? The monks, the prior and his eventually shielding Robert and Katherine, the monk who betrayed them? The tradesman betraying them in the marketplace?

11. Merlin, his age and experience, being captured by Edmund, his defiance, his presiding at the establishing of Katherine as queen?

12. A contribution to the popular images of Camelot?

CAUTIVA

Argentina, 2003, 120 minutes, Colour.
Barbara Lombardo, Susana Campos, Hugo Arana, Mercedes Funes, Sylvia Bayle.
Directed by Gaston Biraben.

When does a nation say about its troubled past that it is time to move on to a more positive future? Can it ever say that?

Argentina has experienced a very troubled past since the 1970s: the military dictatorship of the 1970s and the disappearance of over 30,000 citizens who are still commemorated every week by the group joining the mourning mothers in the Plaza Mayo in Buenos Aires; the Malvinas war when Britain defended the Falkland Islands; the amnesty given to those found guilty of crimes during the dictatorship. Films on these themes continue to be made, especially for a younger generation who wants to know and understand the past.

Many films have been made on these themes. British playwright, Christopher Hampton, made Imagining Argentina with Antonio Banderas and Emma Thompson, bringing the issues to a world audience. However, its blend of realism and ‘magic realism’ in a highly emotive and melodramatic style did not find critical or popular favour.

Gaston Biraben researched case studies for his film studies thesis in Los Angeles. Cautiva is the impressive result.

Biraben has avoided the melodramatic possibilities, showing very little of the 1970s. His message is the more effective for tending towards the reticent and allowing the characters and their dilemmas to move the audience.

The opening, however, is emotional: Argentina winning the World Cup in 1978. After the goals we see the awards with the personnel of the military junta and Henry Kissinger representing the US which had back the dictators morally and financially. When the action immediately moves to 1994 and a 15th birthday party, we realise that we are going to be looking at children born in those dangerous times.

The centre of the action is the 15 year old Christina (played with persuasively soulful presence by student, Barbara Lombardo). Political themes are indicated in classroom scenes but suddenly Cristina is involved in a puzzle that is quite shattering. Are her loving parents her real parents or is she the daughter of two of the ‘disappeared’? What is the truth for her? Who is she? This is the drama of the film where the audience shares in her uncertainty as well as her pain. Are good and loving people as good as they seem? Are severe authorities the good people? Beriban has almost underwritten some of the sequences, not giving us answers that we were hoping for or expecting, making us ask questions about what each of the characters is thinking and feeling.

Many of the central characters are women: schoolgirls and friends, the adoptive mother, the grandmother and her younger daughter, the psychologist, teachers, nuns at school. Beriban shows a great empathy for his women characters. Women in the audience will identify strongly with these characters and men can learn a great deal about women’s feelings and responses. This is no mean feat for a director coming from a rather macho culture.

Cautiva indicates that a troubled past cannot be let alone or ignored. There are always consequences that will need attention and resolving.

1. The title of the film, the tone, references to Christina, the range of children who were the children of 'the Disappeared’? The whole experience of war, the comments about the dictatorship of the generals and it being a war?

2. Audience knowledge of Argentinian history, the dictatorship, the Disappeared, imprisonment and torture? Whether the search for the children of the Disappeared should be continued? The impact for Argentinians, younger, older? For world audiences? For American audiences – with the presence of Henry Kissinger and the moral and financial support of the regime?

3. The point of view: the war, the amnesty for the politicians, the importance of justice, the role of the law, protection of the oppressed? The past and the anti-communist stances? The younger Argentinians wanting the truth?

4. The Disappeared, the children, their identity, the mothers of the Plaza Mayo? The demonstrations week by week?

5. The opening, Argentina and the World Cup, the excitement, international acclaim, the presence of the generals, of Henry Kissinger, the mood – and the ironies of what was happening in Argentinian society? The recapitulation of the World Cup match, later, the nurse’s memories?

6. Christina at fifteen, the party, dancing with her father, the slides of her life, her looking back on her life, the cake, the celebration in an affluent family?

7. Christina at school, quiet, her friendship with Susana, listening to Angelica and her criticisms of the law and the amnesty, the teacher’s hostile reaction, her being sent to the principal? The political issues? Christina and Susana in the toilet smoking, Susana’s right-wing attitudes – “Everybody knows”? Despising Angelica?

8. Christina at home, her room, her asking her mother about a caesarean birth or not? Going down to the party, her relationship with her godfather? Her moods, studies?

9. Her being told to go to the principal, her bewilderment, going to the judge, the presence of the police and the psychologist? The secrecy? The revelation of the information about her parents, her reaction, shock, tears? Elisa coming in? Meeting her grandmother? Her running away, her shrewdness in eluding capture, the train, the phone to her mother, weeping? The discussions with her parents, the reactions of her parents? The police cars and her being caught again?

