TRAVAUX, ON SAIT QUAND SA COMMENCE (HOUSEWARMING)

France, 2005, 90 minutes, Colour.
Carole Bouquet, Marcial de Fonso Bo, Brigitte Rouan.
Directed by Brigitte Rouan.

Housewarming is a whimsical French comedy. The focus is on a barrister played by Carole Bouquet. Much of her work concerns homeless illegal workers in France. When she wants her own home remodelled, a group of Colombian remodellers take over. There are a lot of workers – and this is part of the comedy (although there is a lot of realism and some pathos). The workers are from Colombia, Morocco, Mali, as well as France and Italy. The comedy also concerns a client who is infatuated with the lawyer and pursues her. She also has a teenage son and daughter who have to cope with the difficulties.

The film builds up a cumulative effect of humour – and a wry comment on some of the practical difficulties in living in the contemporary city.


1.A light and breezy comedy? The serious undertones? In the French style and humour? For French audiences? European, worldwide?

2.The use of Paris, the postcard pictures? The affluent areas, the poor areas? Lawyers’ world, migrants’ and illegals’ world?

3.The style of the film, Carole Bouquet and her manner, dress? The migrants and their work? The transforming of the house? The magic realism in the court sequence and the appeal about Rasheed? The musical score?

4.The title, the apartment, Edoardo and his continuous plans, breaking everything down, the number of accidents and breakages, the building, success... but the accidents at the housewarming?

5.The personality of Chantal, in court, her dancing and her contortions, the sex appeal, the judge’s response? Winning? Poncin and the offer of lunch, her refusal, his pursuit, calling her ‘lovey dovey’? The meal, staying the night, the breakfast, the reaction of Chantal’s children? His continuous pestering her, the flowers, her hiding behind the bar and creeping out? Her office, her staff? The jobs, for the Africans, for the Latin Americans? Employing the workers, the different countries they came from? Her relationship with them, their discussions? Her relationship with her children? Her former husband? The possibilities for her career, the bar dance and promotion? Her exasperation? The completion of the apartment?

6.Edoardo and his case, Chantal solving it, his work as an architect, his grandiose plans, his personality, his insistence, the foreman, the various workers? The man who was the guerrilla and his explanation of his life, his wife, the reasons he migrated to France, the operation on his arm? The various other members of the group, the tile expert and his assistant, his prima donna attitudes? Rasheed and the prospect of his marriage? Betamax and his lack of French, his friendship with the daughter, helping her with her Spanish? The professor and his helping the son with his maths? The workers feeling at home, coffee and meals, changing everything, the relationship with the children, the various botched jobs, Chantal and her exasperation with them? Their apologising and coming back? The finale and the celebration of the housewarming?

7.The progress of the house, the plans, Chantal not wanting the kitchen touched, her being on the phone in the bath and Edoardo misunderstanding? The makeshift bed, the electricity faults? The breakdowns? The various people camping in her house because of no beds at home? The humorous touch with Hugh Grant arriving at the end as the neighbour?

8.Children and parents, the girl’s shoplifting, Betamax and his helping the girl, the professor and Marton?

9.Poncin, the case, his winning? His gratitude towards Chantal, continually pursuing her, going back to Russia, the return, flowers, her threats, ousting him? Did he inform the authorities about the illegals?

10.The social concerns of the film, the migrants, the illegal hotels, the squalor in which they lived, the need for lawyers, Chantal confronting the board about the lead in the water, her winning?

AEON FLUX

US, 2005, 93 minutes, Colour.
Charlize Theron, Marton Csokas, Jonny Lee Miller, Sophie Okonedo, Frances Mc Dormand, Pete Posthlethwaite.
Directed by Karen Kusama.

Director Karyn Kusama previously wrote and directed a film about female boxing, Girlfight. That gives her some qualifications for this action drama where the heroine, Aeon Flux (also known as Catherine) has to take on many enemies in choreographed conflict. She is played by Charlize Theron, relying here on statuesque glamour rather than her subdued plainness as in Monster and North Country.

Perhaps this film has come too late in the day to make the impact it might have some years ago. Audiences have seen plenty of such futuristic stories – many of which were clearer to follow and brighter to look at. It follows familiar plotlines and relies on the interest in speculations about the future of the human race and the action.

The setting is several centuries hence and plague has decimated populations. Women are barren, so scientists are heavily involved in cloning procedures. In fact, most of the people seem to be clones – but there are signs of breakthrough and an ordinary human future.

Aeon belongs to a group of rebels controlled by Frances Mc Dormand. When they are sent on a mission to destroy Trevor Goodchild, the head of the industry, Aeon finds she is reluctant to kill him. Relying on her friend and sparring partner Sithendra (Sophie Okenedo), she discovers the (expected) treachery of Goodshild’s younger brother, Oren, (Jonny Lee Miller). The expected battle lines are drawn. Trevor turns out to be more than a Goodchild and Oren is the bad child. And the film ends with hope for humanity again. The film is based on a series of comic books.

1.The popularity of futuristic science fiction films? New civilisations? Collapse of civilisations? Government and power? Bioethical issues?

2.The comic book origins of the film? Transferred to the big screen? The screen narrative?

3.The female hero, the tradition of Catwoman and Lara Croft?

4.The visuals of the futuristic city, the buildings, the surroundings, the environment? Imaginative? Costumes and décor? Atmospheric score?

5.The special effects, the stunt work? The fights, the leaps, the flights? The weapons?

