THE DARK EYES OF LONDON (THE DEAD EYES OF LONDON/THE HUMAN MONSTER)

UK, 1940, 76 minutes, Black and white.
Bela Lugosi, Hugh Williams, Greta Gynt, Edmon Ryan.
Directed by Walter Summers.

The Dark Eyes of London is based on a story by Edgar Wallace. It is a star vehicle for Bela Lugosi, made in England, and giving him a more rounded character than was often the case in his American films, which all capitalised on his screen presence as Dracula. The film has a strong British cast led by Hugh Williams, a star of the 40s, as well as Greta Gynt who also flourished in British films in the 1940s.

The film is a murder mystery, a focus on bodies being found in the Thames, leading to investigations about insurance fraud. The investigation leads to a Doctor Orloff, played by Bela Lugosi, who has a flourishing London practice. The connection with donations and the laundering of the money gained from the fraud is directed towards an institution for homeless men, run by Professor Deerborn – and it doesn’t take too long, given Lugosi’s appearance and height, to realise that Doctor Orloff is Professor Deerborn (though with a much more English accent as the professor). Hugh Williams is the detective, Greta Gynt is the daughter of one of the victims. Edmon Ryan portrays an American visiting detective, giving the international tone to the film as well as some pokes at Americans in England.

The film is B-budget material, but more interesting than many of Bela Lugosi’s American films.

1. The Edgar Wallace story? Edgar Wallace as storyteller? Adaptation for the screen?

2. London locations, black and white photography? Atmosphere of the city, contemporary? The river? The musical score?

3. The title, Edgar Wallace’s title? The alternate titles?

4. Doctor Orloff, Lugosi’s presence, his appearance, sinister, his voice and accent? His work as a doctor? His office, his assistant? His encounters with the men, the examinations? The persuasion about insurance? The dependence of the men, wanting money for their families? Their disappearances?

5. Professor Deerborn, the institute, seedy? The men? Their work, counting the money? Their dependence on the professor? Jake as the equivalent of Igor in the Dracula films? His appearance, mental capacity? His doing Orloff’s will? The murders? His friendship with the man in the coma? His killings, his being turned against Doctor Orloff by Diana? His confrontation with the doctor, killing him?

6. Inspector Holt, the work of the British police, the investigations in detail? His personality? The encounters with Diana, helping her, the rescue?

7. Lieutenant O’ Reilly, the American, settling into London, observing the British police? His personality?

8. Diana, her encounter with Holt and O’ Reilly? Her concern about her father? Her being asked to go to work for Professor Deerborn? Her work, suspicions, the discovery of the truth? Jake and his menace? Her being able to persuade him to turn against Doctor Orloff? The final happy ending?

9. Jake, the monster, doing the doctor’s will? His friendship, humanity, his anger and the death of the doctor?

10. The range of victims, the down-and-out men, incapacitated? The doctor drowning them?

11. The popular ingredients of a director story combined with elements from horror movies?

THE SPECKLED BAND

UK, 1931, 50 minutes (originally 90, versions at 66 minutes), Black and white.
Raymond Massey, Athole Stewart, Lyn Harding, Angela Baddeley.
Directed by Jack Raymond.

The Speckled Band is an early version of Conan Doyle’s Sherlock Holmes story. It was filmed several times in the silent era and, of course, in the various Sherlock Holmes series later.

This is the only time that Raymond Massey appeared as Sherlock Holmes, a rather more down-to-earth commonsensed Sherlock Holmes than various later versions. Athole Stewart is a non-memorable Doctor Watson. The villain is played by Lyn Harding and the heroine played by Angela Baddeley who had a long career including the cook in Upstairs, Downstairs. Director Jack Raymond was an actor from the silent era and a director from the early 20s to the early 1950s, mainly of B-budget features.

The film follows the outline of Conan Doyle’s story about the oppressive doctor who murders one of his stepdaughters, is opposed to the marriage of the second stepdaughter and threatens her. His plan, with an aide from India and the connivance of the housekeeper, is to send a snake, the speckled band, through the wall and down the bell rope so that the presence of the deadly snake would not be detected.

Holmes, using his practicalities, examines the scene, uses his deductive powers and is able to reveal what had happened.

The film has echoes of British silent film styles, being made in the early years of sound. It is somewhat creaky in its presentation of plot, although it was adapted by W.P. Lipscomb who had a strong career writing screenplays including A Town Like Alice and Robbery Under Arms as well as Dunkirk.

It is a pity that Raymond Massey did not play Sherlock Holmes more often. His is a refreshing interpretation different from the buttoned-up later performances and interpretations.

LAST RIDE

Australia, 2009, 90 minutes, Colour.
Hugo Weaving, Tom Russell, John Brumpton, Anita Heagh.
Directed by Glendyn Ivin.

