LIKE MINDS

UK/Australia, 2007, 114 minutes, Colour.
Eddie Redmayne, Tom Sturridge, Toni Collette, Richard Roxburgh, Patrick Malahide.
Directed by Gregory J. Read.

While the film was written and produced in Australia, with some location work in England, the story it tells is very British. It is a stylish film visually, is well written and performed, with a rather eerie feel about it.

The film opens with some rowdy students misbehaving on a train. Then the transition to the rather upper class school with its prayers, assemblies, uniforms and rituals – and expectations – and some puzzle about who these students are.

When one of them is killed and another taken into custody, the plot becomes intriguing, especially when the student is grilled by the local police and then interviewed by a forensic psychologist. We move from the interviews to flashbacks to developments in the present, so we are asked to keep our wits about us.

One of the interesting features of Truman Capote’s In Cold Blood was the theory that neither of the two killers could have carried out the grim murders by himself. Rather, the two formed one personality capable of the violence. This is also a theme of the notorious Leopold-Loeb? murders in the 1920s, which the psychologist reads about (dramatised in Hitchcock’s Rope as well as in Compulsion and Swoon). This film has a reference to Hitchcock’s Strangers on a Train where a mysterious man offers to carry out a murder in exchange for another.

Eddie Redmayne (Matt Damon’s son in The Good Shepherd) is excellent as the 17 year old accused of murder. He has a harsh back story, especially when it emerges that the Headmaster (Patrick Malahide at his most public school rigid) who has corrected him during assembly is his father. His father imposes a roommate on him (Tom Sturridge), an ethereally sinister lad who is expert at animal taxidermy! The two clash, then bond although it is a bizarre relationship, ending with the death of the roommate.

The plot is even more complex when history, the history of the Church and the Knights Templar is introduced and parallels of the Cathar theology are made with the present – and the Masonic-like association to which wealthy members of the town’s society belong to. (The history is about as accurate as that of The Da Vinci Code but it is part of the plot rather than being claimed as actual history.)

The two boys act very well and are matched by Toni Collette as the psychologist who is required to be professional, allergic to the detective (Richard Roxburgh) and made to go searching for clues in a darkened cellar with a fierce dog lurking. She acquits herself well in all sequences.

There are plot twists and turns, more unexpected deaths, as well as psychological twists, to make for an interesting and offbeat thriller.

1.The impact of the film? As thriller, mystery? Psychological drama? Educational background? The Hitchcock allusions, The Leopold-Loeb? Murders, Primal Fear, The Da Vinci Code – combination of these elements?

2.The Australian authorship, locations, for a British story? The British winter locations? The cast, the atmosphere, the score?

3.The opening and the reckless behaviour on the train, the death, the boys, getting off? At school? The small group, the three friends, the leadership, the fat boy and his trying to prove himself, the Asian boy and his pulling out? Eddie Redmayne as the leader? Their going to the assembly, being rebuked by their principal?

4.The headmaster in himself, the conduct of the assembly, the rituals, the meals and permission to leave, the ticking off? The principles (?? or principals? – not obvious) of the school? The wealthy students, their parents? The nature of the Masonic-like club? The revelation that Eddie Redmayne was the headmaster’s son? His dead mother? The headmaster trying to bring him up, making demands on him, study, seeing him in his room, the surly attitude and rebellion of the son, the primness of the father? The decision to give him a roommate?

5.The arrest, the narrative of the boy’s death, Eddie Redmayne’s reaction, his age, surliness, the interview by the detective, his rough methods, Eddie Redmayne and his unwillingness to communicate? Sending in Sally? Her talk, explanations of herself, her shrewdness, his equal shrewdness, leading her on, the interactions, the gradual revelation of himself, the story, her belief in him? The flashbacks inserted in their discussions?

6.Sally in herself, at home, the past relationship with the detective, the clashes with him? Her forensic psychology work? Her wanting to meet the headmaster, the chance meeting, his abruptness? Her continuing the investigation? Her puzzle about the club? About the victim’s parents? The books, the manuscripts, the dead animals, the vivisection, the taxidermy? Her going to the house, searching in the cellar, the dark, the dog, her fears? Her finding the book – and its contributing to her understanding?

7.The victim, in himself, age, experience, his parents, his difficulties at school? With animals, the birds, the taxidermy in the room? Eddie Redmayne and his hostile attitudes towards him, the sinister atmosphere? The view of the victim via Eddie Redmayne? In class, history, the professor, the discussion about the Cathars, their theories, the church, its persecution, the Knights Templar? The special Knights Templar? The emblems, the club, the Masonic-style league? The special characters and their destiny? The clashes of the two boys, the dining room, the bonds, the tests? The victim’s death? The girl, in the play, Eddie Redmayne and the date, her death, the gruesome treatment of her body?

