FOOL FOR LOVE

US, 1985, 108 minutes, Colour.
Sam Sheppard, Kim Basinger, Harry Dean Stanton, Randy Quaid.
Directed by Robert Altman.

Fool for Love is a screen adaptation of a play by Sam Sheppard, prolific writer of plays during the 80s and 90s. Sheppard also had a full-time career as an actor and is the lead in this version of his play. He is supported by a young Kim Basinger who was emerging as an actress and not simply as a glamorous star. Harry Dean Stanton and Randy Quaid were always reliable supporting cast.

In 1984, Sam Sheppard had won awards for his screenplay for Paris, Texas, starring Harry Dean Stanton. Commentators point out the similarities of the Stanton character in each film, the wanderings after fire in Paris, Texas, the consummation by fire at the end of Fool for Love.

The film is set in the west, New Mexico’s Mojave Desert. It is the end of a cowboy era – although there are dreams of moving to the open plains and mountains of Wyoming.

The film also explores family themes, opening of family secrets, fidelities and infidelities, tortured relationship, almost incestuous family relationships. The film also has a strong soundtrack with a range of songs by Sandy Rogers (who is, in fact, Sam Sheppard’s sister).

Robert Altman had a very successful career in the 1970s starting with MASH and moving through films like McCabe? and Mrs Miller to Nashville. During the 80s he tended to film plays like this one and Come Back to the Five and Dime Jimmy Dean, Jimmy Dean and Beyond Therapy. During the 90s he had a new lease of life starting with The Player.

1. The work of Sam Sheppard, poetic, dramatic, plays, stories? His particular perspective on characters, insights, interiors, offbeat? His explorations of the west, the western American roads, motels? Ordinary situations, strange people? Relationships? His role as an actor and interpreting his own work?

2. The career of Robert Altman, his offbeat career, the 1980s and his adaptations of plays to the screen? How cinematic? Structure, static, flashbacks, emphasis on language, action? Theatrical?

3. The New Mexico landscapes, the town, the microcosm of the world? The detail, the diner, the rooms, the road, the trailer? The environment? Sequences in the night, in the day? Long shots and close-ups? Editing and pace? Wide screen?

4. The importance of the score, the songs and their lyrics, the place of insertion, their comment on the action and characters?

5. The title, folly and madness, mad love? Contemporary, ordinary, earthy?

6. The motel, May’s presence there, deserted? Eddie and his arrival, his search? The old man and his trailer, hovering? The visitors, the countess, Martin? The other guests? An enclosed world? Parallel to the real world?

7. May, Kim Basinger’s presence and style? Work, the detail, in herself? The relationship with Eddie, the family secret? Love, marriage? The relationship, love and hate? Hiding, fleeing? Eddie stalking, fighting? A mixture of joy and sadness? The madness in her character, exasperation? Her experiences and becoming desperate? Her relationship to the old man, seeing him, ignoring him? Her relationship with Martin – as a substitute for Eddie? Her wanting to go out, relate to Martin? The tension with Eddie? The visitors, the child and the sandpit? Identifying? May’s memories, her mother, sharing, her father and his absences, driving, the desert? Her growing up, discovering Eddie, love? The relationship and its haunting aspects?

8. Eddie, the rodeo, horses, his arrival, the build-up of his character, the search? His violence, tension? His relationship with the old man, drinking? The desperation in Eddie’s life, his taunting others? Going away, returning? Waiting for Martin, taunting him? The truth of the story about his life, boyhood, his mother, father, meeting May, loving her, the chase? A physical man, inarticulate? Oppressor, victim? A fool for love?

9. Martin as the outside, awkward and naïve, work, the cinema, credible or not, manner of talking, the drinking, the fight? The puzzle and his reaction? The audience view of the characters through him?

10. The old man, his caravan, drinking, hovering, observing the visitors, his laughing? The bar, watching, present, absent? His interventions? The story of his families, his wives, treatment of them, his children in the different families, the way of relating to them? A failure? The revelation in the flashbacks, in the action? A comment on American fathers, love, failure, their heritage?

11. The visitors, the family, the father disappearing and returning? The child locked out? The family as a mirror of May and Eddie and their family?

12. The cook, the husband, the return, the girl and the play?

13. Symbolism of America, the west, its lifestyle, its secrets, its ghosts? The issues of relationships, healthy relationships, unhealthy, family? Real and symbolic?

LE PROMENEUR DU CHAMPS DE MARS (THE LAST MITTERAND)

France, 2005, 117 minutes, Colour.
Michelle Bouquet, Jalil Lespert.
Directed by Robert Guediguan.

The Last Mitterand (Le Promeneur du Champs du Mars) is based on the book by Francois Mitterand’s sometimes unwilling and harassed biographer, Georges- Marc Benamou, who also wrote the screenplay, as they worked together during the last year of the French President’s life. As with Sophie Scholl, this is a film of words rather than action – a kind of verbal Citizen Kane with the subject moodily participating in his own research.

Direction is by Robert Guediguian whose films usually focus on passionate slices of life in his native Marseilles. This is quite a different project for him, an examination of an important public figure who saw himself as exceedingly significant but who was evasive in answering questions about his role in the latter years of the war.

Michel Bouquet, who has been giving excellent performances for more than forty years, brings the sometimes arrogant and waspish Mitterand to life. However, Jalil Lespert as the researcher is a rather abrasive screen personality, so there is little warmth even when Mitterand is co-operating. This will be of great interest for French audiences but those with little knowledge of Mitterand will have to make an effort to be engaged.

1. Audience knowledge of Francois Mitterand? The impact for a French audience? Non-French?

2. A recapitulation of France and politics in the 1990s, the life of the president, his lifestyle, his identification with France, his government? The magazine, the article and the research, the interviews in the city, in the country?

3. The investigation technique, the parallels with Citizen Kane and the exploration of a life?

4. The emphasis on the interviews, the verbal presentation of character, questions and answers? Revelation of character – concealment? Mitterand’s reaction to the interviews, moods?

5. Mitterand and his reputation, president for fourteen years, the 80s and the 90s? His character, arrogance, his relationship with De Gaulle, the background of his presence in Vichy during the war? The doubts about his reputation in Vichy, collaboration or not? His becoming a minister at a young age, the length of his career, identification with France? His personal life, the revelation that he had a daughter, the impact on the world, the different perception of the French and their tolerance?

6. Mitterand and his reliance on his doctor, his reactions? His relationship with the driver? The need for security? His growing older, the range of his friends – or merely associates? The sequence on the beach? The final sequence?

7. Mitterand’s vision of himself, his role for posterity, the nature of his memoirs, dictating them, editing them? Twenty-three days without connection with Antoine, his exercising of power, yet his friendship for Antoine? The issue of his tomb? The background of wine and vinegar?