Last Ride is a story about father and son (with echoes of such films as A Perfect World and the Russian film, The Return).

The screenplay is based on a novel by Denise Young and was written by Mac Gudgeon, a veteran screen and television writer. The director, Glendyn Ivin, won the Golden Palm for his short film, Cracker Bag, in 2003.

The film was supported by the Adelaide Festival and South Australian Film Corporation and this film utilises South Australian locations beautifully. The film is a road movie, a father and son moving from the city, travelling to Adelaide. However, the father is a petty criminal (reminiscent of David Wenham in The Boys). He seems to have few redeeming features, oppressed by his father when growing up, having spent time in jail for petty crimes, learning a grudge against the world in prison – but having some moments of care for his son, even while he neglects him.

The film is a journey by bus, stolen car, van and there are various encounters of a cross-section of Australian outback society, including a former girlfriend who is a teacher, an Aboriginal park ranger, various people who serve at country stores, brawlers in a bar.

Hugo Weaving gives an intensity and nuanced performance to the character of Kev. Tom Russell (The Tree) is very good and natural as the little boy, Chook. John Brumpton appears as Max, an enigmatic figure in their lives, who, through flashbacks, is revealed as an ambiguous villain and the reason for the father and son fleeing the city to Adelaide.

The film has echoes of contemporary concerns about abuse of children.

1. A father-and-son journey, relationship, in the Australian outback context?

2. The title, for Kev, a fatalistic journey?

3. A road movie, the scenes in the city, the countryside, the country towns, the desert and mountains, the lake? The range of scenery, the style of photography? Beauty and ruggedness? The musical score?

4. The structure of the film, linear, following Kev and Chook’s journey, the various aspects of the travel? The mystery about what initially happened to cause the journey? The gradual information, through Chook’s flashbacks? The shock of the reason?

5. The introduction to Chook and Kev, at home, the car yard? Max and Kev, friends? Playing with Chook? The travel, the father-and-son relationship, the difficulties? Chook and his reminiscences and concern about Max and his injuries?

6. The of Kev, in jail, meeting Marianne, the maths teacher? The relationship? Getting out of jail, the relationship with Marianne, Kev and his temper, beating her, her leaving? His memories of his father, stern, being left outside to walk and fend for himself? His relationship with Chook, memories of his mother? His taking Chook away, the travel in the bus, shopping in the country town, finding Marianne’s house, the talk, the meal, the sexual encounter with her? His continuing the journey, stealing cars, going to the camp, the Aboriginal guard and his warning, staying and having tea, reminiscing? The Aboriginal element in the heritage? The Afghans and the stories about the early Afghans with their camels? The human touches? Going to the bar, picking the fight, his being bashed? Leaving Chook in the school, without food? Stealing the car, Chook hungry, going into the shops, having only a certain amount of cash, the demands of the woman behind the counter? The second shop, Chook and his shoplifting, Kev bashing the man behind the counter? Going to the trailer camp, robbing the caravans? The truck, the pursuit? Chook and the swimming, Kev pushing him into the water, trying to teach him to float? The later lesson and Chook enjoying floating? Kev and his temper, his language, with Chook, his anger at Chook talking about proper fathers, making him get out of the car, walk across the lake? The alienation? Some moments of reconciliation, Chook informing the police, the helicopter and the cars, getting the rifle, shooting himself?

7. Chook at ten, his life, wanting to know about his mother? His dependence on his father? Marianne and wanting to stay with her, the memories of Max, playing, the sheep, the final situation, commenting on Max’s loneliness and not hurting him? Kev and his fight with Max, killing him? Chook and his not wanting to believe that Max was dead, wanting to phone? Max as a friend? How sinister or not? His behaviour with Chook, in the bed? The contemporary awareness of sexual abuse of children?

8. Chook and the trip, aware of his father, his playfulness, money issues, the school and his being hungry, Marianne, the school and his being alone, the camp and the Aboriginal man, the lake and his being afraid of the water, father as role model, walking across the lake, Kev reminiscing about where he might have been conceived? The final alienation, into the water and floating, the phone, the photo, telling the police, telling his father, giving him the gun? His future?

9. Marianne, the teacher, her past, Kev and his threats, her love for him yet his violence?

10. The range of characters along the way, Australia and the outback: the shopkeepers, the men in the bars, the truckers, the parks, the trailers, the Aboriginal guards?

11. A slow-burning film with a strong cumulative impact?

LAST RIDE

Australia, 2009, 90 minutes, Colour.
Hugo Weaving, Tom Russell, John Brumpton, Anita Heagh.
Directed by Glendyn Ivin.

Last Ride is a story about father and son (with echoes of such films as A Perfect World and the Russian film, The Return).