8.Eddie Redmayne, the discipline by his father, having to work for the theatre group, the murdering of Becket – and his interpretation, the Knights Templar, church and state? The girl and her performance, her friends? Their coming to the boys and their being rejected? The other boys and their jealousy, the gang, their taking the girl and interrogating her? The date, the cinema, his wanting to leave the dining room, the cinema showing Strangers on a Train? The relevance of the interaction between the two characters in Hitchcock’s film, doing a murder for each other? Robert Walker’s mania, Farley Granger’s seeming innocence? The funeral of the girl, the play going on, the speeches, the performance?

9.The interrogation of the suspects, their alibis, the train, the fat boy, his not being able to hold on, his death?

10.The disappearance of the victim’s parents? The book, the details, the drawings, the mystical and pseudo-mystical contents?

11.The Knights Templar, the issues of destiny, heretical views, special characters, destiny and chosen?

12.The theme of innocence, innocent surfaces and guilty depths?

13.Eddie Redmayne, people believing him, the finding of the bodies, everything pointing towards the victim and his madness? The issue of the gun, the confrontation between the two boys, the victim pulling the trigger?

14.Sally, the information, Eddie Redmayne leaving? The realisation that she had been played for a fool, manipulated? The fact of his guilt – and reinterpreting all his stories in the light of what really happened?

15.The title, the theme of like minds, the two boys forming one personality – but who was dominant? Who was insane? Violence? Mad destiny?

MY BEST FRIEND

France, 2006, 90 minutes, Colour.
Daniel Auteuil, Dany Boon.
Directed by Patrice Leconte.

If you were a fan of French films and you especially appreciated the films of Daniel Auteuil and you went to a preview of My Best Friend without knowing anything about it, you may well have thought that you were seeing another Francis Veber comedy about bonding between two highly unlikely types. It may not have the zip of many of Veber’s comedies or the farcical situations, but they are certainly there.

However, the point to make is that this is not a film by Francis Veber. Rather, it is a film by that very serious director, Patrice Leconte. His films include M.Hire, The Hairdresser’s Husband, Ridicule, Man on the Train, definitely not comedies.

The film does have quite a serious undertone. Daniel Auteuil plays a self-preoccupied, self-centred antiques dealer, Francois Coste, who, on a whim, pays an exorbitant amount of money for a Greek vase, a vase whose space was filled with tears for a dead friend – so it is said. The point comes up whether he really has any friends. He takes a bet that within ten days he can produce a friend. He goes the rounds of a list and finds that these associates do not see him as a friend at all. And his daughter finds him difficult to deal with and like.

By chance, he encounters the same cabby, Bruno, several times (Dany Boon with whom Daniel Auteuil appeared in Veber’s Le Doublure, The Valet). Bruno is a very nice man, very sociable, putting people at their ease – except that he is a walking computer for facts for TV quizzes that irritates more than a few and that he goes to pieces with nerves when he goes to auditions for the shows.

As you might guess, Francois grills Bruno about friendship, definitions and techniques and makes a hash of every attempt to be sociable. Bruno, however, warms to him, is helpful about Francois’s daughter’s asthma, invites Francois to his parents’ house for dinner. He is prepared to go to great lengths as a friend only to find that Francois has been using him to win the bet.

That is probably enough plot though there is quite a bit more before Francois learns the meaning of friendship and Bruno can acknowledge it.

It is not every film (or any other film?) that has its great dramatic and emotional climax an episode of Who Wants to be a Millionnaire. But My Best Friend does – ‘phone a friend’ - and anyone who has watched and liked their version of the program should enjoy it. By this stage Leconte has moved from the serious to the comic to the sentimental and a feelgood parable about selfishness and the realities of true friendship.

1.The particular French style of serious drama blended with comedy? Satire?

2.The city of Paris, the detail, streets and hospitals, churches and auction rooms, cafés and apartments, homes? The musical score?

3.The title, the irony, Francois and his looking for a best friend but not knowing what one was? The truth about friendship, the definition? The various slogans; Jesus is your friend; Phone a friend?

4.The portrait of Francois, his age, experience, personality, self-preoccupied, at the funeral, his greedy attitude towards the antique, speaking the words to the wife? Discussions with Catherine, going to the auction, his buying the vase, the story of the vase and friendship tears, his greed, impulsiveness, the money? Beating off rivals? His anxiety with the delivery of the vase? Having a meal with his group of associates, their talk, friendship, his bet? His relationship with his daughter, at home, her asthma? Meeting Bruno in the taxi and giving him short shrift? Correcting him when he met him the second time?