8. The blending of Mitterand’s and Antoine’s story in the screenplay?

9. Antoine in himself, age thirty, his work for the magazine, his personal intensity, a 1981 socialist and his explanation of his political background, at work, the job? Going to meetings with Mitterand, the bonding between the two? Depending on Mitterand’s moods? Antoine’s own moodiness? Taping of interviews? The range of reactions, the days with Mitterand, the contrast with the office? Going to Vichy, meeting the old ladies? The impact of the Vichy visit, his research, the library, wanting to give up? The summons, the walk on the beach? Antoine’s discussions with the driver, with the doctor? The finale?

10. Antoine’s wife, the tension, the baby, the hospital sequences? Being apart? His having to sell his apartment, the tour with the tenants, their comments and his anger with them? The encounter with Judith, her help in the research, the discussions, the phone calls, the relationship, finally coming to Paris?

11. The film as biography, study, search for a character, the record of a great man, an enigma?

THE LIFE AQUATIC WITH STEVE ZISSOU

US, 2004, 118 minutes, Colour.
Bill Murray, Owen Wilson, Cate Blanchett, Angelica Huston, Willem Dafoe, Jeff Goldblum, Michael Gambon, Noah Taylor, Bud Court, Seu Jorge.
Directed by Wes Anderson.

This is Wes Anderson’s fourth film (Bottle Rocket, Rushmore, The Royal Tennenbaums). The response to his films is both amusement and bemusement.

On the amusement side, he creates a gallery of quite extreme characters who are unpredictable and offbeat, writes amusing lines and has a way with wayward situations.

On the bemusement side, it is the gallery, the lines and the situations which are so offbeat that you are not sure where Anderson is going or where we the audience are going. You might not like the ride and get off. But, there is a certain oddball fascination that keeps you going.

Bill Murray does a splendid turn as Steve Zissou (a bemusing Jacques Cousteau parody), a kind of Discovery Channel explorer who has taken to the seas, made a series of programs, has had his best friend eaten by a ‘jaguar shark’ and who has fallen on hard times in his own self-esteem, Zissou company morale, in losing grants to his rival (and, possibly, his wife) and who finds a young man who could be his son has turned up. What is he to do? Go on a voyage and make a program on finding the jaguar shark.

In real life, the program would not have a chance of getting on a respectable channel – but that is part of the humour as the film is divided into the sections of the documentary. His crew is a collection of strange characters including Willem Dafoe doing a very funny turn as an over-loyal but rather slow German, a singer of David Bowie songs in Portugese, Noah Taylor and Michael Gambon as his producer. The brains behind the project is Angelica Huston as Zissou’s wealthy wife (who was once married to his rival, Jeff Goldblaum). Regular Anderson collaborator, Owen Wilson, is the possible son. He gives a performance that is the opposite of his usual screen persona (just in time as he as been ubiquitously overdoing it), a quietly well-mannered Kentucky gentleman. Add to the mix, a pregnant British journalist who is both tough and hormonally geared to outbursts of weeping, Cate Blanchett, and you might guess what you are getting into.

It is set in Italy and the Mediteranean, has a lot of sea action (including pirates) and some animation of the reefs and fish by Henry Sellick.

Obviously this kind of film could drive some audiences mad with its touches of the absurd – but for those who go along on the voyage, it is cleverly amusing/bemusing.

1. Wes Anderson and his offbeat comic style, the blend of the serious?

2. How did the film work as parody, satire, deadpan humour? Verbal humour, visual?

3. The Italian settings, the open ocean? The cross-section of the boat and the audience understanding the structure of the boat and the interconnections? The Italian town, the island, the resort? The underwater laboratory? Underwater photography?

4. The musical score, the David Bowie song sung in Portuguese – and the audience adjusting to translate them?

5. The title, the series of Steve Zissou’s films, the Discovery Channel and the parody? The human story of Steve Zissou? The political implications, finance, the media?

6. The opening, Italy and the gala premiere, the wealthy audience, the questions and answers? Steve’s presence? His immediate impact, disappointed and disillusioned? Still ambitious? The party, the people at the party? Steve’s relationships with Oseary, Alistair Hennessy? Klaus and the discussions? The young boy? His fearing failure? The contrast with the ending, the people at the new premiere, the seats, Steve outside, with the boy? The triumph, the procession, the final credits and the boat?

7. The visuals of the television show? The introduction to each of the members of the team, their character, their particular work, seeing them in action? The introduction to Esteban, underwater, his death? The mystery of the killing of Esteban? Steve’s anger, the disbelief – and his quest?

8. Bill Murray as Steve Zissou, his screen presence, his capacity for deadpan presentation, humour, the blend of the serious and the comic? A complex and unpredictable character? The memory of his life so far, Jacqueline, his separation from her? The island of Ping? His marriage to Eleanor? The background of Eleanor’s marriage to Alistair? Eleanor as the brains behind the expedition? His producing the series, the visual style, confiding in the audience? The chapters for the film and for the episodes? His relationship for the crew, the interns and their grades and his being demanding, their uniforms? Jane’s arrival, the plans for the article, his hopes? His relating to Jane? Her being pregnant? The arrival of Ned, the discussions, the revelation about his mother, the possibility that Ned was his son? His relating to Ned, inviting Ned along, seeing Ned on the beach with the fish and accepting him into the team? The ring and the uniform? Their talking, the bonding between the two? His coming on to Jane, her preferring Ned? The balloon episode and watching the ship and the sea? His growing jealousy of Ned and Jane? Bill, his arrival, being seen as a policy and insurance stooge? The voyage, the raid on the laboratory, the antagonism and jealousy towards Alistair? The arrival of the pirates, the attack, the fight, Steve killing one of them? The funeral? Alistair and his having lost everything to the pirates? The sense of mission? Going to Eleanor, asking her for money? Her finally deciding to give it? Jane, her disillusionment, her wanting to leave? The relationship with Ned? The siege, Alistair and the dog, going on the mission? The helicopter, Ned and his death? The attack on the hotel, the beach, Klaus and his wanting to be the surrogate son? The funeral? The sense of failure, seeming to be a fake? The challenge to his being a true leader, his vision of the shark, pursuing it?

9. The character of Eleanor, her relationship with Alistair, the divorce, marrying Steve – her motivation? The brains, the wealth? Her owning the island? The clashes with Steve, her relenting? Her relationship with Ned – and saying that Steve was impotent? Her conversations with Jane? At her home, the toy boy gardener? At the end on the expedition?

10. Alistair, his getting all the grants, the extended crew, the lavish uniforms, the high-powered boat, his boasts, his being robbed, the pirates destroying his headquarters, taking him prisoner, the rescue? His relationship and the joke about being half gay?

11. Ned, his arrival, from Kentucky, Kentucky Airlines, getting leave of absence? The discussions with Steve, the revelations about his mother, his being brought up in Kentucky, a gentleman, her revealing the truth? The letter? Going with Steve in the helicopter? On the beach, Steve’s invitation and his accepting? His relationship with Jane, telling her his story? The letters from Jane? The final confrontation, the siege, his death and funeral?