The screenplay is based on a novel by Denise Young and was written by Mac Gudgeon, a veteran screen and television writer. The director, Glendyn Ivin, won the Golden Palm for his short film, Cracker Bag, in 2003.

The film was supported by the Adelaide Festival and South Australian Film Corporation and this film utilises South Australian locations beautifully. The film is a road movie, a father and son moving from the city, travelling to Adelaide. However, the father is a petty criminal (reminiscent of David Wenham in The Boys). He seems to have few redeeming features, oppressed by his father when growing up, having spent time in jail for petty crimes, learning a grudge against the world in prison – but having some moments of care for his son, even while he neglects him.

The film is a journey by bus, stolen car, van and there are various encounters of a cross-section of Australian outback society, including a former girlfriend who is a teacher, an Aboriginal park ranger, various people who serve at country stores, brawlers in a bar.

Hugo Weaving gives an intensity and nuanced performance to the character of Kev. Tom Russell (The Tree) is very good and natural as the little boy, Chook. John Brumpton appears as Max, an enigmatic figure in their lives, who, through flashbacks, is revealed as an ambiguous villain and the reason for the father and son fleeing the city to Adelaide.

The film has echoes of contemporary concerns about abuse of children.

1. A father-and-son journey, relationship, in the Australian outback context?

2. The title, for Kev, a fatalistic journey?

3. A road movie, the scenes in the city, the countryside, the country towns, the desert and mountains, the lake? The range of scenery, the style of photography? Beauty and ruggedness? The musical score?

4. The structure of the film, linear, following Kev and Chook’s journey, the various aspects of the travel? The mystery about what initially happened to cause the journey? The gradual information, through Chook’s flashbacks? The shock of the reason?

5. The introduction to Chook and Kev, at home, the car yard? Max and Kev, friends? Playing with Chook? The travel, the father-and-son relationship, the difficulties? Chook and his reminiscences and concern about Max and his injuries?

6. The of Kev, in jail, meeting Marianne, the maths teacher? The relationship? Getting out of jail, the relationship with Marianne, Kev and his temper, beating her, her leaving? His memories of his father, stern, being left outside to walk and fend for himself? His relationship with Chook, memories of his mother? His taking Chook away, the travel in the bus, shopping in the country town, finding Marianne’s house, the talk, the meal, the sexual encounter with her? His continuing the journey, stealing cars, going to the camp, the Aboriginal guard and his warning, staying and having tea, reminiscing? The Aboriginal element in the heritage? The Afghans and the stories about the early Afghans with their camels? The human touches? Going to the bar, picking the fight, his being bashed? Leaving Chook in the school, without food? Stealing the car, Chook hungry, going into the shops, having only a certain amount of cash, the demands of the woman behind the counter? The second shop, Chook and his shoplifting, Kev bashing the man behind the counter? Going to the trailer camp, robbing the caravans? The truck, the pursuit? Chook and the swimming, Kev pushing him into the water, trying to teach him to float? The later lesson and Chook enjoying floating? Kev and his temper, his language, with Chook, his anger at Chook talking about proper fathers, making him get out of the car, walk across the lake? The alienation? Some moments of reconciliation, Chook informing the police, the helicopter and the cars, getting the rifle, shooting himself?

7. Chook at ten, his life, wanting to know about his mother? His dependence on his father? Marianne and wanting to stay with her, the memories of Max, playing, the sheep, the final situation, commenting on Max’s loneliness and not hurting him? Kev and his fight with Max, killing him? Chook and his not wanting to believe that Max was dead, wanting to phone? Max as a friend? How sinister or not? His behaviour with Chook, in the bed? The contemporary awareness of sexual abuse of children?

8. Chook and the trip, aware of his father, his playfulness, money issues, the school and his being hungry, Marianne, the school and his being alone, the camp and the Aboriginal man, the lake and his being afraid of the water, father as role model, walking across the lake, Kev reminiscing about where he might have been conceived? The final alienation, into the water and floating, the phone, the photo, telling the police, telling his father, giving him the gun? His future?

9. Marianne, the teacher, her past, Kev and his threats, her love for him yet his violence?

10. The range of characters along the way, Australia and the outback: the shopkeepers, the men in the bars, the truckers, the parks, the trailers, the Aboriginal guards?

11. A slow-burning film with a strong cumulative impact?

KILLSHOT

US, 2008, 90 minutes, Colour.
Diane Lane, Mickey Rourke, Thomas Jane, Joseph Gordon- Levitt, Rosario Dawson, Hal Holbrook.
Directed by John Madden.

Killshot is based on a novel by Elmore Leonard. Leonard himself wrote for the screen, especially 3.10 to Yuma. A number of films have been made from his novels including Get Shorty, Be Cool, 52 Pick Up, Tough.

