ALEXANDRA

Russia, 2007, 90 minutes, Colour.
Galina Vishnevskaya.
Directed by Aleksandr Sokurov.

In recent years, Sukurov has dramatised issues of power and politics in Germany and Japan as well as look at father son relationships. This time he explores power and possibilities for peace in Russia and in Chechnya where more than 60,000 locals lost their lives as well as 6000 Russian troops. The plot is basic. An old grandmother goes to visit her officer grandson in a peacekeeping camp. She is a forceful old lady, Alexandra (veteran actress, Galina Vishnevskaya), pushes her way around, sees and says what she wants, especially visiting the local people, the women.

Through Alexandra’s strong will and her eyes, we see the young recruits and their inexperience, their poor weaponry, the ugly conditions in a fairly barren countryside. While she tells her Chechnyan guide that war and peace are not simple issues, we know, with her, that there ought to be peace.

1.The work of Sokurov? Politics? Russia? Society, history?

2.The emphasis on Chechnya? The background of Chechnya’s place in Russian history, as part of Russia, as suffering from Stalin, the deportations after World War Two? Independence? The war in Chechnya? The Russian military occupation? Audience knowledge of this history – necessary or not?

3.The colour photography, drained? The atmosphere of desert? The dusty camp? The dusty town? Authentic atmosphere? The musical score?

4.The focus on Alexandra, her age? Getting permission to travel, getting out of the car, going to the train, the military escort? In the train, her arrival at the camp? Her age, experience? Her look, manner? A strong woman, strong minded?

5.Her going to visit her grandson? Not seeing him for seven years? The family bond? Meeting with him, the discussions, her admiration for him, her criticism of the military occupation? His exasperation with her wandering off? The bonds between the two and the impact of the visit?

6.The military camp, the physical appearance, the isolated soldiers, their conditions, sleeping quarters, eating quarters, hygiene? The dust? The guards, the isolation from the town?

7.The age of the recruits, very young, lacking experience? Seeing them at work? Denis supervising them? The repercussions for the Chechnyan population with having this kind of military occupation?

8.Alexandra, in the camp, getting lost, wandering around, meeting the men, observing them in their daily routines?

9.Her going beyond the camp, in the town, meeting the women, the discussions with them? The common humanity, enjoying their company? Their being Muslim, Chechnyan? The bonds between them all? Sending the young boy to guide her back to the camp, his never having travelled, the future of Chechnya?

10.Her return, the criticisms, her standing her ground? The farewell, her return journey?

11.The audience travelling with her, entering the camp with her, seeing Chechnya and the Chechnyans through her eyes? The change of attitude in her understanding? Audience understanding people better?

12.The contribution to Russian consciousness of a film like this? With the reputation of a director like Sokourov?

MY DEAR SECRETARY

US, 1949, 94 minutes, Black and white.
Laraine Day, Kirk Douglas, Keenan Wynn, Helen Walker, Rudy Vallee, Florence Bates, Alan Mowbray, Gale Robbins, Grady Sutton.
Directed by Charles Martin.

My Dear Secretary is a 40s-style screwball comedy – less light touch than those of the 1940s. Perhaps this is the fault of Kirk Douglas who does a good comic turn but this is not his forte. Laraine Day, who was a prominent star at this period, is an attractive heroine. However, Keenan Wynn gets most of the comic scenes. There is a strong supporting cast including singer Rudy Vallee as the bookstore boss, Florence Bates as the landlady.

The film focuses on an author, his womanising, his being impossible for his secretaries – and his being charmed by one of them, marrying her, but dominating her and her going off and succeeding independently.

Familiar material.

1.The tradition of the screwball comedy of the 30s? 1940s versions? The light touch, characters, comic situations? Comeuppances?

2.The black and white photography, New York City, apartments, offices? The family atmosphere for this kind of comedy? Musical score?

3.The focus on Stephanie, her listening to Owen Waterbury, her admiration for him? Wanting to write a novel? Meeting him, the possibility of becoming his secretary, seeing Elsie walk out? The wry comments from Ronnie? Her getting the job, doing the work, Owen and his erratic behaviour, lack of inspiration? Her trying to do her best? Falling in love with him? The marriage? His treating her badly, her reactions? Her walking out on him? Her success with her own book, Charles Harris and his promoting her? Owen and his jealousy, Elsie and her relationship with Charles Harris? The sorting out of everything – and the happy ending? Stephanie as an attractive character?