12. The character of Jane, the journalist, priggish English style? Pregnant, the phone calls to the father and not wanting to have anything to do with him? Her writing, her knowledge about science, her reaction to Steve’s advances, the balloon ride? Her moods and bursting into tears? Her changing, her attitude towards Ned, writing him the letters, on the mission, present at the end?

13. Oseary, Michael Gambon’s style, the money man, the deals with the Arabs, his relationship with the law? Coming to the end of finances? On the final expedition?

14. Klaus, Willem Dafoe’s comic style, jealousy on the boat, literal Germanic style, wanting to be a surrogate son, jealous of Ned? Steve finally giving him responsibility and his being grateful?

15. The different members of the crew, Vikram, the cut? Laple and his singing? Vladimir and his technical knowledge? Gunther and the recordings? Each and their relationship to Steve, membership of the team, the photography, the editing, the technical know-how? Their personalities – and their relationship with Steve?

16. Bill, coming on board, an object of ridicule, his being abducted, his being rescued, his coming into his own, strength, in the final expedition?

17. The importance of the boat, its layout, the boat as a character?

18. The point of this kind of semi-absurdist comedy? The meaning of life?

HOSTAGE (OMIROS)

Greece, 2005, 105 minutes, Colour.
Stathis Papadopoulos, Theodora Tzimou.
Directed by Constantinos Giannaris.

Ethnic and national tensions are to the fore in Constantinos Giannaris’ Greek drama, Hostage. It takes place over one day. Elian gets up one morning in a town in Northern Greece. He reads his Albanian mother’s tenderly desperate letter, then burns it. He walks to the bus station and, during the journey, hijacks the bus.

The film dramatises real events of 1999. Giannaris talked to actual hostages and families to create a human story for his political thriller drama.

As the hijack proceeds, most of the hostages begin to act according to ‘The Stockholm Syndrome’. They gradually understand what motivates Elian (anti-Albanian prejudice, police framing him for arms dealing, torture and revenge for his affair with a police chief’s wife) and begin to identify with the hijacker. The Greek police seem sympathetic – the cold ruthlessness at the end is a shock. The Albanian police take Elian’s mother to the border and act with the Greek police.

Hostage fills in the back story of the hijacker in some detail (as well as some imagining of what he thought might be the happy outcome of his actions). It shows his determinations as well as his fallibility. The stories of the hostages are also briefly developed. When the final confrontation occurs, quick editing and sound make the audience literally jump in shock.

This is familiar enough material, but the treatment is well above average and takes its audience into the troubled world of Albania and Northern Greece of the 1990s.

1. Based on a true story: the details, the fictional aspects, the political message?

2. The settings of northern Greece, the town, the coast, the border with Albania, the Albanian mountains?

3. The impact of the score, especially the drums and its creation of atmosphere?

4. The titles and the references to Elian, to the others in the bus, to the captors, to the victims?

5. The narrative: the flashbacks, the future imaginings, the reality of the present?

6. The structure as a one-day drama, for Elian, for each of the hostages, the driver, for the police, Elian’s mother?

7. Elian and his waking up, getting dressed, preparing for the journey, reading his mother’s letter and burning it, the bus station, watching people, taking his bag in the bus, the driver allowing him, his seat? The sudden takeover, his manner? The cause – the police, his arrest, the background story of the torture, racial prejudice, the documents, his affair with the police chief’s wife? His letting people off – the two women? The threats, the choosing of people to release?

8. The police, his demands on them, their contacts, the stalling behind the scenes, audience sympathy for the police, for Elian? The interviews with the police chief? The merciless attitude at the end?

9. The television, the cameras, the interviewers, the questions? His response? His needing the television? His family seeing it in Albania? The phone calls?

10. The world of technology, television, mobile phones, the contrast with Albania?

11. The effect of the siege day on Elian, his holding the grenade, his hand growing stiff, his being persuaded to throw it away? The gun, the shooting? His treatment of the driver? The man at the front who eventually died? His relationship with the woman leaving her family? Elian talking with them, getting to know them? Their allowing him to have a rest? His remembering? The border, his mother?

12. The driver and his attitudes, ability to cope, driving all day? The man and the interactions with Elian, Elian’s attitude towards his running away with the woman? Their talking, his being persuaded to let go the grenade? The irony that he died? The woman, audiences seeing her leave home, her relationship with her son? The toilet sequence, her shock at her friend’s death? The priest waiting outside the bus and not wanting to get off? The lesbian woman and her relationship? The ill man, his attitudes, wanting Jimmy, Jimmy not waiting? His racism and apology? His being looked after by the African? His being sick? The African man, singing, kind?

13. The explanation of the Stockholm Syndrome? The hostage identifying with their captor as they understood his situation better? The same with the audience?

14. The portrait of Elian’s mother, at home, his brother, the marketplace, the Albanian police driving her? Her memories? The suddenness of Elian’s death, her grief, her being lied to?

15. The Greek police, the entourage, the Albanian police, the collaboration with the Greeks – and the sudden shock?

16. The reality of the event, its becoming a symbolic journey? The hostage-taking not justified?

ASSAULT ON PRECINCT 13

US, 2005, 109 minutes, Colour.
Ethan Hawke, Lawrence Fishburn, Brian Dennehy, Maria Bello, Gabriel Byrne, Dreya de Matteo, Matt Craven, Kim Coates.
Directed by Jean- Francois Richet.

This evocative title brings to mind the classic thriller written and directed by John Carpenter in the mid-70s. As with so many new versions of an older film, the recent film-makers prefer to use, instead of re-make, the words re-imagining or reinventing. This is justified in this case as the present version has the blessing of Carpenter who, it is said, suggested that the street gang members who besieged the precinct become crooked police. He thought it more relevant to today’s questioning of all authority figures.

The film opens intensely with a drug deal and a tour-de-force display by Ethan Hawke. We are in Detroit, in winter, New Year’s Eve, heavy snow and a skidding police bus which has to detour to shelter its prisoners in the decrepit precinct building which is about to close down. In charge is the traumatised sergeant, Hawke, with subordinates Brian Dennehy and Drea de Matteo. The sergeant’s counsellor, Maria Bello, is forced to shelter because of the weather. The principal prisoner is a local gangster, Laurence Fishburne. The group is unwilling to take in the gangster but when masked gunmen open fire and they find that it is a corrupt police squad led by Gabriel Byrne, the forces unite for a very long night.

This is an effective blend of action and character studies, quite exciting and a powerful reminder about our violent responses when we are foced into self-defence. The director is French, an enthusiast who admires the work of American action directors. He pays homage to them as well as to John Carpenter. He gets strong performances from his cast and the screenplay is far grimmer and less romantic than what we might expect. Not bad at all of its type.

1. The classic status of the 1976 film? John Carpenter’s work? The homage to Rio Bravo and the western tradition? The urban frontiers, police, law and order, gangs?