This film has a short running time – and seems to have some plot parts missing (in fact, scenes with Johnny Knoxville have been excised completely after unfavourable preview responses).

The film strains credibility at times, especially in the behaviour of the central characters, a wife and her ex-husband, Diane Lane and Thomas Jane, who witness a botched crime. They are put in witness protection. The criminals are played by Mickey Rourke and Joseph Gordon- Levitt as a young psychopathic killer. Rosario Dawson appears as Gordon- Levitt’s girlfriend and Lois Smith as Diane Lane’s mother.

There is some background of Indian generations with Mickey Rourke playing an Indian character.

The film, with its limitations, is watchable but not a memorable Elmore Leonard film. Direction was, unusually, by Englishman John Madden who had made Shakespeare in Love, Proof, Captain Corelli’s Mandolin – although he had directed episodes of Inspector Morse and Prime Suspect.

1. The popularity of Elmore Leonard’s books, tough thrillers? A film adaptation? British director?

2. Canadian locations, Missouri? The seasons? The musical score?

3. The realism, homes and offices, real estate work, building jobs, sites? The Indian towns?

4. The title, assassins, hunting witnesses?

5. The introduction to Armand, his dream, his brother watching the woman, getting shot? Armand as deadly, his killer career? The Indian background, the name Blackbird, his wanting to be an owl? His grandmother’s powers? Her death? The phone call, the commission from the Toronto Mafia? Confronting the boss in his hotel, their discussion, allowing him some dignity in his death, killing the girl in the shower? The gift of the car, using it for protection against the Mafia? Visiting his home, wanting to settle, Lionel not making him welcome?

6. The introduction to Richie, the robberies, dumb and intense? Psychopathic? His relationship with Donna, her support? His ambitions, the phone call, the threats and demands from the real estate agent? Meeting Armand, attempting to rob him, Armand pulling the gun on him, letting him live, because he reminded him of his brother? Their going to the office, the attack on Wayne, the wrong man, the fight, the shoot-up, Armand leaving but coming back for Richie? Carmen seeing Armand? The consequences?

7. Carmen and the real estate, showing people around houses, the office, home? Wayne and his jobs on site, being grounded? The fifteen-years marriage, separation, the death of the child, the divorce? Carmen’s mother? Wayne and his collecting his goods, the tension between them, the fact that he was watching the house? Wayne in the suit, mistaken for the estate agent? The police? Wayne and Carmen becoming targets?

8. Carmen alone in the house, the threats from Armand, Wayne arriving, the shooting, Carmen and the gun?

9. Richie and Armand going to Donna’s house, the tension, the sexual relationship, the bond, the danger for Donna? Her showing the photos of Elvis to Armand? Richie’s reaction?

10. The explanation of the witness protection program, the relocation, Missouri, the jobs, selling houses, the boss watching her, Wayne and his making friends? Going out to the bar, talk, the possibility of staying?

11. Armand and Richie, in the house, phoning Carmen’s mother, the visit, the massage?

12. Faking their deaths and the consequences?

13. Carmen’s return, in the house, Armand and Richie in the house already, Wayne and the phone calls, terrorising Carmen?

14. Wayne, his dilemma, return, speaking to Carmen, seeing the gun, his tactics?

15. Richie and his brutality, in the shop, shooting at Wayne, killing the woman at the counter? His recklessness? Armand liking him like his brother, changing his mind, Richie’s chatter at the table, making Carmen strip, Armand and Donna – and Armand’s suddenly shooting him?

16. The final confrontation, Armand and his tactics, Wayne and the gun, Carmen shooting him?

17. An Elmore Leonard thriller, characters, crime and motivation?

OUR VINES HAVE TENDER GRAPES

US, 1945, 105 minutes, Black and white.
Edward G. Robinson, Margaret O’ Brien, James Craig, Frances Gifford, Agnes Moorehead, Morris Carnovsky, Jackie ‘Butch’ Jenkins, Sara Haden.
Directed by Roy Rowland.

Our Vines Have Tender Grapes is a quotation from the Song of Songs. The film is a story about Norwegian migrants in Wisconsin. It is set in 1944, has a then contemporary atmosphere – although it harks back to a much simpler way of life, mid-US values and traditions.

The film focuses on a family, with Edward G. Robinson as the father, very different from his gangster and villainous roles. Agnes Moorehead is the mother. The film belongs to Margaret O’ Brien who portrays their seven-year-old daughter, a very capable child actress, intensely following direction with a talent for living her parts. She is paired, as in several other films, with Jackie ‘Butch’ Jenkins, who appeared in Little Mr Jim, My Brother Talks to Horses. James Craig and Frances Gifford are the romantic couple, he the editor of the local paper, she a teacher.