4.Owen, Kirk Douglas and his style, success, the lecture? The admiration of the students? Meeting Stephanie, hiring her? His behaviour, sharing the apartment with Ronnie? The demands of the landlady? Elsie walking out on him? His working with Stephanie, erratic? In love, the marriage? His wanting to have less pressure, getting a new secretary? Stephanie walking out? Her success? Getting together again?

5.A gallery of supporting comic characters, Ronnie and his sardonic attitudes, stances, friendship with Owen, with Stephanie? Elsie, walking out, going to work with Charles, in love with him? Providing ambiguity for Stephanie and for Owen in sorting themselves out? The landlady and her demands? The housekeeper? Dawn O’Malley? as becoming the new secretary, untouchable? Sylvan, his work, helping Owen, Owen finding him unsatisfactory? Stephanie setting him up? The private detective, following Owen and giving his report?

6.A light touch comedy, with typical characters from American screwball tradition?

NEVER WAVE AT A WAC

US, 1952, 82 minutes, Black and white.
Rosalind Russell, Paul Douglas, Marie Wilson, William Ching, Arleen Whelan, Leif Erickson, Hillary Brooke, Charles Dingle, Lurene Tuttle, Frieda Inescourt, Louise Beavers, General Omar N Bradley as himself.
Directed by Norman Z. Mc Leod.

Never Wave at a WAC is an entertaining film of the early 1950s – a screwball comedy with a touch of overt patriotism at the end. It also precedes Private Benjamin by thirty years – and one can see that Private Benjamin is just a variation on this theme.

Rosalind Russell enjoys herself as a Washington society divorcee who plans to marry again, defy her senator father, and decides also to join the WACs. Her father engineers that she get no privileges (not even from General Omar N. Bradley appearing as himself) and has to start from the bottom. She makes friends with Marie Wilson (who had been in the My Friend Irma films) who is also romancing Leif Erickson as the sergeant. Paul Douglas is her estranged husband who is still in love with her but finds her exasperating – and spoils her own chances by making her participate in equipment testing.

All very light – and directed by Norman Z. Mc Leod, a World War One pilot, who directed many films from the 20s, many of them small-budget and B-standard. However, from 1946 to 1954 he directed a number of successful films like Danny Kaye in The Kid From Brooklyn and The Secret Life of Walter Mitty, Bob Hope in Road to Rio, The Paleface and Casanova’s Big Night and My Favourite Spy as well as Fred Astaire and Betty Hutton in Let’s Dance.

1.Popular entertainment of the 1950s? The society girl who joins the armed forces and struggles? The patriotic touches?

2.Black and white photography, Washington and society, the military training centres? The musical score?

3.The title, the screwball comedy tone?

4.Jo Mc Bain, in the society whirl, knowing everyone, the hostess, charities, dinners? Her love for her father but his control over her? Her wanting to marry Sky? Andrew and his turning up at the party, causing a fuss? Her antagonism towards him? Divorce? Her wanting to go to Paris, the suggestion that she become a WAC?

5.The progress of Jo in the WACs, her arrival, stuck-up attitude, the car, wealth, expectations, General Bradley giving her privileges? The chain of command and finding that she was to have no privileges? With the other women, her friendship with Clara? The details of the training? Andrew and his selecting her to be part of the team to test the equipment, the clothing – especially for the Arctic? His thwarting her going out with Sky? Her exasperation, her attitude towards the officials? Her wanting to leave? Her leaving, finding that her heart was in the WACs, Clara, the return? Her staying in the WACs?

6.Andrew, genial, friendly with Jo, the divorce, her exasperation with him? His writing, reputation, testing equipment? The contracts, the tests, his finding Jo, including her? His meanness in preventing her seeing Sky? The ultimate reunion?

7.Clara, as Danger O’ Dowd, in the clubs? Her joining the WACs, being more intelligent than she sounded? Supporting Jo? The interactions with the sergeant? The happy ending for her?

8.The personnel, the chain of command, their dealing with Jo, exasperation with her, testing her?

9.The political background, the senator, his wanting to teach his daughter a lesson and make her a better woman? His supporting Andrew? The other members of the household, Lily Mae and Artamesa and their looking after Jo?

10.The humour in army and military service films, the training, the good fellowship, the patriotism?

UNE VIEILLE MAITRESSE

France, 2007, 105 minutes, Colour.
Asia Argento, Fu'ad Ait Aattou, Roxane Mesquida, Claude Sarraute, Yolande Moreau, Michael Lonsdale, Amira Casar, Anne Parrillaud.
Directed by Catherine Breillat.