6.The title, the focus on the heroine? Katherine in another time and place? The time change? The background of cloning?

7.The plague, destroying the world, the disaster for human beings? The changes in nature? Birth? Science? The manufacturing of clones? The search for a cure from the plague? The sense of humanity – and inhumanity as it was mechanised?

8.Society and the future, the voice-over, seeing people disappear suddenly into corridors and niches? The murders? The motivation? The Monican revolution? The rebels, their appearance, costumes? The control and the handling of the people? The missions? The special powers, psychological, telepathic? The skills with weapons? The characters as mutations with beyond human qualities and powers?

9.Aeon Flux and Charlize Theron, her appearance, clothes? Her life, her power, with the handler? Her memories and lack of memories? Belonging to the rebel team? Her love for her sister, the meal, her sister’s death? Motivation for revenge? Antagonism towards Trevor Goodchild? Sithandra and her friendship, partner, the combat practice? The control urging Aeon Flux to confront Trevor Goodchild?

10.Her skills, the fighting sequences, her infiltrating into the Goodchild empire? Her hesitations when confronted by Trevor? Her ambiguous memories? Sithandra and the orders, control and the orders? Her saving Trevor?

11.The person and personality of Trevor Goodchild? His place in the council, his power? His working on cures, a more benign personality than audiences were led to think? The confrontation with Katherine? Memories of his wife? The bonds between Trevor and Aeon, their relationship? His relationship with his brother, Oren and his leading the rebellion?

12.Oren and his plans, the rebels? His being thwarted by Aeon? The murders – and his confession to the murder of her sister? The flashbacks? The Keeper and Katherine? Her meeting him again? The confrontation? The build-up to the guards, the battle, the deaths?

13.Aeon and Sithandra, the change in their relationship? Trying to persuade Sithandra of the truth? Freya and her role in the defence, the rebels? The decision by Sithandra to save Aeon Flux? The troops and their deaths? Freya and her loyalty? Serving, fighting, dying?

14.Trevor and Aeon, the dangers, his being wounded, the escape?

15.The Keeper, his appearance and clothes? Age, his role in the past, saving Aeon – and providing for her future and a child?

16.The issues of the future, the inability of humans to give birth, the seeking for cures from disease, the cloning, the exercises of power? Fighting, deaths? The future of humanity?

MEMORIES IN THE MIST

India, 2005, 120 minutes, Colour.
Directed by Buddhadeb Dasgupta.

The Bengali cinema is the exact opposite of Bollywood. It is not bright, loud, musical and colourful. It has the tradition of one of the nation’s most celebrated film-makers, Satyajit Ray. Prolific director, Dasgupta, was a disciple of Ray but takes the tradition into a combination of the realistic and the mystical. There is a great dignity and beauty in the seriousness of many of the Bengali films.

Memories in the Mist turns out to be a ghost story, not in the sense of eerie spookiness. Rather, the ghost, one might say the haunted spirit of a father who is restless until he is reconciled with his widow and son, enters into the real world, interacts with his family in a naturalistic way (and all is filmed as if it were all real). The effect of this is profoundly moving.

The father, who had long since been left by wife and son because of his affair with an actress, narrates the story, tells us about his son and his wife. He is able to be with his long-suffering wife who realises that she acted too hastily and judgmentally in leaving him. He is able to meet his son and be delighted in the son’s willingness to forgive.

In the meantime, the son, a very good and kind man, is being spurned by his own ambitious wife who finds a career in writing (and breaking the Guinness Book of Records) American travel guides in Bengali. She also has her own secrets and burdens her husband with them. But, he has been strengthened in his quiet expectations of himself by his encounter with his father and looks to the future with the two children in hope and love.

A troupe of wandering actors recur during the film bringing song, dance and the tones of Hindu religious mythology. An old flute-playing man and his associate also recur at key times during the man’s childhood and his present crises. These give the film the mystical tone while the ghost (whose themes of repentance and reconciliation are spiritual) enters into the real world.

A fine and moving example of east of India film-making.

1.The impact of Bengali cinema? The traditions? Serious, elegant, with dignity? So different from the Bollywood films?

2.The Kolkatta settings, the modern city and streets, transport, homes? The different classes? The workplaces? Country estates? The lake and the sea?

3.The beauty of the colour photography, the wide screen? The musical score? The insertion of the songs – and their religious meaning?

4.The blend of reality and fantasy? A realistic ghost story? The narrator? The events, the transitions, the presence and absence of the father? The invitation to the ghost to join the world? His coming into the world to make reparation and reconciliation?

5.The flute players and their wandering through the story, during the father’s childhood, in his crisis? The troupe of wandering actors, their make-up and presence, the performance? When the father was a boy? Taking his son with them on an excursion? The nature of their performance, dance, religious meanings?

6.The opening, the vistas of Kolkatta? The old man following his son? His being seen and not seen? The old man’s needs, to see his son, to tell his story? Visiting his wife, the explanations? Visiting his son and the discussions? Repairing and reconciling? The flashbacks to his early life, his work as a doctor, his wife, his relationship with the actress? His wife catching him, her reaction? The son shooting his father, wounding his hand? The mother and son leaving, the doctor returning and finding his family gone? His pondering his situation, crashing the car and his death? The insertion of the various flashbacks, the cumulative effect, especially with the final crash?