5.The portrait of Bruno, his age, personality, pleasant, his visits to home, his parents’ devotion, his waving to them across the street when he drove home? His wife having left him? Giving the answers and all the information, his friends being exasperated? Driving the taxi, meeting Francois, telling him the detail of the streets? His going to the audition, knowing the answers, the mental block, nerves?

6.Francois and his list, going to the associates, none of them wanting to be his friend? His daughter and her aloofness?

7.Catherine in herself, as a business partner of? Francois, her companion, the home scenes, the bet?

8.Francois meeting Bruno, their talking, Francois upset? Bruno and his friendliness towards the passengers, chatting with them? Francois and his deciding that Bruno could tell him what a friend was, trying to define it? Sociable, sympathetic? His buying the round of drinks and everybody leaving? Nobody knowing who he was? Going to the artist and the artist getting exasperated? His having no flair? The contrast with Bruno and his sociability?

9.The visit to the parents, the meal, Francois buying the table, telling them it was an antique, a big amount of money, the reason for buying the table?

10.Bruno and his meeting Francois’ daughter, her asthma, trying to suggest a doctor and her bad reaction, at home, the pecans, showing that she had an allergy? The bond between the two?

11.Friendship with risk and test, the setting up of the robbery, Bruno buying the tools, entering the house, his being caught, the audience, his being upset? His smashing the vase? Catherine and the group saying that this was not true friendship? That Francois had lost his bet?

12.Francois and his change, better relationship with his daughter, Catherine revealing that it was a copy that was smashed, giving the vase to the man who wanted to buy it? The irony that he was a television producer, Francois organising Bruno to get on the quiz?

13.Who Wants To Be A Millionaire, Francois, the replacement, his nervousness, meeting the producer? The details of the quiz, his progressing, not using any helps? The million-euro question? The phone a friend, ringing Francois, their talking on air, the conversation going on about friendship and intimacy? The producer letting it go on? Bruno and his winning the million euros, his parents happy?

14.The year passing, Francois with the group, Francois better? Bruno paying for the meal, Francois’ birthday, the chat? Bruno spending the money? Driving the taxi, doing what he liked best? His ability to transform Francois – a best friend?

INCENSE FOR THE DAMNED

UK, 1970 97 minutes, Colour.
Patrick Macnee, Johnny Sekka, Alexander Davion, Peter Cushing, Edward Woodward, Madeleine Hinde, Patrick Mower, Imogen Hassall, William Mervyn.
Directed by Robert Hartford Davis.

Incense for the Damned is a bizarre film. With its contemporary setting, it looks like an ordinary drama. However, it is a story about ancient Greek religions and vampires in Greece. The film has a fairly sexy sequence towards the beginning, exploitation material in the style of the MTV videos that were about to come.

The plot makes little sense, there is a voice-over to explain what is going on – a scholar goes to Greece for research, comes across a vampire, succumbs, the dons at Oxford are concerned, his friends and his fiancée go out to look for him. There are all kinds of bizarre happenings in Greece. Patrick Macnee is the local British authority – and falls to his death halfway through the film. Peter Cushing and Edward Woodward also appear – Peter Cushing appearing in a strange group of films at this time, especially vampire films like Twins of Dracula. Edward Woodward has a good five minutes as an expert discussing ancient Greek myths and sexual behaviour. The director Robert Hartford Davis, was unhappy with the film – though this is surprising given several of the other titles that he directed.

1.The impact of the film? Contemporary story? Vampires? Variations on the theme?

2.The Oxford settings, the world of the dons? The Greek settings, their beauty, terrain? The musical score?

3.The title? Its relationship to the plot?

4.The voice-over by Tony, his explanations, his own action, friendship with Richard, discussions with Bob and Penelope, with Doctor Goodrich? Going to Greece with the group, finding Derek Longbow? The explorations, the finding of Richard, his dismay? His being unable to save Derek Longbow? The return Richard’s speech, his being a vampire, destroying Penelope? The funeral?

5.The credibility of Richard’s character, scholar, in Greece, his succumbing to the vampire? His behaviour, violent? His speech denouncing everyone, biting Penelope? His fall to his death?

6.Bob, the friend, joining in the search, the fights? Penelope, the fiancée? Her learning of the news of the vampire? The search? Her being bitten at the end?

7.The vampire herself, the tradition? Sex and violence? To England? Destructive?

8.Derek Longbow, the Patrick Macnee character, style, suave Englishman, helpful – and the surprise of his death?