10. Going to Elisa’s house, the character of Elisa, the long search for her granddaughter? The house, the tour, the information about her mother, the photos, her mother’s room? Whether to believe Elisa and the judge or not? Her sadness, being told not to tell anyone? Her going on the picnic with her cousins and her aunt, asking questions of her aunt, her aunt being unable to talk about the events? The joy, the welcome to the family?

11. Her visits to her parents, talking with them, the mother expressing her love, the father and his possessiveness? Keeping the secret? The early morning visit, confronting them with the truth, their story, the details, its effect?

12. The netball game, the meeting with Angelica? Discussions, sharing, Angelica’s background, her own family and experience, getting the information, the research, the library? The secret meeting, the nurse? The information about her background? The bonding with Angelica?

13. The visit to the nurse, the visualising of the flashbacks, the nurse and the dangers, the pregnant mother, the torture, the blindfold, her giving birth, their wanting her to suckle the child so that it would be healthy for adoption? Her disappearance – but the message scratched on the wall, the name of Sofia Lombardi? Christina showing the photo, the identification of the Glow-worm as a torturer?

14. The confrontation with her parent’s, her father’s anger and slapping her, her mother saying they did not know the details? The change of birth date, the lies, the protection?

15. Her return to Elisa, the reconciliation with her grandmother, going to the room, on the balcony and the final view of Christina now Sofia at home?

16. The portrait of the women, strong and sympathetic portraits, the perceptions of women, feelings? The story of adolescent girls and the emotional struggles? The grandparent generation and what they went through, the parent generation, persecution, police authorities and power?

17. The emotional effect of a more low-key presentation of the dictatorship and its consequences? Political issues? Human rights?

18. The final information about the number of children reconciled with their original families?

IN YOUR HANDS

Denmark, 2003, 101 minutes, Colour.
Ann Eleanora Jorgensen, Trine Dyrhaolm.
Directed by Annette K. Olesen.

In Your Hands is allegedly the last of the films made under the Dogme creed. It follows the principles in its basic and ‘realistic’ style. However, its strong narrative and powerful performances ensures that it makes an impact on a wider audience than some of the previous Dogme films.

Religion is at the core of the film. The central character, Anne, has recently completed her studies for the priesthood and has been ordained. She has applied for a position as prison chaplain. This theme alone makes for an interesting film: a woman priest dealing with her ministry and its demands, especially the unpredictability and hostility in prison chaplaincy, and her managing her home life and her marriage along with her work.

However, In Your Hands goes further. The previously infertile priest is pregnant. What is the role of the addict prisoner, Kate, who is a gentle person with a gift of healing hands? Especially as it is soon revealed that she had left her baby for days while high on drugs and the baby had died from dehydration?

And then, the film goes further again. The baby may have a chromosome deficiency with the result of a 10% possibility of some defect. The Danish answer is abortion. How does this relate to Anne as a woman, mother, priest, woman of faith?

This is more than enough material for reflecting on during a film. The faith struggles are sometimes harrowing, especially in a scene where Kate asks Anne to teach her how to pray and Anne tries to get through the Our Father but cannot. The film builds to a gruelling climax reminding those who remember Ingmar Bergman’s many cinema explorations of the presence and, especially, the absence of God that there is often a bleakness in Scandinavian faith that can lead to pessimism.

Which means that In Your Hands is a powerful film experience but quite unsettling.

1. The impact of this film? For women? Men? A Danish film, Danish perspective? On life, religion, morality? The supernatural, miracles?

2. The film as a dogme film, the dogme creed, the natural performances, lighting, effect? Musical score?

3. The film as a film of struggle, faith, prayer, God, the absence of God, miracles, morality, moral decisions?

4. The ending and Ann, her decision, what led to the decision, especially about responsibility and death, her role in Kate’s death? The absence of God?

5. The initial interview, Ann and her studies, her faith, the priesthood, her request to be chaplain, the interviewer asking her about her experience and lack of experience? The wisdom of sending her to the prison – in light of what subsequently happened? The later interview in the carpark and wanting to stay?

6. Ann, in herself, her marriage, her relationship with Frank? Sexuality and priesthood? Her being infertile? Frank’s comment on her sister, Ann and her offhand comments about shamanism and New Age beliefs? Her own pregnancy, Kate telling her? The test and it being true? Her life at home, her relationship with Frank, trust in him? The visits to the doctor, the discussions about pregnancy, the scans, the tests? The information about her baby and the possibility of chromosome defects and the consequent retardation? The small percentage? The decision about abortion, what other women had done, the percentage? Her own feelings, Frank avoiding the issue, their arguments? Ann’s irritability? Her wanting further scans, imposing on the nurse? Her gradual making of the decision? Her visits to Kate, Kate telling her of the pregnancy, Kate telling her it was a girl? Ann and her anger, her getting drunk, lying in the chapel? The appointment, meeting Frank, the final decision? The pro-life/pro-choice issues about a woman’s body, children? In the light of Christian morality?