7.The portrait of the wife, her elegant life, expectations, relationship with her husband, with her son, her being hurt, her anger, leaving? The old man’s description of his wife and what he had done to her? Her later life, her ill health, looking after the grandchildren? Her husband’s ghost coming, their discussions, her admitting the harshness of her decisions?

8.The son, his life, a kind man, saving the thief, urging him to go back, saving him later from the mob? His wife despising him, her phone calls, brother in New York, going to New York, her verbal abuse? His work, his love for the children, tenderness towards him, singing for them, the little girl drawing on his back? The encounter with his father, their discussions, going to the shop, buying him the shirt, his father’s disappearance? Forgiveness? Remembering? Hearing the story, the reconciliation for his mother? His relationship with his wife and her books, going to the shop and getting the collection, their sexual experiences, his wife’s disdain, her brutal revelation that the children are not his, her leaving? His tenderness with the children, their love for him?

9.The ambitions of his wife, going to New York, unable to travel, watching the videos, writing their travel books, her return, her working at the desk all the time, the letter from the Guinness Book of Records? Her spurning her husband, pity, telling him the truth and going?

10.The actors, the mythologies, the Indian legends? The children and their songs?

11.The ordinary life in Kolkatta, the extraordinary experience of the ghost? Religious beliefs in the afterlife, purgation? Eternal rest?

12.The overall impact, a film of beauty, the message of being what we are, the message of forgiveness and reconciliation?

VANISHED WITHOUT A TRACE

US, 1999, 85 minutes, Colour.
Shelley Long, William R. Moses.
Directed by Douglas Barr.

Vanished Without a Trace is a story of child abduction. It stars Shelley Long as a distraught mother, who gains some strength even in her grief, pursues the case with determination. Her husband is played by William R. Moses, a former policeman now security guard who finds it very difficult to cope with the disappearance of his daughter and her possible death.

The film opens with suggestions about how children might be abducted from city streets. The story continues with the daughter missing from her home. All kinds of investigations are held, by the police, with psychics who give some clues, by personal investigation. The end is rather tragic, the daughter being murdered. However, as with many of these stories, the perpetrator is someone in the neighbourhood, known to the family.

The film is familiar material, is very similar to episodes in television series on vanishing and abduction. However, the film is well played and keeps audience interest.

1.Audience interest in abductions? The taking of children? Dangers and consequences?

2.The neighbourhood setting, homes, sports centres, school, playing fields? An authentic touch?

3.The title, the desperation, the helplessness of parents in the face of almost no clues? Police investigations? Using all means, even psychics, to find lost children?

4.The opening and the establishing of clues, perpetrators allowed into neighbourhoods? Their covering their identities? The three girls and their wandering the city, the man following? Audience relief when Elizabeth found her daughter?

5.The family, the love of husband and wife, the children? The domestic detail, happiness, squabbles? Sports, clothes? The wilfulness of thirteen- year-old girls? Cantankerous boys? Elizabeth and her strength of character? Jack and his withdrawal from the police force, quick temper? The suspicions of the neighbour and the confrontations?

6.Kathy’s disappearance? Elizabeth picking her up, concern? The beginning of the search, the children? Davis and the police? Jack and his wanting to intervene? Searching for clues, Kathy’s room being a crime scene? The confrontation with Farley? His innocence? His later coming after the funeral to apologise and Jack’s apology?

7.The police work, the personalities of the police, their friendship with Jack, the initial suspicions, his argument with his daughter, his being at the warehouse, his satisfactory alibi? The further questionings, the time passing, the loss of clues? The women coming forward, the finding of Bobby Lewis, his burglaries? The interrogation? Elizabeth’s later interrogation of him in prison, the clue concerning Scott?

8.Karen and Scott, their friendship, the sports centre? Elizabeth confiding in Karen? The relationship between Karen and Scott, having a baby? His growing alienation, suspicions, his doing the push-ups and rejecting Karen? The revelation of the truth, his trying to abduct Sarah? Elizabeth’s confrontation, their restraining her from hitting him? His explaining that he was sick?

9.The family, the consequences, the boys and their not understanding? The parents and the difficulties, tensions? Each supporting the other, making demands on the other?

10.Elizabeth and her going to the psychic, the clues, the memories about the rotten egg smell, finding Kathy’s body? Discussing the issues with witnesses, getting clues? The indications of Scott’s guilt, knowing about what Kathy was wearing, the purple tracksuit…?

11.The sadness of the funeral? Parents and their grief? The discussions about how to cope, to get through such crises?

12.The melodramatic finale – appropriate for the film? Yet the film not shirking the reality of abducted children being killed?

THE PERFECT WIFE

US, 2001, 90 minutes, Colour.
Perry King, Shannon Sturges, Lesley- Ann Down, William R. Moses, Max Gale.
Directed by Don E. Faunt Leroy.

The Perfect Wife is standard television movie fare. It presents a woman who is completely malicious, destroying all those who she felt responsible or connected with the death of her brother in a motor accident. She is played by Shannon Sturges, a television actress, who appears like any glamorous blonde in an afternoon soap opera. Her husband, her main victim, an upright doctor is played by Perry King, veteran of film and television for many decades. Lesley- Ann Down, the British actress, plays his wife. William R. Moses portrays his brother.

The film begins with the accident, the upset for the sister at her brother’s death and the doctor’s seeming preference to help the driver (alcoholic) of the offending vehicle to save her life. She marries the doctor and then proceeds to wreak havoc on everyone. The stars are very glamorous, both Shannon Sturges and, after many decades, Lesley- Ann Down.