9.Doctor Goodrich, his daughter, the dons, the rivalry? His concern, the final speech, the rivalry of Doctor Honeydew?

10.Doctor Honeydew, camp style, academic, rivalry?

11.Edward Woodward as Doctor Holstrum, his five minutes – and his speech about vampires?

12.A curiosity item?

LOVEWRECKED

US, 2006, 83 minutes, Colour.
Amanda Bynes, Chris Carmack, Jonathan Bennett, Jamie- Lynn Di Scala, Fred Willard.
Directed by Randall Kleiser.

For the first five minutes of Lovewrecked, our heroine Jenny (Amanda Bynes) screams and screams (she is a mad rock fan of Jason Masters (Chris Carmack). I was tempted to say that when she stops screaming, we the audience start!

This is a teen movie – well, a teeny teens movie, probably most effectively seen with a group of giggling girls who have identified with Jenny and her romantic fantasies about Jason. She and her best friend, the devoted Ryan (Jonathan Bennett) work at a Caribbean resort for the summer. When Jason overnights there and goes on a cruise, becomes seasick and falls overboard, Jenny dives in to rescue him. They are shipwrecked on a deserted beach and Jenny looks after him, lovewrecked. The only trouble is that soon she finds she is on the other side of the island resort, doesn’t tell Jason and…

PG style for teens with a cast that are well-known from TV shows (the ability of Amanda Bynes’ girlish behaviour as absorbingly attractive for Jason and Ryan eludes me) and, of all things, directed by Randall Kleiser who made Grease almost thirty years ago.

1.The intended audience? Teenage girls? Parents? Successful? The appeal?

2.The Boston settings, the city, the rock concert? The transition to the Caribbean, the island, the resort, the sea? Musical score – and rock songs?

3.The title, the play on ‘shipwrecked’? The irony that Jenny and Jason were on the resort island?

4.Jenny, a fan of Jason, her age, screaming? Her love for Jason? Friendship with Ryan? Her parents, their free thinking? She and Ryan going to the resort, their work, the style at the resort, Jenny as a lifeguard, the fat boy and his advances? Jason’s arriving, her falling on the floor, talking with him? Going on the cruise, his falling overboard, throwing the life raft, jumping in? Paddling, the island? Trying to be resourceful – and failing? Her keeping him there, talking, his kind words to her? Her discovering the truth, buying the food, buying the medicines? Her double life? The idyllic life? Alexis and her discovering the truth, following Ryan? Her reaction to Alexis’s arriving, masquerade? The rivalry? The fight? The discovery – and Jason’s reaction? Ryan and his declarations, her not hearing them? The deal, the press conference, her telling the truth? Her lying about Alexis? The hurricane, the rescue by Ryan, the happy ending?

5.Jason, the rock concert, full of himself, his entourage, on the island, the encounter with Jenny? Sick, overboard, on the island, injured, Jenny looking after him, his response, talking with her? The arrival of Alexis, her masquerade? His response? The rescue, his entourage, the press conference, the deal – and the irony of his concert and marrying Alexis?

6.Alexis, the femme fatale style, at the concert, pushing Jenny out of the way? Work at the resort? On the island, her pretending to be French? Her trying to ingratiate herself with Jason? The fight, the happy ending – and the wedding? For how long?

7.Ryan, silent, something of a nerd, his friendship with Jenny, accompanying her to the concert, his lack of interest? On the island, his work, all the different jobs, the massage of the fat lady, dancing? Discovering the truth, helping Jenny? His hurricane, his saving her? The happy ending?

8.The sketch of Jenny’s parents and Fred Willard’s comedy?

9.The people at the resort, the man in charge, his dislike of the entourage? Chase and jive?

10.The satire at the expense of rock stars, their followers, agents? Twisting the truth?

11.The response of teenage girls? Others?

VINEGAR HILL

US, 2005, 93 minutes, Colour.
Mary- Louise Parker, Tom Skerritt, Tim Guinee, Hollis Mc Laren, Roberta Maxwell, Betty Buckley, Colin Ferguson.
Directed by Peter Werner.

Vinegar Hill is based on a novel by A. Manette Ansay and was adapted for television by Suzette Couture (who had written the screenplay for the Jeremy Sisto Jesus).

It is a film about family, about difficulties, tensions and employment, memories of the past, secrets – and the needs for some kind of healing. Mary- Louise Parker is strong as a mother of two children who loses her job, accompanies her unemployed husband (Tim Guinee) to stay with his parents. Tom Skerritt, usually so sympathetic, plays a hateful character, a brutal father. Betty Buckley is very good as the put-upon mother.