Une Vielle Maitresse is a popular French novel of the 19th century by Jules Amadee Barbey d’Aurevilly, the kind of material made popular by Laclos with his Dangerous Liaisons – the film acknowledges this at the opening, saying that the events and characters are from the same period. While this looks very much like Dangerous Liaisons, it is not so hard and calculating as that. However, it is about society, manipulation, rakes and their victims, sexuality, scandal and gossip.

The film is sumptuous to look at and French people say that the language has all the elegance of that literate period.

It opens with gossip, chatter about M de Marigny, a well-known Don Juan, who is about to marry the virginal Hermangarde. The gossips want to put an end to this marriage. However, it seems that M de Marigny, after a ten year relationship with a Spanish courtesan, Venelli, has broken it and is prepared to be faithful.

The bulk of the film is actually flashbacks to Marigny’s relationship with Venelli, not quite the excessive passionate affair that we had been led to expect. Marigny is relating his story to his bride’s grandmother and so we see Venelli through his eyes. She, however, is an intense schemer and cannot let the marriage go unchallenged. The final part of the film shows her weaving wiles and the effect on Marigny and Hermangarde. This is an era of arranged marriages, mistresses and machinations.

The former mistress is played with her usual alarming flair by Asia Argento. Marigny is newcomer, , Hermangarde is played by Roxana who had appeared in A Ma Soeur and Sex Comedy, both directed by Catherine Breillat who has adapted the novel and directed this film. Catherine Breillat is a director noted for breaking sexual taboos in her films (Romance and The Anatomy of Hell). Here she is very restrained in comparison with her previous films, relying on the 19th century mood and look to tell her story rather than using shock tactics. Which makes this one of her most accessible films.

1.The origins of the film in a 19th century novel? The atmosphere of French society? Dangerous liaisons?

2.The 1835 settings? The sumptuous décor and costumes? The buildings? The vistas of Paris, the river and bridges, buildings? Mansions and interiors? The contrast with the Brittany countryside? The coast? The beaches? The musical score – and elegant overtones of 19th century?

3.The title, the reference to Vellini? To Ryno?

4.The opening, the vicomte and the comtesse in the coach, their gossip, after their meal, wanting to prevent the wedding? Providing the audience with information about Ryno and Vellini? The vicomte going to Vellini’s house? Encountering Ryno? The insinuations?

5.The preparation for the marriage? Ryno in love with Hermangarde? Her grandmother and her concern? The attempts to break up the engagement? The visits to the theatre? Vellini at the theatre? Ryno and his keeping Hermangarde waiting? The advice of her grandmother?

6.Ryno’s visit to the grandmother, their discussions? Her interrogation about his ten-year relationship with Vellini? About his being a dissolute Don Juan? His answering, telling the story?

7.The story in flashback? His past, his title, his friends? The arrival of Vellini with her English husband? The challenge to Ryno and his dealings with Vellini? His taking the challenge, the rakish attitude? His insulting Vellini in front of her husband? The challenge to the duel? In the morning, the four paces, his shooting into the air, Sir Reginald shooting him? Vellini going to the hospital? Licking his wound? The vampire touch of the vamp?

8.Vellini herself, her background, her unmarried parents, in Spain, being rescued by Sir Reginald, being made respectable, brought to Paris? Her succumbing to Ryno? The beginning of the affair?

9.Ryno telling the story, his perspective on Vellini? Their time together, the passion? Going to Algeria, in the desert, the birth of the daughter, life in the desert, the scorpion killing the daughter? Vellini’s great grief? Not wanting to bury the child? The change in attitude afterwards? The continued passion, the separations, each with their own lovers? Returning to each other over the years? The passing of ten years? Ryno telling Vellini that he had stopped loving her, that he loved Hermangarde and wanted to marry? Vellini and her passionate reaction?

10.The grandmother, her own past, her gossiping with friends? Her accepting Ryno’s explanations? The marriage going ahead?

11.The honeymoon, going to Brittany? The idyllic life in the countryside? Hermangarde and her reticence, her age, beauty? Love for her husband? The riding sequence and her being left behind? The doctor, her pregnancy? The idyllic life?

12.Vellini and her coming to Brittany, hovering, being seen? Her dwelling? The encounter with Ryno? His love for his wife, going to Vellini, their encounter, Hermangarde seeing them?

13.The consequences for Hermangarde, the loss of the child? The decision about Vellini? Hermangarde returning to Paris, to society, the wronged wife, but staying with her husband, keeping her position? Ryno and the broken relationship with Vellini? His standing by his wife – but a brittle marriage?

14.Themes of French society, aristocracy, the pampered wealthy, their whims, gossip and scandal, relationships, sexual morality? An amoral society?