The film shows life over the best part of a year in Wisconsin, the country towns, the farms, the changing seasons. It is a film of sentiment and sweetness, but most audiences could enjoy it, allowing for the sensibilities of the past.

It was directed by Roy Rowland, an MGM director with a wide range of genres in his filmology. However, it was written by Dalton Trumbo who had written Thirty Seconds Over Tokyo and who was about to be blacklisted. During the 1950s, he won an Oscar for The Brave One, which used the name Robert Rich as a front. However, Kirk Douglas asked him to write Spartacus and Otto Preminger asked him to write Exodus in the late 50s and he was re-established under his own name. He wrote a novel, Johnny Got His Gun, and directed the film of the novel in 1971.

1. A film of the 1940s, humane? A piece of Americana? The title coming from a Scripture text?

2. Wisconsin, the countryside, the town, farms, fields, roads, barns, homes, the church and school, the river? Authentic middle America?

3. The families, the Norwegian background, the settlers, the farms, stock, hay? The seasons? The community, nice? The critique from Viola Johnson? Getting to know the people, their working together, rescuing Selma and Arnold, helping with the barn fire, finally supporting the destitute Mr Bjornson?

4. The cast, Edward G. Robinson playing against screen type? The film as a Margaret O’ Brien vehicle, her popularity?

5. The focus on Selma and Arnold, their ages, cousins, always together, Selma as nice and sweet? Arnold and his being rather self-centred, tough? Their chatter? Their concern about the young woman and her mental abilities, her wanting to hug them? Discussions about war, shooting, guns? Selma hitting the squirrel with the stone and being upset? The continued comparisons between them, Arnold wanting what Selma had? Selma and the skates, not letting Arnold skate, her father ordering her to give them to him? Arnold and his lying? Being sent to bed? The elephant and the circus, Martinius taking his daughter to see the elephant, paying the money, the elephant ride? Love for his daughter, yet punishing her? Bruna and the discipline? The gift of the cow, her care for the cow, riding it, yet being prepared to give it away to Mr Bjornson? At school, Arnold at the window, her comments? The girl and the teachers defending her? Her friendship with Editor, his friendliness, giving them the lift? Christmas and his writing the story, her memorising it and reciting it? The Christmas gifts, the coat? The money and what she earned? The catalogue? In the tub with Arnold, the flood and their being rescued? Going to the barn fire? Church, the requests for gifts for Mr Bjornson? Arnold giving his goat – and the generosity of his father in suggesting it? Symbols of mid-America in the 1940s?

6. Martinius and Bruna, their home, life, with Selma? Work, meals, the money for the new barn, the gift of the skates, visiting the circus and seeing the elephant, visiting Mr Bjornson’s barn? Playing draughts? The issue of the loan? Christmas, the gifts? The rescue of the children, Martinius’s concern? The fire, his shooting the cattle for Mr Bjornson? His decision about his own barn, the gifts for Mr Bjornson? Bruna and her straight talking, her support?

7. Editor, the paper, his father? Encountering Viola, his arguing tolerance with her? His enlisting? The gifts for Mr Bjornson? The Christmas story? The proposal? Viola, her Norwegian background, doing a PhD, her placement in the country, critique of the people, her kindness to Selma in class, her reaction to the funeral of the young girl? The gifts, her change of heart, accepting Editor’s proposal?

8. The barn, the fire, the putting down of the cattle? Mrs Bjornson, no insurance?

9. Wisconsin of the past, the contemporary Wisconsin for World War Two? Change that was coming in American society?

PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL

US, 2003, 143 minutes, Colour.
Johnny Depp, Geoffrey Rush, Orlando Bloom, Keira Knightley, Jack Davenport, Jonathan Price, Lee Aronberg, Mackenzie Crook, Kevin Mc Nally, Zoe Saldana.
Directed by Gore Verbinski.

In the early decades of the 20th century, Douglas Fairbanks Sr and Douglas Fairbanks Jr along with Errol Flynn cornered the market on pirates with Black Swans, Sinbad, Captain Blood. Robert Newton was both Long John Silver and Blackbeard. Tyrone Power and Burt Lancaster also had their chances. However, in recent times, it is said that pirate movies do not succeed at the box office. Roman Polanski's Pirates was a case in point as well as Cutthroat Island.

That may all be over now as the Pirates of the Caribbean sail on to our screens. Based loosely on the ride in Disneyland, the project has been written by the authors of Shrek, Aladdin and The Mark of Zorro and produced by the ace of big action shows, Jerry Bruckheimer. And audiences have enjoyed it.