The staying with the in-laws is very difficult for the whole family – especially for the son, considering that his brother had been killed in an accident some years earlier. He pretends to have a job and goes away from the family for some kind of space. In the meantime, the mother has to deal with the in-laws and with the children. Getting the support of her friends from schooldays, especially from the sheriff who was in love with her.

Eventually, dark secrets are revealed, there is confrontation within the family – and a sense of freedom and purging for the next generation.

The film was directed by Peter Werner, a director of many television films.

1.The impact of the film? Characters, situations, tensions? Secrets, therapy, resolution?

2.The title and its overtones? The family coming to stay with the in-laws? The town, the sheriff, the shops, the school, friends? The farms? Musical score?

3.The opening, Ellen and Jake and their packing up, the decision to go to live with his parents? His being unwilling? The reaction of the children? The lack of welcome from Fritz and Mary Margaret?

4.Settling in, the hostile reaction, Mary Margaret and her not being entirely with it? The brutal comments and behaviour of Fritz?

5.Ellen, meeting her old friends, the encounter with Tom Welton? Wanting a job at the school? Managing with the children? Cooking, at table with the in-laws and Fritz’s bad manners and hostility? Her worry about Jake, his going off? Her wanting him back, going to discuss things with Tom?

6.Jake, unemployed, pretending he had a job, going away for days, drinking, the sympathetic woman in the shop, buying something for his wife, the possibility of the affair and his resisting? Breaking the mirror, phoning Ellen?

7.The children, Amy and her reaction, her dolls and wanting them to help her? Losing faith in them? Her wariness? Bert, his bonding with his grandfather, his grandfather showing him how to shoot, yet falling with the kick of the rifle, his grandfather making him shoot his dog, his shooting the dog?

8.Fritz, the background of his marriage, the type of man he was, Mary Margaret and her dreams, always talking about the past, her mother and her glamour? Being sold to Fritz? His brutality, the two sons? The revelation about her having twins, Salome killing them and burying them? Her fear of her husband? Her wanting to save them from his brutality?

9.The effect on Ellen, her decision to leave, Jake and his tensions, being brutalised by his father, his father punching him? The reaction of the children? Ellen and her school friend, the discussions about the family – and the realisation that the rapist was Jake’s brother? Ellen going to the family, Mary Margaret’s collapse, hospital, her final words to Ellen, her death?

10.Salome, looking after her sister, killing the children? Mad? The revelation to Ellen? Her sadness in looking after Mary Margaret?

11.The contrast with Ellen’s family? Her mother not praising her? Yet wanting to do the best? At the hospital?

12.The digging up of the grave, Jake and his grief, Ellen coming to him, the confrontation with Fritz? His weeping, Jake embracing him – but leaving him to himself? A future for the family?

PT109

US, 1963, 140 minutes, Colour.
Cliff Robertson, Ty Hardin, James Gregory, Robert Culp, Grant Williams, Michael Pate, Robert Blake, Biff Elliott, Norman Fell.
Directed by Leslie H. Martinson.

PT109 is based on the biography by journalist Robert J. Donovan. It recounts the action in World War Two of President John F. Kennedy – something which was part of his Pulitzer Prize-winning 1956 book Profiles of Courage. The film was made during President Kennedy’s presidency and was released five months before his assassination. It presents him in the best possible light – a decent husband, patriotic, courageous, determined.

The film is interesting to look at the exploits of John F. Kennedy in retrospect. He was twenty-six at the time of this action – which took place in the Solomon Islands in 1942. He was put in charge of a patrol torpedo boat and helped in the evacuation of some forces. However, his PT was sunk by the Japanese and he led his crew through the water to a deserted island, helped them to survive, tried to do lookout work, was helped by the native Solomon Islanders and was responsible for the saving of his men.

Cliff Robertson is sturdy as Kennedy. He has a strong supporting cast of the male stars of the time. A young Robert Blake also appears. Michael Pate, for once in an American film, portrays an Australian.

The film was directed by Leslie H. Martinson, best known for his long yeas of directing television films and television series.

1.The impact of the film so long after the events? Made during President Kennedy’s time? Released before his untimely death?

2.The Florida locations standing in for the South Pacific, the Solomon Islands? The sea, the islands, the villages, headquarters? Authentic? The musical score?

3.The title, the focus on the patrol torpedo boat, its being almost derelict, John Kennedy taking it over, the wariness of Commodore Ritchie? His getting the crew to fix the boat up, getting his sailing crew? The details of the work in action? The patrols, helping the sailors escape from the Japanese attack?