DEATH PROOF

US, 2007, 114 minutes, Colour.
Kurt Russell, Rosario Dawson, Vanessa Ferlito, Jordan Ladd, Rose Mc Gowan, Sydney Tamiia Poitier, Mary Elizabeth Winstead, Zoe Bell, Michael Parks, Marley Shelton, Quentin Tarantino.
Directed by Quentin Tarantino.

Originally one half of a film combining two genre movies in one (with fake trailers etc): Grindhouse. However, the film did not work at the US box-office. The decision was made to release the two films separately around the world and Quentin Tarantino’s half, Death Proof, was in competition in Cannes, with Robert Rodriguez’s half, Alien Planet, scheduled for Venice.

Tarantino’s intention was to imitate the brief road chase and threat movie, even to the scratched film stock and jump cuts in editing, damage after the film had been shown at drive-ins for some months. This is amusing – but one realises that Tarantino had lots of money to make Death Proof and that it may have made for a better, tighter film to have worked on a smaller Roger Corman type budget. (More than twenty minutes of footage were added to the Grindhouse version for the new release.

Death Proof is a very ugly film. The characters are, humanly speaking, ugly as is their behaviour. They talk in an ugly way (which is a pity because Tarantino had a reputation for smart dialogue, interesting chatter on any subject – this time it just inane and crass).

Basically, two groups of women are pursued in their cars by a deranged stuntman (Kurt Russell). He demolishes one lot (admittedly the less interesting and likeable group) and is demolished by the other (which includes Zoe Bell as herself, the New Zealand stuntwoman who was Uma Thurman’s stand in for the Kill Bill films doing her rather spectacular thing).

There are much better things that Tarantino could have been doing with his time, energy and money.

1.The impact of the film? A Tarantino film? Up to his standard or not? The original pairing of Death Proof with Robert Rodriguez’ film in The Grindhouse film – and the lack of response at the American box office?

2.The work of Quentin Tarantino, his being a film buff, video store manager, interest in genre films? The Pulp Fiction type of film? This film as pulp fiction?

3.The imitating of the styles of the small-budget action films of the 70s, the imitation of the scratches on the film, the jump-cuts? The insertion of black and white material (expanding Death Proof from the version in The Grindhouse?

4.The locations, the open road, the bars, the hotels and shops? Authentic – and adapted for this kind of American action on the open road?

5.Tarantino’s skill in dialogue, witty conversations – the contrast here with the two groups of girls, their girl talk, crass, not having substance? Disappointing Tarantino dialogue?

6.The two halves of the story? The parallels of the two groups of girls? Stuntman Mike and his pursuing both? His defeating the first team? His being defeated by the second group?

7.Kurt Russell as Stuntman Mike, in the car, the photos of the girls, in the bar, charm, chat, talking about his work, the references to films and TV shows? His encounter with Pam, offering her a lift? His taking her in the death-proof car, terrifying her, the crash and her death? His being caught? Interrogated? His being on the loose again? The second group of girls? His pursuit, attempting to terrorise them on the road? Their fighting back, chasing him, bumping him off the road? His being defeated and the girls winning? Kurt Russell as a genial actor – but the savage character that he portrayed?

8.The first group of girls, Jungle Julia and the posters for her radio program? The girl talk, incessant, crass, sex? Drinking? At the bar? The card games, their waiting for the drugs? Sex? The lap dance by Arlene? The bartender (Tarantino himself)? Their being pursued, their deaths?

9.The second group, more respectable, Abernathy and the others working on the film on location? With the car? Seeing Stuntman Mike, his approach? Leaving Lee by herself to wait? Zoe and Abernathy and Kim going in the car? Finding the vintage car, persuading the man selling it to let them go for a drive? Stuntman Mike and his pursuit, wrecking the car? Zoe Bell as a real stuntwoman, her getting on top of the car, the exhilaration of her stunt work? The ingenuity of the women, their defeating Stuntman Mike?

10.The interlude with Texas Ranger Earl Mc Graw, his daughter, at the hospital? Coming in from the Kill Bill films?

11.The work of Tarantino – and his intentions in making a genre film? But his producing the lowest common denominator?

A MA SOUER (FAT GIRL)

France, 2001, 86 minutes, Colour.
Anais Reboux, Roxane Mesquida, Libero de Rienzo, Arsinee Khanjian, Laura Betti.
Directed by Catherine Breillat.

Catherine Breillat is a director and writer who generally pulls no punches, especially in her explorations of human sexuality. This was very true for her films of the 1990s including Romance. It was particularly true of her 2003 film, The Anatomy of Hell, which seemed to go beyond bounds.