2. The contrast with the 2005 version? A homage, a reinterpretation, a re-imaging? The west in the city of Detroit? The same urban frontiers? The transition from gangs to corrupt police, crises of authority, crises of law and order?

3. Detroit, the city, New Year’s Eve, the cold, the snow, traffic held up, the isolated precinct, the urban factory setting? The role of the police, law and order in this context?

4. The importance of the action sequences, style and filming, editing and pace? The building up of the characters over the night of the siege? Conflict of characters? The musical score and tone?

5. The title, its tone, the night of the assault, from night to day?

6. The prologue, Jake and his performance as a drug dealer, dealing with the men, the criminals, the revelation that they were police, the shoot-out, his decision for the escape, the consequences, the killing of his partners? His psychological troubles? Being ordered to go to therapy? His low self-image, putting himself down? His going to the old precinct, shutting it down, at the desk? Not wanting to take responsibilities?

7. Bishop, seen in the church, the ceremony, the deal with the undercover cop, the shootings? His escape, being caught, charged, the situation of no bail?

8. Marcus, his authority, role amongst the police, his assistant, their watching Bishop, his arrest? Their discussions – and the revelation of their being crooked? The long deal with Bishop? Trying to destroy him?

9. The police bus, Smiley and Anna, the types, the drugged lawyer? The staff, their duties? The attack, the getting into the precinct, the discovering that it was the police attacking them?

10. Jake as a character, Ethan Hawke’s screen presence? His discussions with Alex, his resisting therapy, his stealing the file and reading it? Her visit to the precinct for the appointment, her getting caught and having to stay? Iris and her place in the precinct, its being shut down, wanting to celebrate New Year’s Eve, her duties? Capra, his presence, going, returning? Jasper, the veteran, his experience, his place in the shut-down precinct, the prospect of retirement? The group together to undergo the siege?

11. The character of Bishop, serious tone, his continued declaration of principles? The principle of protecting himself? His antagonism towards Jasper? In the cell, the other inmates, the discussions, the confrontations with Jasper? The discussions with Jake? His assessment of what was happening, the revelation about Marcus? His decisions to help, his saving Jake, the explanations of his stance?

12. Iris, her attitude, being with Bishop, the discussions about sexuality? Her relationship with Capra? Capra’s return, their suspicions of him?

13. Jasper, age, the veteran, helping, the confrontation with Bishop and the other inmates? His hostility, suspicions? The irony that he left the door open, that been bought by Marcus – and handing over the group to Marcus? His disdain for Jake as he left?

14. Smiley, his back-story, the guns? Beck, his continued chatter, the story of his being a law student, the drugs, his suspicions? Joining in the defence? Smiley and Beck taking the opportunity to escape, their plan, at the fence, their deaths?

15. Anna, her back-story, tough? Her going with Alex, their clash, igniting the car – and the sudden surprise of the crash and their deaths?

16. Alex, character, smooth therapist, her own insecurities, her technique for counting? The relationship with Jake? The therapy sessions, his taking the file? The attraction? Her having to face reality in the siege, her fear, counting, her finally volunteering to go with Anna, the crash, Marcus and his callous shooting her?

17. Marcus, the men, the equipment, the guns, the various attacks, their being repelled, the bus, disconnecting the wires, the other vehicles, cutting the phones? The confrontation with Alex and Anna and their deaths? The open door? Marcus finally getting the helicopter?

18. The dawn, the snow stopped, the cold, going out into the forest? Bishop and Jake, their tactics, helping each other, the death of Marcus’s assistant? The final confrontation with Marcus, the story? Marcus shot?

19. Jake, his drinking and pills, not wanting to take responsibility, his interaction with each of the characters, with Iris, suspicions of Capra, not suspecting Jasper? Organising the team, finally making a decision after the challenge? Getting out with Bishop, the tunnel underground, the escape, through the forest, the confrontation with Marcus, heroics, letting Bishop go?

20. Daylight, the end of the siege, right winning? The hard-hitting style – and the unpredictability of who survived and who was killed?

A VERY LONG ENGAGEMENT

France, 2004, 133 minutes, Colour.
Audrey Tautou, Gaspard Ulliel, Jean- Pierre Becker, Andre Dussolier, Jodie Foster, Tcheky Karyo, Denis Lavant, Dominique Pinon, Chantal Neuwirth.
Directed by Jean- Pierre Jeunet.

This is a very French film (tres francais) which hit the right note with the French public. While non-French audiences will like it, its French sensibilities will not be entirely comfortable with them.

Matthilde, the young Frenchwoman who is handicapped by polio when a girl, is one of those very sweet girls, shy and retiring, who responds to an emotional crisis with surprisingly relentless determination which is commented on too obtrusively by an offscreen female voice who describes the emotional stress that Matthilde is going through in that literary, somewhat abstract way that the French love.

This is a World War One story from the trenches at the Somme. The trenches themselves, the grim no-man's land, the mud and squalid environment are re-created with telling detail. We feel that we are there. We are also immersed in the bombardments, the pounding, the crashing noise, the exploding shells and flying earth. Although this happened 90 years earlier, it is a relevant reminder of the impact of that war in Europe and for allies beyond and the needless loss of hundreds of thousands of lives.

Based on a novel by Sebastian J, the film is a jigsaw of war narrative in 1917, the aftermath of war in Paris and beyond in 1920 and the detection that Matthilde instigates to try to find her lost fiance who had been condemned to execution for self-mutilation along with four other soldiers. This means that the audience continually moves between the war and the consequences, with strong emotional shifts, as we learn more about the men and their lives, the callously self-centred action of officers (which makes one want to see again the seminal films of Kubrick and Losey, Paths of Glory and King and Country, which dealth with similar themes) and Matthilde's determination despite ever-increasing possibilities that her fiance is dead.

The film was directed by Jean Pierre Jeunet. He is an offbeat stylist in his range of cinematic devices for creating atmosphere (Delicatessen, City of Lost Children, Alien Resurrection). While his narrative is more straightforward considering the jigsaw screenplay, his style of camera shots, split screens, use of stock footage, means that there is continuous suggestion for deeper emotional response and understanding.

Jeunet made an international name for himself with his magic realism comedy, Amelie. He is working again with the star, Audrey Tautou. She has a charming and pretty screen presence. This time more demands are made on her and she is quite persuasive as Matthilde. She still has a touch of the fey, but there is steel beneath. An impressive cast creates quite a gallery of characters both in war and peace, including a surprise for world audiences with Jodie Foster as a war widow.

A Very Long Engagement can be added to the list of respected war films as well as the list of intense love stories that the French call 'amour fou'.

1. The popularity of the film, especially in France? For non-French audiences?

2. The work of the director, his work with the star, their combining well together?

3. The importance of the technical achievement: the re-creation of the period, the re-creation of Paris during World War One, the countryside? The re-creation of the war, the trenches, war action, planes, bombs and explosions, the Zeppelin and the fire in the hospital centre? The importance of the sound engineering to immerse audiences in the experience of the battlefield?