4.Going on its mission, its being torpedoed, overturning, the men, their survival, the sailor with burns? Their decision to go off the boat and its sinking? Kennedy and his towing the burnt man to shore? The others in a group getting to shore?

5.The early part of the film: routine navy stories, commanders, men, clean-ups, humour? The hard-hearted but soft-hearted commander? The details of war action? Familiar?

6.The latter part of the film, the attack, the men’s survival? On the island, their bickering amongst themselves? Kennedy’s heroism, decisions, going out onto the reef, sending Ross the second night? The men having difficulties? Food, coconuts? The arrival of the Islanders? The suspicious response, especially of Harris? The touch of racism? The decision to send the coconut with the message? Its getting to Evans? Their return, taking Kennedy to Evans, the arrangement for the rendezvous? The men being saved?

7.The aftermath, leave, the spirit of the men, the apologies to Kennedy? Ritchie and his admiration?

8.John F. Kennedy as a character, real, in the light of his subsequent public life?

9.The other members of the crew: Thom and his strong second-in-command loyalty, Ross and his work, Commander Ritchie and his growling, letting Kennedy take the PT, earnest about his rescue? Cluster, the initial discussions, his support?

10.Evans, the Australian coastwatcher, keeping in touch with the Americans? His part in the rescue? The Solomon Islanders, their part in the rescue?

11.An interesting war film – for the Kennedys, in retrospect about the war in the Pacific?

WHILE MY PRETTY ONE SLEEPS

Canada, 1997, 93 minutes, Colour.
Connie Sellecca, Beau Starr, Simon Mac Corkindale.
Directed by Jorge Montesi.

While My Pretty One sleeps is a film version of a novel by Mary Higgins Clark. She has been a popular source for popular telemovies over twenty years including Still Watch, Let Me Call You Sweetheart, Moonlight Becomes You.

This is an average Mary Higgins Clark story – although it operates in two worlds, the world of the police with extensions to the Mafia, and the world of fashion. While the focus initially seems to be on the Mafia and the police, the solution is in the fashion industry.

Connie Sellecca is a good and strong leading lady. Simon Mac Corkindale is a television correspondent. Beau Starr is her father. There is a guest appearance by Mary Higgins Clark herself.

The film is a murder mystery, but it operates on the level of a popular melodrama.

1.The appeal of Mary Higgins’ Clark’s books? Film versions? For the widest audience?

2.The New York settings, the world of the police, the world of fashion, shows? Homes? The streets? Musical score?

3.The focus on the law courts: Myles Kearny and his victory in court over Sepetti? Sepetti’s vowing vengeance? His being in jail, the years passing, twenty years, his getting out? Kearny and his apprehensiveness? The death of his wife? His being on the parole board and keeping Sepetti in jail? The threats to Niamh?

4.Niamh, her age, self-assurance? Missing her mother? Her fashion work? Her friendship with Ethel, the investigation into the sweatshops in New York? Their being seen? The big show, the other exhibitors? Ethel’s disappearance, her later being found murdered? Her relationship with her father? Seeing Nicky Sepetti Jr? His confrontation, attraction? Her friendship with Jack Campbell, his TV work? Her puzzles about Ethel, her discovery of the inconsistencies with Uncle Sal’s story? Her going to his office, the contract on her, the confrontation, her father saving her? With Sal and her disappointment? Her apology to Nicky Jr? Going off for a happy ending with Jack?

5.The Sepettis, the father, his not wanting Niamh to be killed, no blame on himself? The meetings? His being shot? The undercover FBI agent? His son and his continued work? Attraction towards Neeve, getting the apology from her father?

6.The fashion show, the designer and his sweatshops, confrontation with Niamh, the drugs being imported? The bust?

7.Uncle Sal, spilling the coffee on the book – and the significance that Niamh’s mother had made the design which he claimed? His mistaking the dates? His confrontation and putting the contract on Niamh?

8.Niamh and her father going to the country, the encounter with the widow, the attraction of the father, her bringing the cap back, talking about the book, the design? Her being present at the final confrontation?

9.A blend of Mafia stories, fashion design, romance and murder mystery?

THE KING AND QUEEN OF MOONLIGHT BAY

US, 2003, 100 minutes, Colour.
Tim Matheson, Sean Young, Edward Asner, Kristen Bell, Bug Hall.
Directed by Sam Pillsbury.

The King and Queen of Moonlight Bay is based on a novel by Michael de Guzman, who has also written quite a number of screenplays including an adaptation of Steinbeck’s Winter of Our Discontent.

The film was directed by Sam Pillsbury who directed a number of films in New Zealand in the 1980s, Scarecrow, Heart of the High Country, Starlight Hotel.