Set in the early 18th century, it has all the popular ingredients of sea battles, abductions of heroines, sturdy fighting heroes, an array of cutlass-armed sailors and prissy British authorities. It has a new element in so far as the pirates are under a curse and cannot die until the blood of one of their colleagues is spilt on some gold medallions. This enables the special effects crew to have the pirates look normal until the moonlight shines on them and we see them as skeletons. Since they are led by Geoffrey Rush as Captin Borbosa, they are formidable opponents.

The surprise of the film is Johnny Depp as the laissez faire Captain Jack Sparrow whose ship has been stolen by Borbosa. He escapes the island where he has been marooned and steps into all kinds of trouble in the port. Depp sports a made-up dreadlock style with a swaggering, slightly alcoholic accent, giving the wink to many of the old pirate conventions.

Orlando Bloom (Legolas in The Lord of the Rings) is the blacksmith hero and Keira Knightly quite a feisty heroine with Jonathan Pryce as the governor, her father.

It is quite long but enough going on and the performances good enough to keep us attentive.


1. The popularity of the film? The origins in the Disney theme park? The developing franchise?

2. The appeal of pirates, colourful, the Caribbean, characters and action, ships and treasure, rogues and outlaws, the law and the navy?

3. The production values, the cast, the length of the film? Locations and the islands, the sea? Action and stunts? Special effects, the skeleton crew, the fights? The musical score?

4. The title, the ship, Jack as the captain, Barbossa and the mutiny, regaining the ship? The crew of ghosts?

5. Pirates and their reputation, the attitude of the governor, of Norrington? Jack, Elizabeth, William? William and the story of his father and the mutiny? The range of characters, eccentric pirates, Ragetti and Pintel, their conversations – with the intellectual touch? The ghosts? Anamaria? Entertaining pirates?

6. Elizabeth and her dream, William adrift, his being rescued, her taking the pirate medallion? Her father looking after William? Elizabeth and her father, Norrington and his proposal, the dress and her fainting? Will, sword-maker, his talent, the gift for Norrington? The military ceremonial? The set-up?

7. Jack, in the boat, shooting the bird, floating, sailing into the harbour, the sunken boat, the flag? His arrival, tying up, paying for it? Keeping his name secret? His personality, look, the importance of his hat? His face, looks, clothes? His speech and eccentric manner? On the island, his hopes going to the town?

8. Elizabeth falling into the water, his rescuing her? The attitude of the governor and Norrington? Taking Elizabeth as hostage? Discovering Will, fighting, being knocked out, in chains, in prison? The jail, the dog with the keys, the escape, getting on the boat?

9. Norrington and his character, ambitions, planning the marriage, with the soldiers and their chatter, the ships, the pursuit, the battles? Elizabeth and Barbossa? Will and his capture? Elizabeth choosing, his relinquishing her?

10. The governor, his civil role, love for his daughter, in the town, the encounters with Jack? His hopes, the ships and his consent?

11. Will, sword-making, love for Elizabeth? The encounter with Jack, the fight? The clash with Norrington? Arrest, helping Jack escape? On the boat, encountering Elizabeth? With Jack? Barbossa and his identifying Will, the story of the father, the coin? The long explanation of his father’s story? Davy Jones and his being held? Barbossa and his wanting to kill Will, the rescue, the fight, the finale? Elizabeth and her declaring him a pirate?

12. Barbossa and his story, marooning Jack on the island, reappearance, the boat and his skeleton crew, their personalities, appearance? The fights? Having Elizabeth on board, her escape? Will and Jack? The ghosts, the duel and each shooting the other? Will and the medallion? Dying? Being shot with the gold bullet? His character?

13. Jack and his aims, his lies, the opening, Elizabeth and taking her, Will and the boat, the rescue? The deal? The encounters with Barbossa? The island, marooned with Elizabeth, the rum, her setting the beacon, their being caught? The soldiers, Barbossa and Will, his saving him, the fights with Barbossa? Infiltrating, about to be hanged….. to be continued?

14. Britain, the governors, the role of the pirates, treasure? Characters, Davy Jones and superstitions?

15. The popularity of this original film and audience desire for more?

JIMMY HOLLYWOOD

US, 1994, 112 minutes, Colour.
Joe Pesci, Christian Slater, Victoria Abril, Harrison Ford.
Directed by Barry Levinson.

Jimmy Hollywood is an unusual film about the decline of Hollywood. Joe Pesci, in a vigorous role, stars as a New Jersey labourer who comes to Hollywood to be an actor. He has encyclopaedic knowledge of film, can name the stars on Hollywood Boulevard, pays for an ad to proclaim his talents, admires Marlon Brando. However, he works part-time at a restaurant, lazes at a pool with his friend William who suffers from memory loss and anxiety. William is played in an agreeably low-key way by Christian Slater. He also has a Hispanic girlfriend, played by Almodovar star, Victoria Abril.