4. The musical score, reflecting the period?

5. The title, its tone, expectations? Symbolic of France and its experience of the war years, the postwar period? The trauma and melancholy that France experienced? A maimed France? A self-mutilating France?

6. The structure of the film and the introduction to the five prisoners, the voice-over and the commentary throughout the film? The flashbacks for each of them, the self-mutilation, the background of their lives and work, their being taken into the army, the effect of the army on them, shell-shock, madness? The cumulative effect?

7. Menach and Matthilde: the introduction to Menach, the effect of the war, his fears, the bombardments? The flashbacks, the two as children, becoming friends, Matthilde and her limp, Menach at the lighthouse? Their talk, love for each other, Matthilde suspended from the lighthouse? The matches and her disrobing? Lovemaking? The suddenness of his having to go off to war?

8. The military tone of the film, the five self-mutilating prisoners, marching through the trenches, their going to No Man’s Land? The military law, the death penalty? The details of the trenches, the No Man’s Land, the officers and their life, the harshness of their decisions, the kindness of the soldier who scrounged everything?

9. In No Man’s Land, the gradual revelation of what happened to each of the five? The French and their going over the top, the Germans and their shooting? The bombardments and the planes flying over, explosions and deaths? The improbability of survival? Menach and his friend changing the tags and his survival?

10. The experience of the war, its effect on France, the battles around the Somme? The battles for small areas of land? Going over the top, close combat, firing point-blank, slaughter?

11. Matthilde and the aftermath of the war, the information from Esperanza? The scrounger and his help, eating at their table, his memories? Matthilde in herself, her leg, her going to the lawyer and sitting in the wheelchair, persuading him to help, her believing that Menach was still alive, the details of her research, search, the arrival of all the letters (and the joke about the postman skidding in the gravel)? The care of her uncle and aunt for so many years? Going to the archives, on the ladder, the lawyer concealing documents? Her hiring the private detective, the discussions with him, his finding Tina Lombardi, finding Elodie and the other witnesses?

12. The story of the farmer, his relationship with his wife, mutilating himself, in the No Man’s Land, survival, his disappearing, his wife, Matthilde finding him and getting the information about Menach? The man with his wife, wanting her pregnant, urging her to take his friend as a lover, her response to him, the soldier’s reaction? His death? The character of the woman, from Poland, her meeting with Matthilde, the discussions, the flashbacks, their sharing friendship? The Corsican, his seeming a bandit, tough in the trenches, mutilation, the violence of his death?

13. Tina Lombardi, her relationship with the Corsican, her search for him, vengeance, the fat officer and killing him, the officer in the tunnel and shooting him? Her arrest, in prison, Matthilde’s visit, their discussions, her help in finding Menach, the visualising of her being guillotined?

14. The German woman at the restaurant, the look to Matthilde, their meeting in the restroom, the information?

15. The portrait of Matthilde’s uncle and aunt, genial, the country, their care for her, the reaction to the postman in the gravel, their work in the fields, accompanying her on her search?

16. Matthilde, going to the battlefield, her being carried over the battlefield – and audience response to the new growth after the battlefields and the trenches?

17. Her going to the farm, learning the truth, going to the mental institution, Menach and his being there, his loss of memory, the importance of her visit, her love for him, communication, hope?

18. The French and their liking of mad love stories, amour fou? Matthilde’s intuitions, faith, love and a future?

SIDEWAYS

US, 2004, 127 minutes, Colour.
Paul Giamatti, Thomas Hayden Church, Virginia Madsen, Sandra Oh.
Directed by Alexander Payne.

About Miles.

The previous film co-written with his long-term writing partner, James Taylor, and directed by Alexander Payne was About Schmidt with Jack Nicholson. It was a road film, a journey by a retired man who travelled America to discover more about himself and freedom. Sidways is also a road film. This time the traveller is a middle-aged man, Miles, who is in depression after his divorce and his failure to have his novel published. His companion on the road is his college days friend, Jack, whose TV acting and commercials career is at a standstill but who intends to marry at the end of the week-long trip they take through the vineyards of California. It is a sideways journey.

Miles is played excellently by Paul Giamatti. Giamatti is a familiar face, not necessarily a familiar name, from many supporting roles. In 2003, he made his star mark in American Splendor. He now brings Miles to life, a complex character with whom one sympathises but who can be very annoying. Jack is played with relish by Thomas Hayden Church. He is the opposite of Miles. He is always posing and acting. He is completely self-absorbed (and one dreads his marriage), infantile in his approach to everything, especially sex and women.

The vineyards setting is important. There is ample opportunity for aficionados to appreciate the variety of vineyards, get information about the wines and share vicariously in some of the tasting. But the wine is a symbol of life (as explained in a moving speech by Maya, a waitress friend of Miles). Miles is a wine expert and he can taste the subtleties. He can be elitist, but he is capable of appreciating wine and the varieties of life. For Jack, everything tastes the same. He just wants the pleasure of having a drink.

The two women in the story differ considerably. Sandra Oh is freewheeling Stephanie. Looking for love, she believes Jack's spiels and is doomed to frustration and anger. Virginia Madsen is very moving as Maya. She too has a taste for life but is able to listen to Miles, share his vision, support him. She may be the one.

Payne and Taylor's screenplay is intelligently and often wittily written. Rolfe Kent supplies an unobtrusive but mood-creating score. Sideways is a thoughtfully entertaining film.

1. The nominations and awards? The appeal?

2. The title, Miles’ life and his way of life, Jack’s life and his way of life, the journey that each takes? Maya and Stephanie and their journeys? Everyone moving through life sideways?

3. The San Diego settings, Los Angeles, the Californian roads, the vineyards, the landscapes, the restaurants and motels? The unobtrusive musical score and its creation of mood?

4. The structure, the diary of the journey?

5. The focus on Miles, his being in every scene, getting up, the phone call, his lies and excuses, the driving to Los Angeles, his arrival, excuses? His friendship with Jack, going back to their college days? The plan for the trip, the motivation for Miles, to give Jack a week before his marriage, Jack and his plans to open up Miles? On the road, driving, his expert knowledge of wines, the wine tasting, the golf, Miles as a teacher and would-be writer?

6. The contrast with Jack, his friendship, the background of his acting, soap operas, commercials, his age, not having as many contracts? His explanation of himself, acting all the time? The engagement to Christine, his wanting to get out of the house and on the road, the week, the revelation of his character, infantile attitudes, self-absorbed, his wanting to be free, sexual encounters? His wanting Miles to have sexual encounters?

7. The visit to Miles’ mother, the birthday, the flowers, the chat, her personality, dominant, loving Miles, the meals, her plans – and their escape?

8. The importance of the wine themes: the visiting of the vineyards, the visuals of the vineyards, the work, production, the produce? The wine tasting – Miles and Jack, the crowds? Miles’ technical knowledge and explanations? Jack’s lack of taste? The contacts that Miles had built up, bars, restaurants, Maya?