The film is standard material – though a popular level exploration of malice and its destructive evil.

1.Interesting and entertaining telemovie? For the home audience? Characters, conflicts, issues?

2.The affluent setting, California, homes, surgeries, hospitals? Musical score?

3.The characterisation, at soap opera level? Deeper themes – but symbolic and surface characters?

4.The opening accident, the death of the young man, the saving of the driver? Hospital, Leah and her grief for her brother? Her attack on the survivor, turning off the machines, caught, the irony of the survivor living? Later coming and blackmailing her? Her blaming the doctor?

5.Robert Steward, an old-fashioned and upright moral man? Medical skills? His support of his brother and his marriage break-up, drugs? His marrying Leah but her calling herself Liza? The honeymoon, the return home? Seeming happiness? His being a victim of Liza, his secretary being killed, Liza taking her place, the false prescription for the teacher? His death? Her giving drugs to Brad, her forging signatures? Her antagonism towards Helen, seeming friendship? Her attack on Greta, accusing her of stealing, firing her? Her intention to destroy Robert’s life? Her reporting him to the board anonymously, Brad’s funeral, the arrival of Felicia and the blackmail? Her finally trying to kill Robert, the drugs, telling him everything, the car? His escaping, Helen’s arrival, the confrontation? Her later return, her not being killed? The irony of the doctor saving her life? A portrait of malice?

6.Robert, his inability to live with Helen, the divorce, devoted love to Liza, hopes for the baby? His disappointment in his brother, confronting him? The lawyer and the discussions about the prosecution? The funeral? His surviving? The possible reconciliation with Helen?

7.Brad, his practice, his wife leaving him, his going to pieces, not doing well with the patients, the false prescription, the death, his upset, Liza inviting him to stay with them, her poisoning him, his falling down the stairs?

8.Helen, her nerviness, her publishing her book, the therapy? Her confrontation with Liza, suspicions, Greta and her friendship, not believing the accusations? Her trying to get in touch with Robert, to warn him? The planned outing with Brad, seeing him fall down the stairs? Her investigations, finding out about Leah? Coming to Robert’s rescue? The end and the fight with Liza? Ted, the family lawyer, his wanting to save the brothers? His lesser code of integrity?

9.Greta, the maid, twelve years of service, the antagonism towards Liza, her being fired, confiding in Helen?

10.The background of the hospital? Legal action? Police investigations?

LUCKY NUMBER SLEVIN

US, 109 minutes, Colour.
Josh Hartnett, Bruce Willis, Morgan Freeman, Ben Kingsley, Lucy Liu, Stanley Tucci, Peter Outerbridge.
Directed by Paul Mc Guigan.

If you enjoy movies that show characters playing confidence tricks, especially on deserving victims, and enjoy being the victim of a clever screenwriter and a director (Scottish Paul Mc Guigan) who is playing tricks on the audience, then Lucky Number Slevin is well worth the visit – except to note that it is dealing with quite ruthless gangsters who are not troubled by scruples about violence and revenge.

A 1980s prologue sets up the sting, all to do with bets, bookies and numbers gangsters. Twenty years later, it all comes to a head, especially with the now reclusive rival thugs (Morgan Freeman and Ben Kingsley) setting up hitman Bruce Willis (who really is excellent at this kind of role) to avenge their son’s deaths. Into it all stumbles an unlikely lad, Slevin (Josh Hartnett) who finds himself suddenly abducted (to show the poor man’s troubles, he spends the first 30 minutes or more in a towel, including the abduction and threatening interview). Across the hall, lives a morgue physician (Lucy Liu) who comes to borrow a cup of sugar. They both get embroiled in a series of dangerous adventures, which also include Stanley Tucci as the detective in pursuit.

It’s all a case of mistaken identities and part of the entertainment is sorting out who is who and what is what. Jason Smilovic’s screenplay is also full of witty one-liners and off-hand remarks, questions answered by questions and exclamations that keep us attentive.

The two gangster chiefs ham it up a little, especially in the melodramatics when they find themselves trussed up together. Josh Hartnett is better than usual. And, even though you might start to realise where the twists are, it’s interesting to see how it is all resolved, plus a couple of surprises.

1.A popular gangster film? Vengeance thriller? The conventions of the gangster film and the revenge theme? The twists? The cons – of the characters? The conning of the audience?

2.The New York settings, the 1970s, garages, homes, the races? The 21st century? New York City, the apartments and streets, restaurants, the morgue? The musical score?

3.The quality of the screenplay: the verbal wit, wordplay, rhetorical questions and answering questions with questions? Movie references? Entertainment?

4.The structure of the film: the murders, the airport and the Kansas City Shuffle story by Mr Goodcat? The flashbacks and the elaboration of his story? Nick’s death? The other deaths? The introduction to the Boss and to the Rabbi? Slevin’s predicament (and the flashbacks illustrating them – later discovered to be lies and tricks)? The intercutting of Mr Goodcat and Slevin, with the Boss and the Rabbi? The death of the son of the Rabbi and their combining forces, the vengeance, the explanations, Slevin’s change? The shooting of Brikowski in the car? The complications of Lindsey and her death? The happy ending?

5.Audience response to vengeance films, the motivations of revenge? The Boss’s reference to Lex Talionis? The issues of justice and revenge, legal corruption, brutality, the law?