7. The portrait of the prisoners, their lifestyles, their rooms, meals? The outings – especially Kate with the guard, the café, her affection for him? Their being locked in? The background of their crimes? Women, prisoners, their age? Marian and her drug-taking, her friendship with Kate, Kate healing her? Jossi imposing on Marian, forcing her to hold the drugs? Jossi, drug dealing in the prison, forcing her daughter to give her the drugs, her bitterness about Ann, Kate and the hindrance to her trade, her pressure on Marian? Her revealing the truth about Kate? The peer pressure? Especially in their final rejection of Kate, even Marian?

8. The focus on Kate, her arrival, nice, the usual processes in imprisonment? Alone? With the others, the information about her healing power? The comments on the guards about it being psychosis? Her healing of Marian? The visit with Kate and telling her of her pregnancy? Her coming to the chapel, wanting to pray, the repetition of the Our Father? Ann and her abrupt moodiness and leaving the chapel? Ann and her finding out what Kate did? Kate and her being on drugs, leaving her baby, its dying from dehydration? Ann’s anger with Kate, the women overhearing, the revelation of the truth? Kate being shunned, hurt? Taking the drugs, her death?

9. Ann’s ministry, with the women, the men, the guards – and the friendly guard finding the file? Her preaching in the chapel? The effect of this ministry on her life? Her own upset about her pregnancy, the illness? Her inability to help Kate with the Our Father? The discussions with the supervisor?

10. The sympathetic guard, his friend who experienced threats to his family and his fears? His friendship with Kate, going out with her, the affection? Jossi’s mother seeing them? The guard seeing them? The threat to him about relationships with prisoners, his abrupt closing the relationship with Kate and its effect on her, surprise?

11. Ann and her desperation, the decision to have the abortion, going to Kate, possibly hoping for help, her outburst against her? Her going to the chapel, drunk, her loss of faith? The news about Kate’s death and its impact on her? Hurrying into the hospital? The decision, Frank’s being there, the abortion?

12. The title, its truth, ironies? In Kate’s hands, in God’s hands, her moral decisions in her own hands?

BE COOL

US, 2005, 120 minutes, Colour.
John Travolta, Uma Thurman, Vince Vaughn, Cedric the Entertainer, Andre Benjamin, Stephen Tyler, Robert Pastorelli, Christina Milian, Harvey Keitel, The Rock, Danny de Vito, James Woods, Seth Green, Aerosmith.
Directed by F. Gary Gray.

After the humour, playing with the gangster genre, the satire on Hollywood and the general tone of clever American wit in Elmore Leonard’s style in 1996’s Get Shorty, everyone had high hopes of the sequel, Be Cool. But, despite all the efforts, it does not quite gel. It is one of those films where the sum is less than many of its parts.

As Chilli Palmer, Florida loan shark turned movie producer, John Travolta created an energetic variation on the anti-hero. Ten years on, Chilli is much more settled, rather unflappable, which means that he gives the impression of being impassive. He is surrounded by all kinds of bad guys which include the New Jersey Mafia, the new Russian mafia, dodgy local record producers and black gangster tycoons. This means you have to be on the ball to follow all the crosses and doublecrosses as well as the double doublecrosses. And the types on screen don’t seem to be worth all that concentration.

Something like Ocean’s 12, everyone on screen seems to be having a great time (and they all appear dancing at the end, including James Wood who was popped in the first reel when there were jokes about sequels and how they work), but they can’t quite make the audience feel as enthusiastic as they do.

The exception is The Rock. As a violent bodyguard who is flamboyantly gay and is longing for an acting audition between hits, he is consistently funny and witty (even doing a ‘monologue’ of the two cheerleaders in Bring It On) – and he gets the final laugh in his film poster with Nicole Kidman.

There are plenty of talented people in the cast: Harvey Keitel, Vince Vaughan (who strains to be a white would-be black gangster), Uma Thurman, Cedric the Entertainer and Andre 3000 (who do have some funny moments), Christina Milian and Danny de Vito. Maybe the look behind the scenes at the Los Angeles music industry is not as interesting or funny as a look at the movie industry – it does not seem to be Elmore Leonard’s world. Some of the dialogue is Leonard and Leonard-like. Any film which has Cedric the Entertainer chide Andre 2000 as he slurps his take-away noodles, ‘does you dining experience have to be so obtrusive?’ couldn’t be all bad.

1. The popularity of Get Shorty? Characters, crime atmosphere, humour? The work of Elmore Leonard?

2. The film as a sequel, parallel storylines, differences? Chilli Palmer later, quieter? In Los Angeles? The music business?

3. The tone of the film, very much ‘in house’, the references, the movie business, music, the cast, the guests and cameos? The audience enjoying the jokes – or not appreciating them?

4. The music industry, cutthroat business, hopes, dreams, types, ignorant criminals, the showy world, the criminal world?