However, while there was criticism of A Ma Souer, it is a much more accessible film, has stronger characters and explores themes interestingly.

The focus is on two teenage sisters who are on holidays with their mother. The fifteen-year-old is very pretty while the twelve-year-old is fat and dumpy, always being criticised by her older sister. When the older sister teams up with an attractive Italian student, and has sexual encounters with him, it has deep effects on her as well as on her sister.

The film has long sequences of the interactions between the young man and the girl, a critique of his age, of her consent, of the effect of the experience on her for the future, especially as he pretends to be engaged, giving her a ring from his mother (who later comes to claim it back).

The final ten minutes of the film are rather shocking, a change of tone with a serial killer attacking the family in a car. He seems to have raped the younger girl – although she comes out of the forest telling the police that she has not been raped. This leaves a question mark in the minds of the audience about the young girl, her attitudes towards life, towards her sister, towards sexuality.

Catherine Breillat had a stroke and came back to film-making with An Old Mistress, a version of a 19th century Dangerous Liaison-style story which is quite sumptuous – and less explicit than her previous films.

1.The work of Catherine Breillat? Provocative? Extremes? Themes? Treatment?

2.The French settings, the holiday, the countryside? The house? The open road, the cafés? Authentic and real atmosphere? The musical score?

3.The French title, the older girl and her attitude towards her younger fat sister? The emphasis of the English title on the fat girl herself?

4.The introduction to the two girls, their appearance, Elene and her wanting to be glamorous, thin, criticising Anais? Anais and her having to cope? The criticisms when she ate too much? In her swimming costume at the pool? Their talking with each other, the bond despite the criticism? Their attitude towards their mother, her concern about them – but not particularly present to them? The father, his going on a trip?

5.Fernando, Italian charm, the law student, the encounter with the two girls at the café, his buying them a coffee, his chatting Elene up? The beginnings of a seduction? The meeting, his coming to a meal, meeting the parents? Seeming acceptable?

6.His coming to the room at night, with Anais in the room? The seductive talk, Elene’s response, her not being able to go through fully with the sexual encounter? His reaction? The plausibility of his words, the usual seductive phrases, the deception of the young girl?

7.The aftermath, the two girls discussing the situation, going to the beach, Anais at the beach, the criticism of the other two?

8.The sexual encounter in the room, Anais and her pretending to sleep? The reaction of Elene to Fernando, thinking that this was love? His giving her the ring and the story about the ring?

9.The aftermath, Elene knowing in her heart that he had a lot of girls? Believing she was the only one? His mother’s arrival, demanding the ring back? Her being heartbroken? The support of Anais?

10.The car ride, the music, Anais in the back, the mother and her driving? Stopping for the meal? Stopping at the garage? The shocking violence of the man attacking the car, the killing of Elene? Strangling the mother? Anais getting out of the car, his pursuing her into the woods?

11.Anais coming out of the woods, saying she had not been raped, the freeze-frame on her? Her own attitude towards sexuality, virginity, the film’s theory that the first time should not be with someone someone loves, that this is merely physical and sexual and that the important thing is love?

12.The overall impact of the film? In terms of characters, a French exploration of sexuality?

WHEN BRENDAN MET TRUDY

Ireland, 2000, 95 minutes, Colour.
Peter Mc Donald, Flora Montgomery, Pauline Mc Lynn.
Directed by Kieron J. Walsh.

One reason for seeing this slight, brief drama is that the screenplay is an original from novelist, Roddy Doyle, moving a bit uptown from his Barrytown stories of a poorer Dublin, The Commitments, The Snapper, The Van. Who would have thought that Roddy Doyle was such a movie buff? He has not spent all his time writing but passed many an hour in cinemas or watching videos so that his central character, Brendan, a shy school teacher, disillusioned with his work and life, except for movies and choir practice at the local church, can be a film-quoting buff-fanatic. And this is quite amusing if you know some of the references. But, if not, there is the portrait of an awkward Irish lad (which Peter Mc Donald has proven he can do well in such films as I Went Down, Saltwater) who by chance encounters the bumptious Trudy (Flora Montgomery), breaking and entering by trade, who brings him out of himself, even to robbing his school computers and appearing in race protests on Irish television. In many ways, this is a bit of Irish fluff, but pleasing enough while it is on the screen in front of you.

1.An entertaining story, characters, odd situations? Romance?

2.The writing of Roddy Doyle – his novels, his Irish characters, Dublin? His insights here? Comic touches?