6.The flashback to the 1979 story: the nice father, his relationship with his wife and son, taking them out? The doctor, the doping of the horse, his loose tongue, the prostitute, her phone calls, the information, people overhearing? Max betting all his money on the race? The horse running well, its collapse? His losing everything? The death of the bookmaker – and the flashback to his explanations of the kind of people that Max would be in debt to? Roth’s death? The torture of Max, the Rabbi and the Boss, the decreeing that his family should die, his wife’s death, the out of town killer for the son? Audience expectations that the boy would die – or not?

7.Nicholas Fisher, at the airport, his listening to the story? His death? ‘’There was a time…”? Slevin and his arrival in the apartment, his having a shower, meeting Lindsey, borrowing some sugar? His face being punched, broken nose? The real Nicholas and the information about his crime, his death? Goodcat and Henry and their plan to use Nicholas, getting the information about the betting books, his ninety-six thousand dollar debt?

8.The Boss, Morgan Freeman’s screen presence, diction, voice? His history, the numbers game? His paranoia, staying in his apartment, twenty years? His henchmen and their punching out Slevin? Taking him (in his towel) to the Boss? The issue of the debt? Mistaken identities – and Slevin playing on the identity of the Boss’s assistant? The contract on the Rabbi’s son? Slevin’s reaction? The Boss’s son and the murder? The irony of Goodcat and Henry making the plan, the pressures on the Boss and the Rabbi? Their sons being killed? The revelation to the Rabbi about his son’s death?

9.The Rabbi and his double life, as religious leader and as criminal, his observations about the contradictions? Nicholas and his debt? The Rabbi’s paranoia, his history, closing himself in his apartment? The war with the Boss? Articulate? His love for his son, not knowing he was gay? The son, at the restaurant, Slevin following him, the encounter in the toilet? The son’s death? The Rabbi and the Boss, their being put together, their final dialogue, their deaths?

10.The array of thugs, the Boss’s henchmen, slow-witted, tough? Their turning up, with Slevin, their deaths? The assistant to the Boss – and the wordplay about mistaken identities? The Israelis and their working for the Rabbi, their deaths?

11.The criminals, the keeping of the books, Slevin killing them? Goodcat and his killings?

12.The picture of the police, Brikowski, his assistant? The puzzle about the deaths? Brikowski and his wanting to know the truth – and the irony of his formerly working for the Rabbi? Following Slevin, the means of surveillance, the pick-up, Brikowski’s visit to the morgue, discussions with Lindsey? His listening to the phone conversation in the car – and Slevin killing him?

13.Slevin, his character, his story, the flashbacks? The false flashbacks about his being mugged and his nose being broken? His being in the room, wearing the towel for about thirty-five minutes of the film, the device of making him look like a comic character rather than sinister? Even going to the Boss in the towel? Lindsey and the borrowing of the sugar, his response to her, the screwball comedy touches, his disappearances, her going to sleep, the mystery of the wrong man, his abductions? The relationship with Lindsey, sexual? The verbal patter? Slevin and his way with words, turning questions on questions? His following the Rabbi’s son, in the toilet? His finally being groomed, going into the room with the Rabbi, the killings? His meeting Goodcat and the audience realising the alliance between them?

14.Bruce Willis as Goodcat, the sleek killer? A convincing performance? The opening, meeting the real Nicholas, telling him the story, the flashbacks, his threatening Henry with the gun? Killing Nicholas? His dealings with the Boss, dealings with the Rabbi, playing them off against each other? Killing the Rabbi’s son at the apartment? His liaison with Henry, not killing him? Caring for him, driving him away, giving him his father’s watch? The details of the planning over the years? The execution? His going to the morgue, being seen by Lindsey, the threat to Lindsey and going to the morgue to shoot her? Her survival, Slevin’s explanation, Goodcat allowing them and her to live?

15.How convincing was the transition from Slevin and his mishaps to the killer? The development of character? Screwball comic touches to the ruthless, to vengeance? Killing the Boss and the Rabbi, sitting them in the chairs, their having to turn to each other to talk, their arguing with each other, realising the betrayals? Putting the bags over their heads? Their dying? The twist with Brikowski as a murderer?

16.How satisfying a confidence trick played on the characters as well as on the audience?

LILI MARLEEN

Germany, 1981, 120 minutes, Colour.
Hanna Schygulla, Giancarlo Giannini, Mel Ferrer, Christine Kauffman, Udo Keir.
Directed by Rainer Werner Fassbinder.

Lili Marleen is one of the most accessible of Rainer Werner Fassbinder's films. Having established himself in the '70s and being a prolific writer and director of films which were social criticisms of post-war Germany as well as being modelled on popular American directors like Douglas Sirk, Fassbinder achieved universal regard. Before his untimely death in the '80s, he made a number of films which were more lavish in budget and scale. Lili Marleen is a re-creation of the war years ( and resembles Istvan Szabo's Mephisto in its picture of a star being used by the Nazi regime and having to make judgments of conscience).

The film shows a Swiss family and a German singer involved in the Nazi regime and the saving of Jews. It also speculates on the popular song 'Lili Marlene', its growing popularity during the war and its being used by Hitler (despite the opposition of Goebels). Hana Schygulla, who appeared in a number of Fassbinder's films, is very good as Willie, the singer who gets caught up in the propaganda machine. Giancarlo Giannini is the Swiss Jew whom she loves but who is involved in smuggling people from Germany. Mel Ferrer is his father. Regulars from Fassbinder's films are in the supporting cast.