5. The title, American cool – especially Los Angeles, the offices, bars, clubs, theatres and arenas?

6. The musical score and the range of songs?

7. The opening, meeting Tommy Athens, Chilli and Tommy, the LA discussions, James Woods and his energetic style, his pitch, the references to sequels and films? His suddenly being dead?

8. John Travolta as Chilli Palmer, the background from Get Shorty, transition to Los Angeles, his success in the film world? His relationship with Martin Weir, the ads? Meeting him? Chilli and his getting older, changing? The meeting with Tommy Athens, interest in the recording industry? His friendship with Edie? Hearing Linda, interested in managing her? The discussions, the collaboration with Edie? The conflict with Nick? Encounters with Raji, with Elliott? Sin la Salle? The encounter with the Russians, the murder attempts? The dead bodies? The New Jersey Mafia and the death of the hit man? The intrigues, tangles, fights, double crosses, set-ups? His work as a promoter? The relationship with Edie developing? Their dance? The power play and his success?

9. The glimpse of the Russian Mafia, in Los Angeles, types, language, thugs? The background, the violence? Their comeuppance?

10. Sin, his style, care about his daughter? His henchmen? The betrayals? Dabu and his comic style – especially his eating manners? The speech about black culture?

11. Raji, his poses, talking like an African American? Using Elliott? His going too far, killing? His being exposed, protected?

12. Elliott, type, gay, his working for Raji, his room? His audition and his doing the monologue, the two parts from Bring it On? Theats, violence? His ambitions, waiting for the phone call from Chilli, Raji deceiving him? The final poster and his starring with Nicole Kidman?

13. Joe Lupi, the New Jersey connections, the Mafia, his stalking Chilli, his death?

14. Nick, his power, connections, contracts? Violence, using Raji, Raji’s double cross? The pawn ticket and the police? His wanting to promote Linda? Betrayal?

15. Linda, her style, hopes, singing, success? Steve Tyler, the Aerosmith background, his collaboration, support, the concert sequences with Linda?

16. The video production and its style, the director?

17. The cool ending with things resolved and Chilli and Edie applauding Linda?

TEENAGE CAVEMAN

US, 2002, 90 minutes, Colour.
Andrew Keegan, Tara Subkoff, Richard Hillman, Tiffany Lemos, Paul Hip.
Directed by Larry Clark.

There is no real reason for seeing Teenage Caveman except that it is a film from photographer Larry Clark. Clark moved into film-making in the mid-90s with the controversial Kids, showing life in the New York streets amongst teenagers, surprising audiences with these views on drug-taking and sexual experience. He then went on to make a more mainstream film, Another Day in Paradise, with Melanie Griffith and James Woods. However, he returned to teenage themes with Bully and with Teenage Caveman. His next film, with some of the actors from Teenage Caveman, was the very sexually explicit Ken Park, again showing sexual behaviour amongst teenagers in California.

In the 1990s, a number of B-budget films of the 1950s were remade and updated. Teenage Caveman is one of them. The original was directed by Roger Corman in 1958 with Robert Vaughn as the star, a story of a prehistoric tribe who ventured outside its boundaries only to find that the story was a post-apocalyptic one where the teenagers discovered past culture. The plot is taken almost entirely for this film except that when the teenagers emerge from a very severe and puritanically strict society of the future, warned against the aberrations of the past, they encounter two young people who have been scientific experiments, enabled to live forever, who then show them the ways of drugs and sexuality and corruption.

The film is particularly prurient in its presentation of sexuality and the interactions. The acting is not very accomplished. However, Clark as a photographer knows how to take advantage of his set-ups and scenarios.

The film shows the decadence of attitudes about society, freedom. However, as with most American films, there is repentance at the end and a happy repentant ending. (A film which was somewhat similar in theme was John Waters’ A Dirty Shame where, at the end, there was no redemption, only indulgence.)

ELECTION

US, 1999, 103 minutes, Colour.
Reese Witherspoon, Matthew Broderick, Jessica Campbell, Chris Klein
Directed by Alexander Payne

When it was first released, Election caught critics and audiences by surprise. Most were not expecting such a successfully biting satire, especially in the high school genre. In retrospect, it is no surprise at all because Alexander Payne and his co-writer, Jim Taylor, have had popular success and Academy Award wins for About Schmidt and Sideways. They write clever, intelligent satire that can be both funny and serious. Payne can also tell his story well and draw strong performances from his cast.

In 1999, Reese Witherspoon was emerging as a star. She was to go on to her daffy but glamorous Elle Wood in the Legally Blonde movies and star in versions of British classics, The Importance of Being Earnest and Vanity Fair. In Election, she embodies perfectly the unscrupulously ambitious and obnoxiously self-absorbed girl, Tracy Enid Trick, who wants to be elected student president. Morals and relationships take a second place to success.