3.The Dublin settings, the city, the streets, the pubs, the church? The musical score? ‘Hail, Queen of Heaven’ and ‘Panis Angelicus’? The other songs?

4.Brendan as a film buff, the sequences shown, the westerns, John Wayne, Once Upon a Time in the West, the European films? Their relevance to the plot?

5.The portrait of Brendan, a quiet man, in the choir, living by himself, the dreary life of teaching, his not knowing the boys’ names, his daydreaming? In the pub, the encounter with Trudy? Her getting him to sing ‘Panis Angelicus’? The bonds between the two? Her not turning up for the film? His meeting her, the conversations? The bonds between them? The sexual affair? The effect on Brendan? At school, with the children, with the headmaster – and the headmaster’s broadmindedness? Discovering that Trudy was a thief? Her persuading him to share her burglaries? His taking her to the family, their reaction, the swearing? Her irritation with them? His decision to rob the computers? His hanging on to the bricks, falling, Trudy taking the blame? Going to visit her in prison? The humorous ending with the four children and their careers – and the fifth waster child? A sympathetic portrait?

6.The portrait of Trudy, sprightly, in the pub, cheeky, getting a drink from Brendan? Forcing him to sing? Agreeing to go to the films, not turning up? Her falling in love with him? The discussions about the films, going to the pictures? The drinks and the friends? The discovery that she was a thief, her justification, taking Brendan on burglaries? Trashing the house? The visit to Brendan’s family, their not liking her? Her finally being caught, taking the blame, in prison – and Brendan waiting for her?

7.The background of the school, the kids, their attitude towards Brendan, his singing to them and their shock? The headmaster and his open-mindedness?

8.The family, the eccentric Irish, Brendan’s mother and her toughness, Nuala and her swearing, the little boy, the rest of the family? Meals? Seeing Brendan on television?

9.Brendan meeting Trudy’s friends, the man from Nigeria? Seeing him being deported, going to the demonstration, on television, protesting, being arrested? The family’s reaction?

10.A light Irish comedy, eccentric? With some insights?

CUTTHROAT ISLAND

US, 1997, 119 minutes, Colour.
Geena Davis, Matthew Modine, Frank Langella, Maury Chaykin, Patrick Malahide, Stan Shaw, Harris Yulin.
Directed by Renny Harlin.

An attempt to do an `old-fashioned' pirate movie with all the well-known ingredients and a kind of pseudo Treasure Island dialogue. While the plot is obvious enough, rival pirate gangs fighting to find buried treasure on a Caribbean island, the film is quite spectacular in its widescreen location photography (Maltese towns and Thai islands). Also, the film scarcely draws breath, with battles and chases and derring-do. What makes the film different (apart from its big budget and special effects) is that it is a lady pirate who is at the heart of the action, Geena Davis trying to be both Errol Flynn and Maureen O'Hara at once. For realists, there is an alarming body count, but this is cartoon Saturday matinee stuff not to be taken literally. Piratical derring-do.

1.The popularity of pirate films? The critical condemnation of this film? As a popular adventure?

2.The period settings, costumes and décor, the ships and the ocean? Storms at sea? Battles? The West Indies and the towns? The musical score?

3.The title, expectations? Pirates, buried treasure, searches for treasure? Clashes?

4.The focus on Morgan Adams? A woman pirate? Geena Davis’s presence, height, commanding? Her relationship with her father? His final words? The map? Her taking over the ship? The clash with William Shaw? William Shaw and his reading Latin, the information about the map? Her setting out on an expedition? Her clash with her uncle, his rivalry? The battles, the governor, John Reed and his bookshop? Her relying on his friendship? His later betrayal? The fights with Dawg Brown? Her falling in love with William Shaw?

5.William Shaw, the conman, at the governor’s dance, chatting up the woman, robbing her, his being arrested, smooth talker? In prison? His being sold to Morgan Adams? Helping her with the map, his deceit? His joining in the expedition? The fights?

6.Dawg Brown, the villain of the piece, clashes with his brother, with Morgan, the map? His men, the betrayal of Morgan, his condemnation of the traitor? The confrontation with Morgan, the fights – and the cannon and his death? The members of his pirate crew?

7.John Reed, the bookseller, not knowing Latin? The governor putting pressure on him, the betrayal of William Shaw?

8.The governor, his associates, at the dance, interest in the treasure? His bribery, wanting to be part of the plan? His finally getting Morgan and William Shaw? The escape? The members of his court?

9.Going to the island, the various parts of the map, the hand with the longitudes? The storm, going through the storm, finding the treasure, the final fights? The capture by Dawg Brown, Morgan and William at the end of the rope, their deciding to jump? Their being reunited?