Kristen Bell portrays a teenager who wants to understand something of her absent and alienated father. She goes from the east coast to Arizona to spend the summer with him, only to find him particularly cantankerous and not wanting her there. He is involved with a local woman working in the shop, played sympathetically by Sean Young, who befriends the girl. Edward Asner has a cameo role as an old man who wanders the town quoting poetry and dispensing wisdom.

The film is, as expected, a clash between the teenage daughter and her crusty father. At first, it seems that any kind of reconciliation will be impossible. Towards the end of the film it comes to this once again after some bonding. With the help of Sean Young, there is some kind of understand: the man mellows and realises he has been too harsh, angry and drinking, the girl realises that she has missed her father and needs to bond with him.

The film is pleasant, has its heart in the right place – although the dramatic drive is a bit repetitious rather than building to a climax.

1.A popular telemovie? Telemovie style? Characters and issues?

2.The Arizona locations, the town, the countryside, the lake? The authentic atmosphere? Musical score? The singing of ‘On Moonlight Bay’? The title, the romantic overtones, the song? The group – and the possibility of some kind of reconciliation?

3.Alison, her age, contacting her father, his absence for ten years, living with her mother? Arrival by bus, his meeting her, not so welcoming, the house and its being in a shambles? Her settling in? Trying to communicate, talking, cooking, his shutting her up? Going into town, meeting the young boy? Meeting Sandy and befriending her? Her trying to cope, reading, looking after the house, putting things in different drawers and her father’s anger? Phone call to her mother? Her wanting to leave, the clashes, her deciding to stay? The possibility of working together, talking, his explanation of his behaviour? The final night, his drinking, clashing with her after she came home from the movies? Her wanting to move out, going to Sandy, Sandy’s intervention? Her staying, working with her father, getting to understand him, on the boat, swimming, the summer developing? The friendship with the boy? How had she changed on her return?

4.Al, his having left his wife, walking out on people? His explanation, clashes with his wife, love for his daughter, yet the lack of communication over ten years? Giving her permission to come? His regretting it? His way of living, the house, drinking? Not talking, not communicating? The relationship with Sandy? In town, persuading the owner of the diner to have an ad? His being grumpy in the bar, the fight? His bonding with his daughter, teaching her to float and to swim? His making an effort, it being too hard? His drinking, the fight in the bar, coming home, clash with Alison? Her wanting to leave? A reconciliation, talking over matters, her wanting him to explain aspects of sexuality, his reluctance, his trusting her? The final work, achievement, farewelling her?

5.Sandy, friends with Al, genial, returning to the town, her work, the relationship, friendship with Alison, helping her in the crisis?

6.Auggie, the old man, the quotes, the words of wisdom, befriending Alison? Giving words of advice?

7.The young boy, the friendship, the date, the kisses, the nature of the relationship? A summer friendship?

8.A film of contemporary American families, dysfunctional, separated, the effect on the parents, on the children? Possibilities for some kind of understanding and love?

CUTAWAY

US, 2000, 104 minutes, Colour.
Tom Berenger, Stephen Baldwin, Dennis Rodman, Maxine Bahns, Ron Silver, Casper Van Dien, Thomas Ian Nicholas.
Directed by Guy Manos.

Cutaway is a film about drugs and dealing but also about skydiving. The director and co-writer, with his brother Greg, Guy Manos was a skydiving expert. He also served as stunt director on a number of films like Cliffhanger.

The film has an authentic feel about the skydiving sequences – and they are many, culminating in daredevil work and competition. The aerial photographer gets a special credit, deserved.

The film is conventional enough in its presentation of a hyperactive undercover agent, played by Stephen Baldwin, whose control is played by Ron Silver. When a bust goes wrong, the undercover agent discovers the truth about the operation and the use of skydivers. The group are called Cutaways because they have given up their former lives and live a hippie kind of life, indulging in the skydiving. This, in fact, is financed by the drug deals.

The plot is fairly predictable, the agent getting special training from a rival of the group, infiltrating, becoming successful, falling for the girl in the group, the build-up to the confrontation with the leader, the bust, the competition – and his cutting away at the end.

1.An entertaining thriller? Drug dealing? Familiar material? The specialty of the skydiving?

2.The stunt work, the aerial photography, the close-ups of the skydiving, the formations, the falls? The rigorous training? The techniques?

3.The title, the reference to the group, leaving their former occupations completely behind, living an independent life, doing what they want? The irony that it was supported by drugs? The double irony of the decision at the end for Vic to cut away – but how would the work be supported financially?