Matthew Broderick also has a good role as Mc Alister, the teacher who is antagonised by Tracy Flick and plots against her in the name of democracy. Chris Klein tends to be a passive screen presence (American Pie, Rollerball) which suits the jock who is nominated to stand against Tracy.

Election is also an uncomfortable movie. In our heart of hearts we want characters to behave well and we can tend to become judgmental when they do not even when the movie is making a moral point. It is a shock to see Tracy’s affair with a teacher (although at the end this might have been one time when she could have been less driven in her ambitions) and Mc Alister’s toying with infidelity to his wife.

In retrospect, Election is interesting to compare with what was to happen a year after the release of the film, the clash between George Bush and Al Gore and the results in Florida. What was satirical in Election had touches of realism in 2000.

1. The success of this film, popular and critical? American satire?

2. The film at the end of the 20th century, reflection of the 90s, anticipation of the elections of 2000 and George Bush’s becoming president?

3. The setting in middle America, ordinary Americans? Ambitions, tactics, strategies? To fulfil the American dream? The culmination for Jim in New York, for Tracy in Washington, DC?

4. The Nebraska setting, the Midwest school, homes? The musical score?

5. The structure: the linear events, the election and what Jim Mc Allister did to sabotage Tracy’s ambitions? The flashbacks? The cumulative effect?

6. The points of view, Tracy and Jim Mc Allister and their particular voice-overs, the subjective assessment of the situations and characters, bias, self-focus? The commentary on the other?

7. The title, the overtones of democracy, candidates, electioneering and campaigns, voting, the results? Dishonesty and elections?

8. Matthew Broderick as Jim Mc Allister, the audience sharing his point of view, his confiding in the audience? His back-story, his love for teaching, history, morality and ethics? A credible teacher? His dealings with the student council? In Nebraska, his home life there? His relationship with his wife, her not becoming pregnant, the visualising of their attempts? Failure? The home life, his work with his colleagues, relationship with the principal, parents? His relationship with Dave, with Linda? The discovery of the affair, the discussion about values? In the principal’s office, Dave being fired? His crossing the line? Jim and his attempts to flirt with Linda, her reactions, his advances and Denise’s reaction?

9. The relationship with Linda, the advances, rejection, his wife reacting against him, leaving, the divorce? The disgrace? In Tracy’s eyes? His own self-recriminations about what he had done, this having a liberating effect? His future in New York City, at the museum, with the children? His going to Washington, the glimpse of Tracy and speculation about what she would be doing? The good man, his downfall, mistakes, consequences?

10. Reese Witherspoon as Tracy, age, experience, the domination of her mother, her mother spoiling her, pushing her? An over-achiever? Always having her hand up, being able to give definitions, the difference between ethics and morality? Her plans, ambitions? Her being the only candidate, setting up her desk, talking with people, putting them down, dominating at meetings? Her awareness of herself, lack of self-awareness? Her criticisms, her causes, living on the surface?

11. The surprise of her affair with Dave, her stances, her dependence on him, his infatuation, talking about being in love, her control, Dave and the session with the principal with him present, his being fired, losing his wife? Tracy in Washington, DC, lonely, yet still ambitious, wistful about her relationship with Dave?

12. Her campaign, talks, discussions with Mr Mc Allister, the rules of the election and voting, her attitude towards Paul, her not having any friends? Her clashes with Tammy and with Tammy’s girlfriend?

13. Jim Mc Allister’s plan, discussions with Paul, persuading him to stand for president? Paul as popular, the jock, slow-witted, taking up the challenge, his campaign, genial?

14. Tammy, Lisa, their friendship, Tammy’s love, refusing to say she was lesbian? Her standing for election? The pressures? The break with Lisa, Lisa going with Paul?

15. The speeches, the three campaigners, the student response? Heckling, the principals’ intervention? The support for Paul? The posters, the campaign techniques, Tracy and her intervention, the removal of the posters, bossy? The temptation of dirty tricks?

16. The voting, the counting, Jim and his concealing the vote? Paul’s election, Tracy devastated?

17. Tracy with her mother, her mother’s comments, her mother’s pressure?

18. The exposure, Jim being called to the principal’s office, Tracy’s mother being present? The truth? The effect on Tracy, on Paul – and his still being able to party? Jim and his disgrace?

19. Tracy’s year as student president, seeing her in action, committees, bossy, the comments, her own assessment, her still being lonely? In Washington, her ambitions, her approach to politicians?

20. A sardonic view of America?

MIO COGNATO

Italy, 2003, 90 minutes, Colour.
Sergio Rubini, Luigi lo Cascio.
Directed by Alessandro Piva.

Mio Cognato is an entertaining character study, a focus on two men in southern Italy, one upright, one a thief – and the entanglements from their interaction when a car is stolen takes place.

Luigi lo Cascio was an emerging star in the early part of the century, Sergio Rubini is a veteran actor as well as writer and director, especially with his first film La Stazione. Rubini has appeared in many films including The Talented Mr Ripley and as Dismas in The Passion of the Christ.