10.The popular ingredients of a pirate story? A big-budget extravaganza?

DAPHNE

UK, 2007, 90 minutes, Colour.
Geraldine Somerville, Elizabeth Mc Govern, Janet Mc Teer.
Directed by Clare Beavan.

Daphne is a portrait of novelist Daphne du Maurier, a film produced to celebrate the centenary of her birth. It is based on a biography by Margaret Forster as well as letters of Daphne du Maurier herself. It was made for BBC Television.

The film may reveal more about the private life of Daphne du Maurier than many audiences would want to know. The film is set between the end of World War Two and the death of Gertrude Lawrence in 1952. By this stage, Daphne du Maurier had achieved a considerable reputation, especially writing in her twenties the novels Frenchman’s Creek, Jamaica Inn and Rebecca. Alfred Hitchcock made film versions of both Jamaica Inn and Rebecca. Frenchman’s Creek was made in the 1940s. Everybody wanted to talk about Rebecca – and there was a plagiarism case in New York in the late 40s which was won by du Maurier.

The war ends and du Maurier’s husband returns, somewhat shell-shocked, finding it difficult to settle in, erupting at his children. In the meantime, Daphne, who had always been self-conscious about her sexuality, wanting to be a boy and knowing that her father, the celebrated stage manager George du Maurier, wanted a boy becomes more aware of her drives. She had infatuations when she was young. This all came to a head with the tension in her marriage and her encountering Ellen Doubleday, the wife of her publisher, in the United States. She was very attached to Ellen who reciprocated the friendship but could not reciprocate the sexual attraction. On her return to England, Daphne du Maurier wrote a play disguising her affection for Ellen Doubleday by making a young man be infatuated with his mother-in-law. The star of the play was Gertrude Lawrence who had been introduced to Daphne du Maurier by Noel Coward (played unexpectedly by Malcolm Sinclair). Gertrude Lawrence is portrayed as a very extroverted woman (who had only a few years to live because of cancer). She engages in an affair with du Maurier who is transformed by it. The film ends with news of Gertrude Lawrence’s death.

Daphne du Maurier did not die until 1989 and wrote a number of other books and short stories. The film ends with her sublimating her experiences in writing My Cousin Rachel. She then went on to write The Birds and Don’t Look Now.

1.A portrait of Daphne du Maurier? An interesting portrait, her public life, her private life? Audiences invading privacy?

2.The setting from 1946 to 1952? A key period in her life? The flashbacks?

3.The south-west England settings, her home, the sea and its recurring waves, the cliffs and the countryside? The contrast with New York and Long Island? The mansions, the courts, the socials and parties? The musical score?

4.Daphne du Maurier’s reputation, her early novels, everybody referring to Rebecca, asking her questions about Rebecca and Mrs de Winter? About Maxim de Winter? Her replies? The plagiarism case, the attacks on her, her answers in the court, saying what Rebecca was about, the victory?

5.Daphne’s marriage, her husband, the children? The use of the newsreel technique to introduce information about her, her achievement, her family? The British newsreel style of the times? – and the use of this newsreel style at the end of the film?

6.Daphne’s husband, his achievement in the war, reputation? Her inability to relate well to him, his not being able to settle back? His love for the children, his outburst against his son? The boy going to his mother? His gradually settling down – and the later scenes of him playing with his children? His not dying till the mid-1960s?

7.America, Ellen Doubleday, her alcoholic husband? Society life, her personality, charm? Everybody flocking around her? The friendship with Daphne, her perceptions of Daphne, friendship, support, especially with her husband’s illness, his death? Going on holidays with Daphne – but finding it too pressurised, her return to the United States? The later visit, her understanding about Gertrude Lawrence?

8.Noel Coward, his friendship with Daphne, social life, England and New York? Introducing Gertrude Lawrence and Daphne’s being repelled by her outgoing style?

9.The return, the writing of the play, the rehearsals, her anger at Gertrude Lawrence, Gertrude Lawrence understanding her well? Saying she needed a good time? Taking her out, the social whirl, the change with Daphne? Going to the United States, the impact of the affair? Gertrude and her marriage, the reason for allowing herself to have the affair with Daphne? The effect on Daphne, the transformation?

10.Daphne’s return to England, with her husband, her children? Her grief at Gertrude Lawrence’s death, her husband looking at the pictures?

11.The aftermath of this episode in her life, her going back to writing, My Cousin Rachel and its success, the newsreel information? How interesting and valuable this kind of portrait of a celebrated author?