The film is interesting in its creation of atmosphere, interaction of character, paralleling plot with many familiar war films as well has having a collage of battle sequences. The musical score incorporates melodies from the period and uses, extensively, the song 'Lili Marlene'.

1. The work of Fassbinder? His cinematic style, his German content, critical themes?

2. An atmosphere of realism: Switzerland, Germany, Berlin, the theatre, the war sequences? The stylised presentation of situations and characters? Musical score, contemporary songs, the use of 'Lili Marlene' throughout?

3. The popularity of the song, its being well-known internationally? The story of its origins, the story of the song, its use, its fluctuations in popularity during the war, the enthusiasm of the Nazi regime, the response of the troops? The irony of its being used to torture Robert? The variety of renditions? A motif throughout the film?

4. Europe 1938, Swiss families and their concern about Jews in Germany? The Nazi party in power? The attacks on neighbouring European countries? An atmosphere of tension and uncertainty? Elegant surfaces, inner tensions? The Jews and their dangers? The span of the war? The fortunes of the German army (and the sequences in Russia)? The end with the picture of an emerging post-war Germany? A recapitulation of the war years?

5. Robert and Willie and their affair? The bonds between the two? Willie as a singer, her performances, her ease with Robert and love for him? Robert and his family, the constrictions, his ambitions with the piano? The secrecy of his missions into Germany?

6. The picture of his family: relationships, control, Robert's father and his strictness, ambitions, injunctions on his son? Summoning Robert? Robert's reactions? His interviews with Willie and devices to get rid of her? Aaron and his being the controller of the missions? Robert and his piano-playing? Love for his mother? His father's getting him to go to the party? Plans for marriage? Sending Willie to Germany? The difficulties at the border?

7. Robert and his devotion to his family, his work in Germany, the dangers, meeting with Miriam? Taking Willie into Germany, meeting the woman in Munich? The difficulties at the border, his return to get her, his father's manoeuvres? His love for Willie but suspicions? The phone call before her opening? His coming to see her when she was recording? Her visit to his apartment? His love for her, his false identity and appearance, his being captured, interrogated? The discovery of his identity? The torture with the photos of Willie and the broken record of 'Lili Marlene'? Meeting Willie under surveillance and the nonchalance between the two? His being returned to Switzerland? Conducting the orchestra, his loss of faith in Willie, marrying Miriam? The encores and his decision to take them? His learning the truth about Willie's helping the cause, losing her? A symbol of the opportunities of the 20th. century - service, selfishness, ambition? Love?

8. His father and his hold over him, the strategies for getting rid of Willie, the contacts with the Germans, his son's release, the blowing up of the German troops? His concealing the truth about Willie and the mission? His final smile at Robert's concert? Robert's mother, her love for her son, preparing his make-up for the mission? Miriam and the Jewish families in Switzerland?

9. The German connections, Dreeitz and the contacts, getting Willie, the Commander, the plans about the film, their deaths?

10. The portrait of Willie: as a singer, the offer of the Gestapo for success if she came to Germany, the affair with Robert and her love for him, Aaron and his visits, her going to see Robert's father, believing him? Robert and his work as a pianist? and returning at the end of the film? The visit to Munich, the difficulties at the border, her panic, her not being able to return? The debts? Going to Bernt and his mother? Her job as a singer, the piano-player, her debut and the background of Lili Marlene, Robert's phone call and her shouting? The song and the fight erupting? The SS deciding to use the song? Henkel and his power, the long recording and its tensions,(and Robert's visit)? Goebels disapproval, Hitler's approval and Willie's going to meet him – her dressing up, the light emanating from the room? Her being in favour, the singing of the song several times and the many collages of war action and deaths? The effect on her, becoming a celebrity, the wealthy home, her pianist and the friendship? The performances in the stadium, signing autographs? The encounter with the underground, her going on tour and smuggling the film, the help of Eric and the tensions of people spying on her? Eric and his devotion? The final dangers, Robert's arrest and the interrogation, her pretending not to know him? Her attempted suicide? Henkel at her bedside, the phone call to Robert? The end of the war, the escape with Eric? her eagerness, her joy at Robert's success, the encounter with Miriam, her disillusionment? Wandering out into an uncertain post-war future?

11. The portrait of Henkel and the SS, his charm, the meeting with Willie in Switzerland, her going to him in Germany, getting her the job, the record, the use of the record, his playing politics? His suspicions of Willie, having her followed? Failure to find the film? Eric and his assistance, his devotion, helping her with the film? The final escape? The background presence of Hitler, his dominance, his ethos?

12, The portrait of the German soldiers, in battle, listening to Lilli Marlene, the effect in the trenches, at the stadium? The putting of the bands and the raising of the bands? The irony of the free radio broadcasting information about Willie and her plight?

13. Fassbinder's interpretation of the war, the German perspective? The irony of the ending and Fassbinder's continued ?interest in postwar Germany?

LILI

US, 1952, 81 minutes, Colour.
Leslie Caron, Mel Ferrer, Jean- Pierre Aumont, Kurt Kasznar, Zsa Zsa Gabor.
Directed by Charles Walters.

Lili has been regarded over the decades as a classic musical. Though small scale in time and in budget, it is full of charm and enjoyment. Leslie Caron had made a great impression in her film debut, An American in Paris. She went to MGM and appeared in a number of musicals and small-scale dramas. She was quite impressive in such films as The Glass Slipper and in Gigi. However, she is probably best known for her role in Lili, the orphan, the waif, who lives in a French Circus and talks to the puppets. She learns about life and love. While the plot might sound trite, it is treated most humanely and beautifully. The film is based on a story by Paul Gallico, The Love of Seven Dolls. The attractive music and the theme song were most popular. All in all Lili is one of those enchanting musicals for all audiences.