The director, Alessandro Piva, is a writer and director as well as an actor. What he presents here is a colourful and amusing slice of life in southern Italy.

1. A popular Italian story? Drama? Comic touches? Realism?

2. The setting in Bahri, the modern city, the old town? The use of locations, especially in the old town, buildings, streets and alleyways? A sense of the past and the present? The coast? The musical score?

3. The title, the reference to Toni, to Vito? Their relationship with each other? Its development?

4. The opening, the baptism, the celebration? Toni as host, the people arriving, the ceremony, his long speech and the revelation about himself as a genial man with influence? Vito and his being upset at not being the godfather? The promised godfather not turning up? The food, the dancing, the celebration?

5. The change of mood, Vito finding that his car was stolen? His reaction? Toni as the insurance agent, wanting to do a deal, exasperated because Vito had gone to the police? Vito as a straightforward and honest man? His relationship with his wife? Her being Toni’s sister? At their house, his wanting to do something? Toni’s reaction?

6. Toni and Vito going to search for the car? The gradual revelation of Toni’s underworld connections? The visit to Saddam, to Sandokan, to Mariuccio, to Marlonbrando? The interactions, Vito being left out, Toni and his smooth patter?

7. The gradual emergence of the Bari underworld, the personalities, their power, restaurants and clubs, car dealerships? Information, phone calls?

8. The effect on Vito, his being out of things, gradually being suspicious? The aggression of Toni, hitting him, breaking his nose? Knowing an ambulance man, taking him to the hospital, the brace for better insurance? The effect of the injuries on Vito? His continuing to follow Toni, not going back home, hiding in the car?

9. Toni, it never being clear what exactly the pressure was, the irony that Vito’s car was stolen as a message for Toni, to stop him going to do deals with others? The symbol of the lemons – and finally the lemons and the exploding car? Toni and his giving a bit of information to Vito? Going to his girlfriend, the meal? Finally going back, the car restored? His letting Vito go home?

10. Vito, watching, growing in understanding, the injuries, the aftermath, his sense of humour – even admiration of Toni with his amoral approach, with the dealers, with the girlfriend, the meal? His driving? The delight in getting the car back?

11. Going into the car, opening the boot, the lemons, the explosion?

12. The moral judgment about Toni, about his underworld connections, his deals, his using Vito, Vito as victim?

BEAUTY SHOP

US, 2005, 105 minutes, Colour.
Queen Latifah, Alicia Silverstone, Andie Mc Dowell, Alfrey Woodard, Mena Suvari, Della Reese, Paige Hurd, Li’l Jay- Jay, Dgimon Hounsou, Kevin Bacon.
Directed by Bille Woodruff.

After two Barber Shop movies, directed especially towards an African American audience, it seems only fair for the men to have a rest and for us to see a female equivalent. So, here is Queen Latifah in Beauty Shop.

It is a good-natured show, though some self-consciously sensitive audiences have felt that it is inversely racist and indulges in stereotypes. But, isn’t that what broad comedies do? Isn’t that how they work? Stiff upper lip Poms? Loud Yanks? Snobby French? Brash Australians? Everything can be the subject of jokes and humour.

That having been said, the main target of aggressive jokes is Kevin Bacon as the most pseudo of European coiffeurs with a closet full of affectations. He is the ‘hiss the villain’ for this kind of feelgood show.

When Queen Latifah has had enough of Bacon’s snide comments, she opens up her own beauty shop with the help of mother (Della Reese) and talented musician daughter. Some of her old co-workers and clients join her (Alicia Silverstone as a very white Georgia girl in the middle of a black staff as well as Andie Mc Dowell and Mena Suvari as clients). Plenty of things go wrong and we join in hoping that all will be put right. Plenty of things go right and the beauty shop becomes a haven and a rendezvous – though a lot of the time we are just listening in to girl’s gossip.

Fortunately, there is a gallant gentleman living upstairs (Djimon Hounsou) who can fix electric connections, can play the piano and teach Latifah’s daughter and is not married so is available for the romantic part of the film. Who could ask for anything more?

One critic was heard to say loudly that he could not stand Queen Latifah because she is always the same, so pleased with herself - with her genial screen presence and warmth, why shouldn’t she be?

1. The audience for this film? African Americans? The wider audience? Reaching its targets in theme, characters, humour?

2. The Barber Shop films and their popularity? The basic plot, the shop, the staff, the clients, the interactions? Social comment? Comedy?

3. The Atlanta setting, Jorge’s shop, the run-down shop that Gina buys, the make-over? Homes, schools, recitals? An authentic atmosphere? The musical score, popular songs? Classical pieces for the piano? The mixture of contemporary and classic?