Jimmy Alto gets an audition but he is not used in the program. With William, he begins to film petty crime in the streets of Los Angeles, sending the tapes to the police. He uses the name Jericho and builds up a cult following. However, police are suspicious, and finally pursue him into the Egyptian Theatre. He imagines a heroic, Bonnie and Clyde-type ending, guns blazing as he comes out of the theatre. However, he wakes up, attempts this in real life – but his gun has always had blanks.

There is a humorous ending as, after his jail sentence, a film is made of his life starring Harrison Ford – with Jimmy Alto complaining to Ford that he is not performing well.

The film was written and directed by Barry Levinson, long-time writer and then director, winning an Oscar in 1988 for Rain Man.

1. A Hollywood story, myths and the smashing of the myths, the decay of Hollywood in the 90s?

2. The Hollywood locations, Hollywood Boulevard and the stars in the sidewalk? The Egyptian Theatre? Streets, apartments, audition rooms? A sense of realism?

3. The musical score, the songs?

4. The title, Jimmy Alto as Jimmy Hollywood, his Hollywood dreams, the final nightmare, the real ending and the happy ending?

5. Jimmy and his acting bug, from New Jersey, his labour? In Los Angeles, paying for the advertisement on the street, his hope? Taking Lorraine’s money? The jobs, waiting at tables, the sensation in the streets, mixing up the orders, the exasperation of the owner, getting the sack? At the pool with William? His friendship with William, their always being together, naming the stars on Hollywood Boulevard, looking at the machine with the documentary on Hollywood…? His relationship with Lorraine, the money, the hopes? Going to the street to look at the ad together? His memories of films, the documentary? His final assessment of himself as not having the required talent?

6. William, his anxiety, memory loss, passive, friendship, his camera, attentive to Jimmy, the naming of the stars on the boulevard, his friendship with Lorraine? A genial character? Lorraine taking him out of the Egyptian Theatre? His watching? His finally getting a job with the camera on the set of Jimmy’s film?

7. The introduction to Lorraine, the holdup at the ATM, the robber and his frustration, the car keys, discovering Jimmy took her money, upset, going to watch the ad with him, hairdressing, hopes? The siege, explaining to the police, bringing William out? Her final job, doing hair on the set of Jimmy’s film?

8. Jimmy and the audition, filmed, his talent, the rejection, the audition later shown on television?

9. The smashed car window, the cars and the attacks, filming the crimes, sending them to the police, taking the name Jericho, becoming a vigilante, his organisation, inflated? Taking it further, Will and the photography?

10. The police, the detectives, their attitude towards Jericho?

11. The chase, the police assuming there was a huge number of followers? Jimmy hiding in the cinema?

12. In the cinema, reminiscences, looking at the final chapter of the documentary, The Myths of Hollywood, seeing the television of his own siege, his pride? Getting Will out? Telling Lorraine he would stay? The dream, the visualising of the guns, the exit from the theatre, the shootout?

13. The police, the crowds of media? Sensationalising the scene?

14. Jimmy coming out, firing the guns, the blanks, the police just waiting for him? The police arresting him?

15. The information about the sentence, the film with Harrison Ford, his telling Ford how he should perform the part?

16. Perceptions of Hollywood, the origins of the legends, the golden years, decay, the seedy areas? Yet the celluloid dreams?

DUMBO

US, 1941, 65 minutes, Colour.
Directed by Ben Sharpstein.

Dumbo was made the year after Fantasia and came out at the same time as Pinocchio and Bambi. It is much shorter in length, lacks something of the range of storytelling as in Pinocchio or the emotions as in Bambi. However, it is still enjoyably worth watching.

Dumbo is the elephant born with big ears who finally learns how to fly and achieve some individual success in life. He is helped by Timothy the mouse. He is also helped by a group of African American workers as well as a bunch of crows who initially laugh at him but become more sympathetic.

The film has a great deal of pathos with the character of the mother elephant who gives birth to the odd little elephant with big ears and is locked up by the ringmaster as a mad elephant and both are the subject of catty gossip by the rest of the elephants in the circus.

The film is humorous, touching at times, has a great range of songs (which anticipate some of the melodies of Guys and Dolls and songs from the Sherman brothers as in Jungle Book).

1. Dumbo and the 1940s, the tradition of Walt Disney animated films? The anticipation of World War Two?

2. Animals, the Disney-style animals, the colour, the drawings, the circus?

3. The range of songs with music by Frank Churchill and lyrics by Ned Washington: Look Out for Mr Stork, Casey Junior, Baby of Mine, Pink Elephants on Parade, When I See an Elephant Fly, Song of the Roustabouts?