1. Why was this a good film for all audiences of all ages?

2. How was it a modern fairy tale? The overtones of Cinderella? How did it steer its course between sentiment and sentimentality? What was the nature of its charm? Its popularity? The place of the song, "Hi Lili, Hi Lo"?

3. The film was set in a circus world, with the magic of the carnival. the puppets, the dolls. How did this create the magical fairy tale world for the real story? Comment on how the film used the real dolls in the ballet to make the moral point at the end? How did this all combine to give realism and fantasy and a moral? Consider the film as a fable.

4. How attractive was Lili herself? Lesley Caron's performance? Sympathy for an orphan? Her being lost in the town, her work in the shop and being exploited, her being attracted to the carnival, her infatuation for Marc? Why was she infatuated with him? Why did he not respect her? Why did he exploit her? Her work as a waitress and her inefficiency, the comedy in this? Her being sacked and the sudden turn of the comedy to tragedy in her contemplation of suicide? The role of her imagination as she worked as a waitress ? Lili as a dancer (the talents of Leslie Caron as a dancer)? Her being rescued by the puppets, her talking with the puppets, how attractive was this? Why did it attract people? How was she changed by her talking to the puppets? Her disillusionment with Marc, the interference of Rosalie? Why did she run away? How important was the dream ballet for her, everyone turning into Paul? Why did she realise the truth? How happy could she be in the future?

5. How optimistic was the film? Despite the sorrows and even the sorrow to death and suicide, there was always hope. How much goodness was there in the film? How much truth about human nature? How much of the loveliness of life? How much about the nature of false love? The reality of true love? Were these genuinely presented in the film?

6. Paul as a hero? His bitterness about the reality of his life? Why could he not face the truth? His reliance on the puppets as masks? His inability to come out of himself? His jealousy of Lili? How strong was his love for her? How well did the film show his love by his talking through the puppets? How was he also transformed by Lili? Would he have a happy future?

7. Jacquot: How attractive a character? How kindly to Lili? How good a person?

8. Marc: The typical lady killer, his kindliness to Lili and yet his exploiting of her? How disappointing are characters like this? His forgetting of Lili? His being tied down by Rosalie? (How typical a jealous wife was Rosalie? Could you blame her?)

9. How attractive was the ballet along the road? As typical of Lili's imagination? And yet the resolution of her difficulties within the imagination and ballet? Everyone turning into Paul? Her understanding of him behind the puppets? The fact that he used so many masks?

10. Lili is considered a classic. Why?

LIGHTNING OVER WATER

Germany, 1979, 91 minutes, Colour.
Nicholas Ray, Wim Wenders, Susan Ray, Ronee Blakley, Tom Farrell.
Directed by Nicholas Ray and Wim Wenders.

Lightning Over Water is an unusual, odd and generally interesting documentary feature. It is a film allegedly about directors Wim Wenders and Nicholas Ray. The film is most revealing about Ray - who is in his terminal illness time and is dead by the end of the film. It is an insight into Ray, his attitude towards his death by cancer and a tribute to him. The film is a portrait of Ray as well as a postscript to his life and career.

German director Wim Wenders has had a successful career including such films as Wrong Movement, King of the Road and The American Friend in which Nicholas Ray had a guest role. while in Hollywood to make Hammett, he went to New York to meet Ray, realised that he was dying and this became the subject of a projected film to be made by the two. The film starts with the echoes of the gangster film as a man arrives in a New York street ? but it is Wenders going to Ray's house to discuss the film. Wenders discusses his film throughout and is photographed reflecting on what he is doing. He remarks that at times it becomes impersonal as he is involved in the making of the film and its techniques. However, he does participate in discussions with Ray and encourages him to reflect and act as well as capturing him in various places e.g. home, lecturing, hospital bed. The crew are also to be seen throughout the film and are involved in its action. The points that Wenders makes about the realisation of Ray's illness, treatment and death are important for the insight into the director.

Nicholas Ray had an important career in Hollywood from the late 1940s until his collapse while making 55 Days At Peking. He made a number of significant films which have been studied and written about extensively. Ray did not fit into Hollywood although he remarks that he enjoyed it for a time. He moved away and filmed his last major films Savage Innocents, King of Kings, 55 Days At Peking in Europe, especially Spain. Towards the end of his life he made a guest appearance in Milos Forman's Hair. Living in New York, he concentrated on art as well as trying to make a final feature film called We Can't Go Home Again (some of which is screened during this feature). We see something of his family and friends. He reflects on the past but the emphasis is definitely on the present. In his ageing and illness he seems a generally agreeable man, forthright in his manner, articulate in his speech and reflections about work and life. This is seen in his lecture after a screening to Vassar students of The Lusty Men. In discussing to the camera his attitude to Lighting Over Water, he remarks that it is "a film about a man who wants to bring himself all together before he dies, a regaining of self-esteem." Somewhat exhibitionist in his final outbursts, forthright in his approach to life, courageous in death, it is a good tribute to him.

Ray emphasises the American theme that people want a home of their own and that there is a great yearning for coming home. He illustrates this by the sequence shown from The Lusty Men with Robert Mitchum returning home. His own feature focusing on the disturbances especially in Chicago and protest in the late '60s is called We Can't Go Home Again.