4. Jorge’s shop, Jorge and Kevin Bacon’s extravagant satiric performance? Moody, effete, mannerisms? His treatment of his staff, clients? His manner of speaking? The comedy in the character, white? His dismissing Lyn, dismissing Gina? His attitude towards his clients, his own inability as a beauty parlour assistant? His schemes against Gina, Willie filming him paying off the inspector? His wanting the beauty shop destroyed? The final expose – and his being George Christopher from Nebraska?

5. Gina, at work, cheerful, Queen Latifah’s personality and presence? Her relationship with her daughter? Hopes for her, the memory of the dead father? With the clients, with Lyn, cheerful, skilful? The clashes with Jorge, her deciding to leave?

6. At home, her mother and her support, her daughter and her education? Hopes for a better school? Going to the bank, asking for the loan, the refusal, helping the woman with her hairstyle in the ladies’ room and the immediate grant? Going to the property, its being run-down, the optimism in setting it up?

7. The interviews with the previous staff, those who left and were bitter? Those who stayed? Lyn coming with Gina after Jorge humiliated her when she tried to work in the salon? Lyn and her background, Georgia, white, emulating black styles? The clashes with the other staff, their finally doing her hair, her fitting in, attracted towards James?

8. The clients, Terri and her absent husband, her continually in a rush, socialite? Gina doing her hair? Her coming to her, supporting her, her enjoyment of the beauty shop and the staff – and the buttock transplant?

9. Joanne, her style, coming to Gina’s, helping her with her lotion? Her attitude towards James, pinching him, the clash with Lyn, wanting Lyn sacked? Her resentment and taking away the contract?

10. The members of the staff, Miss Josephine, lively, quoting Maya Angelou? Her fitting in, the comedy? The other members of the staff, their style, patter? Support of Gina? The trashing of the beauty shop – and their all pitching in and helping to renew it?

11. Darnell and her being a problem at home, Gina feeling a sense of responsibility, Darnell going out, having to be bailed out, not wanting her mother to know? Her working in the shop, doing what she wanted, going off, Gina’s stern stance, Darnell coming to her senses?

12. James, his being a carrier, Gina attracted towards him, his braids, his ability with doing hair, the presumption that he was gay, his mannerisms, watching Oprah? Falling in love with Lyn?

13. Joe, playing the piano, upstairs? His background and explanations, the photo of his sister’s family? His being a handyman, not willing to help at first, stepping in in emergencies, falling in love with Gina, teaching her daughter to play the piano? The outing, the dancing? His going to the daughter’s recital? A happy ending for Gina?

14. The comedy of the staff, their patter, African American humour?

15. The inspector, his harshness, the fines, his being in the pay of Jorge? His comeuppance?

16. Willie, intrusive, Gina throwing him out, his video camera, his comic style, photographing Jorge with the inspector and having the trump card to save Gina?

17. A cheerful film, using the stereotypes – but in an enjoyable way?

HOLES

US, 2003, 117 minutes, Colour.
Shia La Boeuf, Sigourney Weaver, Jon Voight, Tim Blake Nelson, Patricia Arquette, Dule Hill, Henry Winkler, Nate Davis,
Directed by Andrew Davis

What might one anticipate from a film with a title like Holes? Actually, there are many literal holes in the film. A pleasant young student becomes the victim of a false arrest and is sent to a juvenile detention camp in the desert where the inmates are made to dig holes all day every day. This is the whim of the warden (a curmudgeonly Sigourney Weaver aided by an eccentric Tim Blake Nelson and a really oddball Jon Voight). The young man puts his fate down to a family curse from Latvia (uttered by Eartha Kitt) and visited on all the men of the family, including his eccentric inventor father, Henry Winkler, who is actually doing the human race a service by trying to invent a formula to render shoes odourless.

There are historical holes as well: flashbacks to the time when the desert was a lake and a nice schoolteacher (Patricia Arquette) grieves over the lynching of a young man (Dule Hill) and becomes a famous bank robber whose loot is allegedly buried under the sand.

This is certainly an unusual story with touches of the fairy tale, touches of the American west and a grim picture of the realism in the hard life at the camp under the taskmasters. Shia La Boeuf is the young man and Khleo Thomas his friend at the camp. They both sustain the film and are always a welcome counterbalance to the warden and her henchmen.

1. The popular novel? Americana? The writer adapting his novel for the screen? A cinematic interpretation of a novel?

2. The desert locations, barrenness, heat? The town? The camp? The landscape with the holes, dry, the mountains in the background, the Thumb Peak, the caves?

3. The contrast with the 19th century town, the water in the lake, fruitfulness, the rowing on the lake – and the draining of the lake and its becoming desert?

4. The songs used throughout the film, the chants, the lyrics, the comment on the activities, the characters? The musical score?

5. The moving between 21st and 19th centuries, the 21st century as the framework, the insertion of the flashbacks, the way that they were placed, the build-up of the story, in Europe, in America? Their coming together in Stanley’s mind?