9. Jack, his phone calls to Christine, the aims of the trip, his urging Miles on concerning Maya, the encounter with Stephanie at the tasting, liking her, arranging the night out, his being with Stephanie, the collage of the meal and the bonds between the four, going home, the sexual encounter, declaring that he loved her, her believing him, riding on the bike with her? Christine’s messages and his trying to avoid them? The discussions with Miles, listening to Miles’ views and criticisms? His wanting to promote Miles, talking about his novel and its being published? The golf game – and the attack on the critical players? Incessant talk, Miles telling him to shut up? The continued pressure on Miles, making Miles do what he wanted? The fan at the restaurant, going to her home, the sexual encounter, being bashed by her husband, losing his wallet, forcing Miles to go and get it? His being bashed by Stephanie with her helmet? Going home, the continued focus on self as he argued with Miles? Continually acting and self-justifying?

10. Miles, his age, experience, sense of being a loser? His character, his work, the novel and its length, the ending? His expertise at wine tasting and his enjoyment of it? His knowing Maya, liking her, his reaction to Jack’s presence? The dinner – and his having to leave the table? The desperate phone call to Victoria and the memories of his marriage, affair, divorce? His not wanting her to be at the wedding? His acceding to her requests? Going home, the discussions with Maya, his response to her speech about wine being alive, no sexual encounter? Going out, his being open and free with her, talking, her support, the novel, the picnic? The night together?

11. Maya, age and experience, the divorce, her work? Study and ambitions? Waitressing? Sharing the drink at the bar with Jack and Miles, agreeing to go on the date, the meal and the talk, her being comfortable with Miles, the significance of the close-up of her wine speech and the revelation of her character, intensity? Her wanting to read the novel? A good woman, loving Miles, the night with him? Her being upset with the information about the wedding? Her leaving, the phone message, Miles’ letter – and his going to see her again? A future?

12. Stephanie, at work at the tasting, as a personality, her daughter, Jack going out with the family, her mother? The sexual encounter, the riding the bike, the hopes, believing that he loved her, hearing the truth and her hitting him with the helmet?

13. Miles, introspective, his lack of achievement, his saying that he had not made any mark in the world, not significant enough to kill himself? The pathos? His continually escaping confrontation, sleeping, walking by himself, the phone call to Victoria – and the contrast with the reality of meeting her and her husband at the wedding? His continually doing what Jack said – especially as regards getting the wallet and the comic effects of the intrusion in the house, being chased by the naked husband? His capacity for drinking, self-pity?

14. The wedding, the Armenian ceremony, Jack and his going through with it, a future with Christine or not? The family, the guests? Miles and his meeting Victoria, his driving away from the reception, going to get his special wine, drinking it with the hamburger?

15. The letter to Maya, the message, listening to the phone – and his going to her house? The appropriate ending as he knocked on the door?

16. Sideways and the themes of journeys, the one journey and two routes, Jack and his not moving at all, Miles and his change and transformation?

HIT AND RUN

US, 1998, 95 minutes, Colour.
Margaret Colin.
Directed by Dan Lerner.

Hit and Run is a didactic telemovie, a focus on an ordinary mother who accidentally hits a schoolgirl, goes for help, comes back to find herself being moved on by the police but finally accused of being a hit-and-run driver. She is unable to communicate the truth to her husband, is afraid to talk to her friends who begin to sense that something is wrong, is in communication with a detective investigating the case and eventually confesses to her.

The film highlights the horror of such accidents, the consequences for victims, the consequences for family. It also highlights the fear in the ordinary citizen suddenly caught up in this situation, having the make a decision – and making the wrong decision.

The film is set in a very affluent society – under criticism from the investigating detective. It shows a competent woman, lacking in self-confidence in comparison with her husband and memories of her past career, a hostess who is unable to handle the situation. Of particular interest is the unforgiving attitude of her husband and the collapse of their marriage.

Margaret Colin is very sympathetic in a difficult role. An interesting film for a home audience to consider the repercussions of such incidents and to identify with the central character and her dilemmas.

1. The impact of the film? A telemovie for the home audience? For audiences to understand the situation, the characters, decisions and dilemmas? Where did audience sympathies lie?

2. The affluent community, the town, business and executives, hostesses and parties? Lunching out? The contrast with the detective’s world, the police world? The attractive locations, affluence?

3. The title and indication of themes, the designation of this kind of offence? Public opinion, sympathy for the victim, no sympathy for the perpetrator?

4. The portrait of Joanna, her beautiful home, hostess for the party, her friends, the preparation of the party? Her relationship with her husband, love for her children? Her husband unable to stop and listen to her? the children and their squabbling? Taking the children to school, warning the little girl about her dropped box – and the irony that she would hit her on her bike? The various errands, lunches? The building up of a sympathetic character?

5. Her driving, the rain, fiddling and searching, hitting the young girl, helping her, going for help, the phone call, anonymity? Her return, being urged on by the police? Her not telling authorities? Her ringing her husband, trying to tell him the truth, his being busy with his daughters, not listening? The party, her distractedness? Her concern about the girl? With her friends, their social help for the victim, going to the hospital? Her phone calls and continued concern? Being interviewed by the police, the meeting? Her continued agitation? Detective Riko and the questions, putting the hypothesis, sitting in the car? Her telling her husband, her shock at his inability to respond to her? Her going to the police? The transition to the aftermath, her living alone, Detective Riko visiting her, the collapse of her marriage, going to see her children and hugging them as they came out of school? Her future? Her competencies, the interview and her nervousness, working in a book store? Possibility of reconciliation with her husband?

6. The husband, busy, social, not listening to his wife, his shock, his not being able to believe anything she said? The daughters, squabbling, at home, love – the end and their hugging their mother?

7. The friends, social, reputation in the small community, affluence, trying to help, the PTA, sympathy for the mother of the victim? Nancy and the interrogation, her nervousness, telling the mother of the injured girl?

8. The mother, the father and his anger? At the daughter’s bedside, the gradual improvement, her finally coming out of coma, recognising Joanna? The prayer service? The appeal for people to come forward? Nancy telling her about Joanna, her confronting her?

9. Detective Rika, trying to be pregnant, her assistant, the investigation, the accident scene, suspicions, the speech at the school, the interest in Joanna, explaining the hypothesis, the interview with Nancy, the pressure on her? Finally hoping that Joanna would come in of her own accord? The final visit to Joanna?

10. Audience response to this frequent situation, the victim and her injuries, the plight of the family, the plight of the perpetrator?

THE AVIATOR

US, 2004, 169 minutes, Colour.
Leonardo di Caprio, Cate Blanchett, Kate Beckinsale, John C. Riley, Alec Baldwin, Alan Alda, Jude Law.
Directed by Martin Scorsese.