4.The introduction to Vic, the computer details about him, his reliability, his being under the control of Lieutenant Margate. His work, the bust, the blonde pilot, the failure? His anger?

5.His discovery of the skydivers, his friendship with Star, the clash with Turbo, being introduced to Red Line? Star and her hustling him into training, a fall? The old lady and his changing places with her? The exhilaration of the dive? His further involvement? Permission from Margate? His special training with Delmira, the rivalry? His initial awkwardness, greater success? The return, discussions with Red Line, the suspicions of Turbo? His going up in the ranks, the resentment of the others? Talking things over, the explanation of Red Line?

6.Red Line, his expertise, always wanting to win? Genial but tough? The training, hard with Star and Vic, the competition, promoting Vic? His inviting him for the drug deal? Vic joining, its success? The build-up to the arrest, his saving Red Line by pushing him over the side of the building and their both parachuting down? Margate’s disgust?

7.Star, being a Cutaway, attracted to Vic, the professional differences? Turbo, his hostility, his death? The other members of the group, their discussions? Expertise? The young man doing the thesis?

8.The build-up to the capture, the mission and the skydiving into the mansion for the dealers? The competition, Red Line’s decision, the rivalry with Delmira? Vic and his success? The winning of the competition? Arresting Red Line, his dropping to his death?

9.A portrait of drug enforcement agencies, undercover work, control, risks? The skydiving entertainment?

DEADFALL

US, 1993, 98 minutes, Colour.
Michael Biehn, Sarah Trigger, Nicolas Cage, James Coburn, Peter Fonda, Charlie Sheen, Talia Shire, J. Kenneth Campbell, Michael Constantine.
Directed by Christopher Coppola.

One of the reasons for seeing – or not seeing this film, is the over-the-top performance by Nicolas Cage. It has to be seen to be believed – and would not have augured well for his career but that he won the Oscar the following year for Leaving Las Vegas.

The film was directed by his brother, Christopher Coppola. They had made films when both were young, Christopher directing, Nicolas acting – or overacting.

The film is a conventional story about criminals, with James Coburn playing two brothers, involved in all kinds of con tricks. Michael Biehn is the son, a fairly straightforward man who is involved in crime because of his father. He is conned by his father and is disillusioned at the end. The supporting cast includes brief sequences with Peter Fonda and a pool scene with Charlie Sheen. Coppola’s aunt, Talia Shire, appears as a bartender.

Christopher Coppola has made a number of films – mainly B features.

1.The impact of the film? Portrait of criminals? American style?

2.East coast and west coast settings? The world of Los Angeles crime? Offices, pool clubs, bars? The musical score?

3.The strength of the cast – stereotypes at times, overacting at others?

4.The meaning of the title, the focus on Joe Dolan, the initial con, the repercussions, his father tricking him, his mission in California, the final con and his disillusionment? That he was the fall guy? His narration and moral perspective on what happened?

5.Joe, relationship with his father, the initial con, shooting him, the issue of the blanks and the real bullets? In hospital? Pete and his advice, giving the clue about his Uncle Lou? His going to California, the girl behind the doughnut counter, the young boy, their help? Meeting Eddie? Introduction to Uncle Lou? Out with Eddie, showing him up by getting the money from the African American? Putting on a show? The encounter with Diane, seeing her at the funeral? Her looking like his mother? His memories of his mother? Diane’s return to the motel, the night with her? His going to his uncle’s office, looking through the desks, getting information? Eddie and his anger? The set-up, taking Lou, Joe to the rescue, the attack on Eddie and his death, burying him? The return to Diane? Setting up the con with the jewel expert, the preparation, the performance, things going wrong, the deaths? His father arriving again – trying to persuade him to be with him? Joe walking out?

6.The contrast between Mike and Lou, Mike’s death at the beginning, Joe and his admiration for his father, the flashbacks? Devotion to him? Meeting Lou, liking him, suspicious of him? The set-up – and the fact that Mike was betraying him? Revenge for his wife?

7.Eddie, mad drug-addicted criminal? Nicolas Cage’s performance? His behaviour, the con with Diane’s bracelet, Joe succeeding? Taking in the bartender? His overreaching himself, jealousy, death?

8.The bartender, her thinking she had got three hundred dollars, conned?

9.Pete, the other criminals, supporting Mike?

10.The confrontation with Hughie, his following Joe, the confrontation with Eddie, his death?

11.The sequence in the poolroom, the match with Morgan Gripp, access to the diamond expert? His watch? His being taken in, the set-up and the meeting, its going wrong?

12.The usual criminal story, gangs, drugs, honesty and dishonesty?