6. The blend of realism and magic realism? The 19th century, her curse? Katherine and the interactions with Stanley’s great-grandfather? Stanley and the shoes hitting him – and the irony of the explanation of Zero throwing them away? The poisonous lizards? The onions – Sam’s selling them, Katherine’s peaches – and their helping the two boys to survive over a century later?

7. The Yelnats family, Stanley spelt backwards? The grandfather and his storytelling, the family listening, the grandfather’s support of Stanley especially with the police? Stanley’s father, his inventions, getting rid of odour in shoes? The smelly house, the joke about the old woman who lived in the shoe and the smell? His being a good man, his failures – eventual success, the commercial and the sportsman endorsing the product? Stanley’s mother, love for her husband, exasperation with him? Love for her son, the letter-writing? Their support for him in the court?

8. The European story, the old country, Elia Yelnats, his courting the young woman, his going to Madame Zeroni, her advice, the pig, his looking after it, its growing fat, his exercise, the girl with the choice, her not having any brains, the pressure from her father, the fat suitor, the rivalry, her criteria, Elia’s exasperation and his leaving, going to America – and forgetting his promise to carry Madame Zeroni to the top of the mountain, the curse and its effect? The encounter with Katherine, the irony of chest and its containing the treasure, his name on it? The fact that he had forgotten to carry Madame Zeroni to the top of the mountain, the curse?

9. Madame Zeroni, as a witch, the curse, the plea to be taken up the mountain? Zero and his fulfilment of his great grandmother’s wishes?

10. The title, the literal holes in the ground, the historical holes through which the plot fell into the 19th century, the realistic holes in the plot line? Digging holes as a way of developing character, according to Mr Sir?

11. Stanley, his age, experience, home life, finding the shoes, the police taking him, the family interpreting it as an effect of the curse, his going to the court, his choice for the camp?

12. The camp, in the desert? The warden and her control, knowing everything that was going on, tough? Mr Sir, his stances, manner, bullying? The doctor and his place in the administration, counsellor, supervisor? Getting the boys up early, supervising their work, the canteens for water, the meals, the fights amongst the boys, the relaxation? Their picking on the boys, discipline, penalties? The irony of the real reason for digging the holes, looking for the treasure?

13. The warden, as a young girl with her grandfather, digging the holes even on Christmas Day? Her control, of the men? Her attitude towards Mr Sir, hitting him, scratching him with the poison? Her support of Stanley? Giving boys the day off when they discovered things? The excavations? The search? The lawyer and the approach about Stanley’s release, her cover-ups, the files, the lies? Her finally being caught and caught out?

14. Sir, his manner, threats, the discovery of the seeds, the discipline of Stanley, the warden and her criticism of him? Stanley taking his car, the chase? The destruction of the files? The irony of his being identified as a criminal?

15. The doctor, the yes-man, with Mr Sir, at the beck and call of the warden, his being exposed as a fake?

16. Stanley, the initial digging, slow, Zero helping? The water canteens? Finding the shell with the “K.B.” on it? X-ray demanding that he get the credit and the day off? Stanley and his shrewdness about showing it the next day? Stanley’s relationship with the other boys, standing up for himself, the strength of the nickname, Caveman? Zero asking him to read, his initial refusal? His letter to his mother – and the visualising of the opposite of what he was writing? Zero supporting him after the incident with the seeds, his helping him to read? Zero running away, Stanley pursuing him in the car, crashing it? Finding Zero in the cave, climbing with him to the top of the peak, his own dangling over the side and Zero saving him? Their return?

17. Zero, his back-story, his mother? Quiet and not talking to anyone but Stanley? His capacity to dig? His quick learning to read? Supporting Stanley with the seeds? The conflict with Sir, his going, the trek through the desert? Being found by Stanley, saving him on the cliffside? The return? The money – and the reuniting with his mother?

18. The characters of the other boys, Armpit, his smell, humour? Their playing together? X-ray, the dominance? The bullying boys? The activities of the boys in hut D, their interactions?

19. The portrait of the Yelnats’ home, the father, a genial man, his continued work at inventions, the curse?

20. The 19th century story, initially seeing Kate as the outlaw, the confrontation with Elia? Later seeing her as a good teacher, nice, sweet? In the school with the children, teaching the adults to read? Repelling the advances, the subject for jealousy? Her fondness for Sam, his sales, his fixing the house and the school, in love with him? Seeing Sam as the victim of the vengeful townspeople? Her change of stance, her killing of the sheriff? Her going as a bank robber, the headlines and all that she achieved? The final confrontation in the desert with her assailant and his wife? Getting the lizard, dying? The irony that she was murdered by the warden’s grandfather?

21. Stanley, the ending, his achievement, building character? Zero telling him the true story about the shoes, his stealing them and throwing them away? The breaking of the curse – realistically and magically? The effect of the treasure, the old bonds? Stanley giving half to Zero?

22. A complicated entertaining story of two centuries – with a moral about boys, character, authority, punishment? Character and achievement?