Golden Globe winner for Best Picture and a nod for Leonardo di Caprio as Best Actor, this is a Hollywood epic about one of the United States leading capitalist giants who led a glamorous life before mental illness got the better of him and he lived and died an eccentric recluse, Howard Hughes.

For those who know of Hughes only through his final years, this film may prove a very interesting surprise. It is really a tribute to him, an acknowledgement of his achievement in the field of aviation, an acknowledgement of his eccentric achievement in movies. It is also an affectionate tribute to him. Martin Scorsese’s direction enhances John Logan’s very sympathetic screenplay, giving something of a glow, especially to the 1920s and 1930s when Hughes was a hero and a glamorous playboy as well. The lighting for the 1940s approaches the light of day as Hughes’s story has to face harsher realities.

Hughes was also known as a womaniser, especially with Hollywood film stars. This is all in the film – although again he appears as less of a predator with expectations that women will fall for him (they generally do) but a more gentle man who is hurt by rejection.

Leonardo di Caprio proves again what a talented actor he is (think This Boy’s Life, Gilbert Grape, Romeo and Juliet) playing Hughes both younger and older than di Caprio is.

There are many fascinating sections of The Aviator. The years of filming his World War I movie, Hell’s Angels, the clash with the Motion Picture Board because of Jane Russell’s famous cleavage in The Outlaw; the design of his planes and his testing them as well as his breaking flying records, the establishing of TWA (and his rivalry with Pan Am boss, Juan Rippe (Alec Baldwin)), the design of the Hercules, his two spectacular crashes and his injuries; the 1947 Senate Hearings to defend his good name against the allegations of Senator Brewster (Alan Alda), where di Caprio is very strong; and the glimpses of Hughes’s fastidiousness, growing obsession with cleanliness, culminating in a powerful sequence of his seclusion. This is the stuff of good drama.

The Hollywood side is taken care of with his visits to the Coconut Grove, his years with Katherine Hepburn (who was exhilarated by his flying), relationships with the young starlet, Faith Domergue, and with Ava Gardner. Cate Blanchett gives an eerie and fascinating impersonation of Katherine Hepburn, mannerisms and all. The sequence where Hughes meets her family and they talk down to him is nervy. Kate Beckinsale is Ava Gardner but does not give any impersonation of her at all, which is very disappointing and just makes her an independent spirit who is kind to Hughes.

Almost three hours in length, audiences might be dipping in and out of The Aviator, depending on their main interests in Hughes, his life and career.

1. The awards, popular acclaim? A piece of Americana? Impact for non-Americans?

2. The career of Martin Scorsese, his style, interest? The stars and their strong performances?

3. The re-creation of the 1920s, 30s and 40s? Los Angeles and California? The world of Hollywood, movie-making? Night life? The world of aerodynamics, planes, building planes? World War Two? Politics, Washington hearings? American film censorship?

4. The visual style, the style of the biopic, of the musical, the Hollywood drama? The footage of Hell’s Angels, The Outlaw? The mood and look of the past?

5. The musical score, the range of songs for each of the periods, the popular songs, the melodies?

6. Howard Hughes and his reputation, people knowing about his madness and eccentricity in old age, his seclusion, his obsessions? The portrait of his early life, the film helping to understand him and his final decades? The film as a tribute to him and his work, affection for him, allowance for his failures? A critique of him? Howard Hughes as embodying the American dream, capitalism and the American way, especially in government money for aviation and for World War Two planes? An objective look, a subjective look – where did audience sympathies lie?

7. Hughes’s contribution to aviation, his film-making with Hell’s Angels, the stunt work for the film, the engineering for the planes used in the film? His continually modifying them, his building planes, his perfectionism, his breaking records, his flight around the world, the dream for building the Constellation, for the Hercules? The end of the film and his focusing on jet flight?

8. The prologue, his mother, washing him, spelling ‘quarantine’, her talk about disease, wanting to protect him? The memories of this scene, the psychological influence of his mother, protection, cleanliness, illness and disease, threats? The repetition of the scene at the end and his declaring his ambitions to be wealthy, fly planes, make films?

9. The issues of health, his growing fastidiousness, specks, obsession with washing his hands, doorknobs, looking at meat and finding them distasteful, drinking milk? This leading to his seclusion, burning his clothes, beard growing, nails growing, the milk bottles, the urine bottles? His coming out for the Washington hearings? His finally not coming out of his seclusion in his real life?

10. The title, the focus on planes, World War One and the dogfights, the need to see the plane’s speed and the visuals of clouds? The 20s and travel, the 30s and building new planes, continuing speed, his testing planes, his knowledge, perfectionism, examining everything to rivets? The character of his assistant, relying on him, his continually supporting him over the decades? Sharing finally in the success of the Hercules? His own exasperation, his loyalty? Hughes working out mathematics in his head? The meeting with the designer of the Constellation, the planning of the Hercules, his first test and crashing in the field, the second test and his crashing in the houses, the visuals of this crash, people’s homes, fright, the fire, the burns and his suffering, hospitalisation? The conflict with Juan Rippe, with Pan Am, the establishing of TWA and wanting it as a competitor to Pan Am, the political implications in the postwar world, monopolies? His finally flying the Hercules? Dreaming of jets?

11. Hughes as a person, the basis of his wealth, Texas background, Houston? His attitudes towards his wealth, spending his money? The opening sequences and the spending of millions on Hell’s Angels, meticulous re-creation of the scenes, having the pilots waiting, speed, the professor and his wanting clouds, eight months passing? The premiere of the film, the party, his seeing The Jazz Singer, wanting to re-edit the film for sound and remake it? The range of people who worked with him, building the planes, editing the films…? The media comments and criticism, the mockery? His wanting to do everything instantly? The final premiere of the film, his pulling a face during the screening, accompanying Jean Harlow, his laconic interviews with the press, the acclaim? The importance of his deafness, Katherine Hepburn pointing it out, the scenes of his not hearing, his finally admitting it?

12. Noah Dietrich, his character, the discussions about work, Hughes hiring him, his continued advice, relying on him for all business aspects? The others who relied on him, Oty, Jack and the building up of TWA, the constructors, the designers? The professor, his being bought, his assisting at the hearings about The Outlaw, his being on the Hercules at the end? His pushy agent, the issue of trying to borrow the cameras from MGM?

13. His relationships with women, his chatting up the cigarette girl, his style, young girls, actresses? His attitudes towards the actresses – that they were only movie stars? Gentle, the playboy, his being hurt?

14. Cate Blanchett’s portrait of Katherine Hepburn, the impersonation of her talk, walk, clothes, attitudes? The scene with Cary Grant and George Cukor? Playing golf with Hughes, going out, their talk, her forthrightness and attitudes, the kiss, the meal and the meeting with Errol Flynn, the insults to Hughes, her going flying with him? The affair, living with him for so many years, their being together and suitable for each other, the issue of fame, her seeking publicity, his shunning it? Her ego at the premiere of The Women, talking with Louis B. Mayer, neglecting Hughes, apologising? Taking him to see her parents, the snobbery, the discussion at table, her ex-husband, the photos, the parents and Hughes perceiving them as rude? His leaving? Her irritation at him answering the phone and neglecting her, the blunt leaving him, the relationship with Spencer Tracy, the photos, Hughes and the photographer and buying him off? Her later coming to his door in seclusion and thanking him?