COME DIO COMMANDA (AS GOD COMMANDS)

Italy, 2008, 103 minutes, Colour.
Filippo Timi, Elio Germano, Alvaro Caleca, Fabio De Luigi.
Directed by Gabriele Salvatorez.

Come Dio Commanda has a screenplay by Niccolo Amaniti based on his novel. Amaniti also wrote Io Non Ho Paura, which was filmed by the same director, Gabriele Salvatorez.

This film is set in the north of Italy, focuses on life in a small town. The central character is a neo-Nazi, who believes in might is right and teaches his son to act accordingly. While the initial part of the film establishes the character of father and his relationship to the son, a third character played by Elio Germani, Four Cheeses, is also introduced, a man who has been affected by industrial accidents in the factories.

The main part of the film is a long sequence, at night, filmed in the rain, where the sexually-preoccupied Four Cheeses pursues a young girl and eventually kills her, ringing the neo-Nazi for help. The young son is called by his father to help him after his injury and, though he believes his father is guilty, he tries to preserve his good name. Eventually the solution is found and the father and son are reconciled.

1. The title, conscience, references to God, belief in God or absence of God, voices commanding, crime and God? Self-righteousness?

2. The northern Italy settings, the town, homes, the quarry, the school? The forests? Realism? The musical score? The songs from Robbie Williams, from Bob Dylan? Knocking on Heaven’s Door?

3. The background of neo-Nazis in Italy, nationalism, prejudice, xenophobia? Attitudes towards foreign workers? Rino and his attacks on the industry bosses? Violence, protection? Ideology of Hitler as a great leader? The swastika – and Cristiano’s essay? Rino not wanting to broadcast his views? The interaction between him and his son about the essay?

4. The introduction to Rino and Cristiano, father and son, the absent mother? Ideas, affection, the taunts, wanting his son to be physical and strong? The two and the encounter with Four Cheeses? The outburst in the street, Rino defending him, bashing the attacker? Cristiano going to school?

5. The introduction to Four Cheeses, the electricity and his mental damage, his crib in his house, bringing in the snow, thanking God, the pornographic videos, Ramona and her taunting, his fantasies? The attack on him, Rino defending him? Continuing to watch the videos, obsession with Ramona, imagining Fabiana? His time with Rino and Cristiano at the quarry, Rino taking the shots at him?

6. Cristiano, aged fourteen, his relationship with his father, going to school, the fellow students, writing the essay, the neo-Nazi ideas? Talking with the girls, their finding him cute? Going with his father to the quarry, the gun and the shots? The visit of the social worker, concern about Rino’s drinking, taking Cristiano to an institution?

7. Rino, the woman in the house, her discovering he was a neo-Nazi, his violence towards her? Four Cheeses and the obsession with Ramona, the girls going shopping and Cristiano watching?

8. Cristiano’s life, a loner, with the girls, seeing Fabiana’s radio – and later identifying it in Four Cheeses’ house?

9. Rino and Cristiano, teaching him self-defence, the bullying boy and Cristiano’s injuries, his father teaching him how to fight, butt him in the stomach, have courage?

10. The girl and Four Cheeses, the bike, the chase, the rain, the long sequence in the forest, pretending to have an accident, getting up and assaulting the girl, her fighting back, her death? His ringing Rino?

11. Rino, with Cristiano, Cristiano bashing his assailant? Rino coming for Four Cheeses, the van, the search, his reaction, Four Cheeses hitting him, Rino phoning Cristiano to come?

12. Cristiano and the search, his believing that his father was guilty, tidying up, dragging his father’s body, putting him in the van, the holdup at the tunnel, dragging him into the house, the police, claiming that he was at home all the time, in hospital, the coma?

13. Cristiano and his getting rid of the girl’s body? The long sequence of dragging her in the water and setting her free? The body being found, the police, people on the bridge, Cristiano’s violent reaction?

14. His visits to his father, Four Cheeses and asking him to be silent about his father’s action?

15. The care of the social worker, his personality, concern about Cristiano, the discussions about the institution?

16. The funeral, the speech of the father, wanting vengeance, the prayer of the priest? The mourners, the applause for the dead girl? Cristiano sitting, walking out?

17. Four Cheeses going to the hospital, Rino in coma, Four Cheeses wanting to kill him, the gun, his being alerted and retreating?

18. His going home, his conscience, hanging himself, Cristiano finding him, finding the radio and the player?

19. The reconciliation between father and son, the father reviving, wanting to surprise his son, his son’s confession, the final freeze-frame and their reconciliation?

20. The final credits and the singing of Knocking on Heaven’s Door?