The film highlights the relationships between Ray and the members of the crew and his family. There is an atmosphere about New York which is photographed from above, from the streets, from the water. There is a symbolic junk sailing through the harbour at various stages of the film.

The film focuses on the reality of terminal illness, treatment, dying - as seen in the long sequence of Ray's waking up, the overtones of the hospital, his Lear-like rage in his performance from the hospital bed stage and his final speech and confrontation with the camera. His final words to camera are: "Cut and don't cut".

The epilogue has the members of the crew discussing what has been the experience for them of making the film and of making a toast and tribute to Ray. It is suggested that they burn the junk - but one of the crew burns a match from top to bottom - perhaps a symbol of the small light that Nicholas Ray was yet significant. An interesting example of filmmakers working on themselves.

LIGHT IN THE PIAZZA

US, 1962, 102 minutes, Colour.
Yvette Mimieux, George Hamilton, Olivia de Havilland, Barry Sullivan, Rossano Brazzi.
Directed by Guy Green.

The Light in the Piazza is an attractive human drama, with elements of soap opera, but attractively presented and intelligently acted. The principal focus is on Olivia de Havilland who gives a warm performance as a mother with a retarded daughter. Yvette Mimieux is attractive in this central role. George Hamilton, early in his career, plays well as an earnest Italian young man who wants to marry the daughter. Rossano Brazzi and Barry Sullivan are in the supporting cast.

One of the principal effects of the film is the attractive Cinemascope photography of Florence and Rome. There is a romantic score by Mario Nascimbene. The screenplay is by veteran writer Julius J. Epstein (whose credits include Casablanca). Direction is by Englishman Guy Greene who made a number of attractive and interesting human dramas in the '60s including A Patch of Blue and A Walk in the Spring Rain.

1. A pleasing human drama? The treatment of soap opera elements? The stylish presentation of the film? Attractive for the '60s? Later audiences?

2. M.G.M. production values: Cinemascope colour photography, the picturing of Florence, the visit to Rome? The mood of the score?

3. The title and its focus on Clara (and the Italian meaning of the word ? clear. light)? The Italian setting? The element of hope?

4. The ingredients of popular melodrama - the 'woman's picture' ingredients? Heightened situations, the emphasis on sentiment and emotion, the focus on the women? The focus on Margaret and her dilemma, the focus on Clara? The type of response asked from the audience? Experiencing Margaret's problems ? and her final statement about her daughter's wedding?

5. The background of affluence, American wealth, Italian society? The cigarette business, international business interests, living in comfortable style? The Italian experience of the war, shops, villas? The life of Florence?

6. The relationship between Clara and Margaret? First impressions? Clara's prettiness then the discovery of her age? Her behaviour as a delighted child? The tours and what she looked at, her playing with the dogs, the importance of meals? The hiring of the tutor and her lessons? Her ability with the Italian language? The chance encounter with Fabrizio? His perennial popping up and checking by telephone at the hotel? Margaret's reaction? Clara's reaction? Clara's moods, the outings? Fabrizio's father meeting mother and daughter? The invitation to the villa and Clara playing with the dog? Her childlike innocence? Her story being told and audience response to her accident, the injury, the way that she had grown up? The question of a possibility of change? Her capacity for loving, marrying, raising a family?

7. The portrait of Margaret and Olivia de Havilland's warm presence? Her constant love and care for her daughter, her being ever-present? and the Italian's criticism of this? Her managing her daughter's life, the background of schools, the possibility of institutions? Her desire to give her life for her daughter? Arranging the lessons? The continual worry? Her response to Fabrizio, her amazement at his turning up all the time. her wariness? Her phone calls to her husband? The outings with Fabrizio and his father? Their discussion at the restaurant? Their going to the festival ? and the background of the death and Fabrizio's father's comment? Clara and her tantrums in the street? Her father's arrival and his response?

8. Fabrizio as a dashing young Italian, the chance meeting, his ringing the hotel, the perennial gifts, his knowledge of and lack of English, his enjoying playing with Clara, relating to her at her level, the play on the word 'fortunissimo'? Fabrizio's father testing the family? The visit to the home? The reaction of the rest of the family? His mother not speaking English? Margaret and Clara going to Rome? The humorous sequence of the stopping of the train and the kiss? His reaction to their return, the preparation for the wedding, his father's tantrum about Clara's age? The happy ending and the possibility of a married life? An attractive young man?

9. Fabrizio's father and his 'walk'? Talking with Margaret, the invitation to the festival, the visit to the villa? Questions of money, age? His reaction against Clara's age? His flirting with Margaret? His wife, her tantrums, the family and his blunt style?

10. The possibility of success for the marriage? Margaret and her wanting to inform the family about Clara, her relying on Clara's innocence, love for children? Her difficulty in expressing the truth?

11. Her relationship with her husband Noel? His arrival, his sensitivity about Clara, his plans for her going to a school, for treatment? The enjoyment of the holiday? The phone calls? Clashes with Margaret? The strain on their marriage and his wanting to preserve it? The significance of his not coming to the wedding? Margaret's assertion that she had done the right thing?

12. The romantic Italian background - the tours of Florence and Rome? The atmosphere of holiday and play? The touches of humour?

13. The issues explored in this popular style: motherhood, the protective mother, retardation, innocence, the possibility of marriage? Doing 'the right thing'?