15. Faith Domergue, her age, the audition, Hughes’s infatuation, going out with her, her eating and not knowing what was happening, plans for a film career, his neglecting her, her crashing the car when he was with Ava Gardner?

16. The portrait of Ava Gardner, her style, flirtatious, only wanting dinner with him, able to talk with him, Faith Domergue’s crashing the car? Her finally being able to transform him from his seclusion, dress him and groom him for his Washington hearings?

17. The film world, MGM and Louis B. Mayer and the mockery, not lending the cameras? Sets for films, stars, premieres? Hell’s Angels, Scarface and its violence, Breen and his motion picture code, the hearing about The Outlaw, Jane Russell and the cantilever, the scenes being shown, his watching them in seclusion? The hearing about Jane Russell’s mammaries, the professor measuring, the photos of the other stars, the watching over and over of The Outlaw?

18. Juan Rippe and his attitudes, building up Pan Am, the rivalry with Hughes, spying on him, the influence of Senator Brewster, the writing of the legislation? His going to Hughes’s door, their dialogue, failure for compromise? His watching the hearings, the issues of monopoly, his being defeated?

19. The political background of World War Two, the postwar world, flight monopolies, Senator Brewster, his relationship with Rippe, his discussions, the legislation, his wanting to be the head of the hearing? The visit of Hughes, the verbal sparring, the meal, the fish, the picture of the llama, Hughes’s shrewdness in seeing that Brewster had been bought? His refusal to do a deal, not wanting to go to the hearings? His change of heart, coming out, his strong speeches, the expose of Rippe’s relationship with Brewster, his besting Brewster in the talks, his walking out, people’s applause?

20. The success of Hughes, yet his becoming paranoid, seeing things, the sequences of his looking suspiciously at people, his growing fastidiousness, seclusion and the image of the future?

21. His character, the capitalist, the American dream, the work ethic, his wanting his privacy, his using his own money – and his defence of his use of money and his effort with the war planes and their not being used, the Hercules, his final success? The film as a tribute to his risks and daring?

THE GRUDGE

US, 2004, 92 minutes, Colour.
Sarah Michelle Gellar, Jason Behr, Ka Dee Strickland, Grace Zabriskie, Rosa Blasi, William Mapother, Todd Remy, Yoko Maki, Takako Fuji, Clea Du Val, Bill Pullman, Yuua Ozeki.
Directed by Takashi Shimuzu.

Sometimes a foreign director is invited to Hollywood to remake his film in English with an American audience specifically in mind. This happened to Dutch George Sluizer for The Vanishing and Danish Ole Bornedal for Nighwatch. The films are then highly criticised for not being as good as the original. Now Takashi Shimizu has remade The Grudge. He was permitted to film in Japan with a Japanese crew. However, the screenplay was adapted for American sensibilities and the central roles taken by Americans. And it was inevitable that everyone would say that something was lost in translation.

Lost is not exactly the right word. The film retains the feel and look of Japan and its world of spirits and violent vengeance. The actors playing the ghost mother and child repeat their roles (and they had played them in the video movie as well as the Japanese cinema version). The screenplay relies on the Japanese atmosphere and how sympathetic Americans respond to it and are then terrorised by it.

As with the original, the plot is not easy to follow as there are several time shifts that are not ‘realistic’. As with the original, there are plenty of shocks and screams heightened by more expensive special effects. The Grudge looks good and is well crafted. Since it a horror show it does not have to be a dramatic masterpiece but has to create a sense of eeriness about people becoming victims to the fury of the ghosts in the haunted house.

A group of young actors led by Sarah Michelle Geller have to spend a lot of time being terrified. Veterans Bill Pullman and Grace Zabriskie bring experience to the enterprise – which, on its profitable release for Halloween 2004, seems to have worked particularly well on audiences wanting a scare.

1. The popularity of Japanese horror films in the late 90s and the beginning of the 21st century? Their international appeal? The Americans remaking them?

2. The original director directing the Hollywood version? Comparisons between the two? His keeping the Japanese actors as ghosts? The American cast?

3. Keeping the plot in Japan, the English-speaking enclave in Tokyo? Their meeting the Japanese? The encounter of two different cultures, traditions, attitudes towards spirits and ghosts? Towards violence? A satisfying blend of studying the two cultures?

4. The Tokyo settings, Japan and its beauty, the streets, the homes, the offices? The interiors? The sinister aspects of the haunted building? The stairs, the rooms, the closets? The building up of atmosphere? The musical score?

5. The plausibility of the plot, Japanese beliefs in spirits? The contrast with American attitudes? Americans caught up in this atmosphere of fear?

6. The background of the horror, the murders in the house, the husband killing his wife, his son, the cat, suicide? Her diary? The grudge? The visualising of the black shadow of the grudge? Permeating the house? Attacking all those connected with the house? The appearances of the ghosts, their sinister look? The vengeful mother? The child and his appearances for example appearing at every level as the lift ascended?

7. The care worker, Yoko, her going to the house, the ghostly presence, the violence? Her caring for Emma, an American, her age, dementia, confined to the house? Karen and her being assigned to take Yoko’s place? Her involvement in the grudge and the ghostly appearances?

8. The character of Karen, student, her relationship with Doug, working for the care agency, her research? Alex her boss? His sending her to the house, taking Yoko’s place? Her arrival at the home, her finding Toshio in the closet, the assumption that he had been physically abused? The ghostly appearance of his mother? Her realisation that they were ghosts? The consequences, her coping, her fears?

9. The ghosts, the attack on Matthew, on Jennifer? The delineation of their characters, relationship? Their deaths? The attic – and the jawbone of the care worker, Yoko?

10. Matthew’s sister, the phone call, her dead brother, the mother and the child ghosts pursuing her, going to the apartment, her fears and death?

11. The detective, his investigations, discovery of the bodies, with Karen? The detective work?

12. Karen, her finding out about the house, the discovery of the truth? The inspector and the information of his two colleagues, working the case, their mysterious disappearances? The irony of Yoko appearing in Alex’s office – and their deaths?

13. The academic, Peter, the photograph in the house? The flashbacks to Peter, his life, research? The irony of the mother stalking Peter? His death?

14. The climax, Karen and Doug, the inspector, going to the house, the possibility of ending the haunting? The explosion? Karen still living – other deaths, the ghosts still present, the possibility of sequel?

15. Audience enjoyment of this kind of frightening film? The shocks, the appearances of the ghosts, the violence, scary scenes (Susan and her hiding under the blanket to find the ghost there)?