4. The facts of life for young audiences in the 1940s: Mr Stork, carrying babies to all the animals, delivering them, the reaction of the mothers, the lions and the tigers and the others? The elephant? On the train?

5. The stork, the cloud, the map, deliveries? The delivery to Mrs Elephant? The happy birthday song?

6. Dumbo, as a baby, the fuss, showing his ears, the female elephants and their sneers, the mocking name?

7. Casey’s song, the train? The rain, working all night, the African American roustabouts, happy and hearty? Dumbo helping build the marquee?

8. The circus parade, the score, the comedy, the range of animals? Dumbo tripping? The boys mocking him? The tie with his mother? The whip?

9. The elephants and their malicious gossip, prejudice, Timothy defending Dumbo?

10. Timothy and his plans, the act, the pyramid of elephants, Dumbo on the top? The voice, the subconscious mind, the mouse and the dream?

11. The pyramid, the scares, Dumbo failing? Dumbo painted as a clown, the performance with the clowns, the firemen, ‘Save my child…’? The audience, Timothy’s reaction?

12. The imprisonment of the mother, Dumbo visiting her, the pathos of the ballad, Baby of Mine?

13. Dumbo and Timothy, drinking the water, the liquor inside, the march and their hallucination of pink elephants? Elephants on Parade and the comic verse?

14. The black crows, the song When I See an Elephant Fly? Timothy and his defence of Dumbo to the crows? Their being up the tree and not knowing how they got there?

15. The crows, the cliff, the magic feather, Dumbo flying?

16. The circus, the act, Dumbo and the pyramid, flying – and the chasing of the clowns?

17. A satisfying entertainment for children – and for adults?

I LOVE YOU TOO

Australia, 2010, 107 minutes, Colour.
Brendan Cowell, Peter Dinklager, Peter Helliar, Yvonne Strahovski, Bridie Carter, Steve Bisley, Nicholas Bell, Marshall Napier, John Flaus.
Directed by Daina Reid.

This is a film that might grow on you as it goes along. 'Grow' is a key word because the film, an Ocker romantic comedy, is about growth and the possibilities for maturing for thirty-something Australian men. In the opening scenes we realise that, offputtingly, they have a fair way to go.

However, Jim (a quite effective Brendan Cowell who can do both the lout and the would-be romantic) is attracted to Alice from London (Yvonne Strahovski) and they live together for over three years. She would like to marry him, but he can't find the courage to say 'I love you'. Jim has relied for too long on his older sister looking after him, lives in a granny flat at his deceased parents' home (he always says, 'bungalow', and has had a job for ten years driving a model train at a playground (run by Steve Bisley). And he has relied far too long on his wannabe womanising mate, Blake (Peter Hallier who portrays Blake believably and who also wrote the screenplay). What to do – especially when Alice gets a job offer in London?

By accident (literally, because he crashes his stolen car), he meets Charlie, a diminutive man (played very interestingly by Peter Dinklage (The Station Agent, both versions of Death at a Funeral)) who is mourning the death of his love and writes charming letters (not sent) to a glamorous Italian model. Charlie reluctantly begins to help Jim, especially with letters. There is quite some pathos in Charlie's story, especially when the model arrives in Australia to promote her book. And there are some Australian versions of screwball comedy as Jim tries to woo back Alice.

In many ways, it is a hit and miss comedy, with some amusing moments, some corny moments and some moving moments. Ultimately, it is pleasantly thoughtful.

1. Comedy, Australian ocker style?

2. The city, homes and bungalows, the clubs, workplaces, the streets and suburbs? Realism? Musical score?

3. The title, for Jim, for Alice, for the others?

4. The ironic style and humour, tongue-in-cheek, Australian realistic?

5. Jim and Blake at the clubs, the introduction to them, their characters, immaturity, drinking, eyeing the girls, the pickups, Jim and the women, Blake and his unattractiveness, their age, lack of commitment? Seeing Alice, Blake’s reaction, Jim’s reaction, chatting her up, the sexual encounter?

6. The change, three and a half years passing, Jim and Alice in a relationship, in love, living ordinary life, at home? Jim unable to say ‘I love you’? Alice and her being hurt, moving out, her flatmate, the decision to go to London, the offer of a job in her company? Her character? Jim’s love for her but inarticulate?

7. Jim and the effect, the challenge, his life, his parents and their accidental death, his sister looking after him, his sister and her husband, getting the husband from the pub for the scan? In the bungalow? His job, the model railways, his boss and his assistant? His anxieties?

8. Neglecting Blake, pursuing Alice, drinking?

9. Stealing the car, the encounter with Charlie, the letter, crashing the car, asking Charlie’s help, the possibilities?

10. Charlie in himself, his height, the death of his loved one, mourning her, writing the letter to Victoria, not sending it? His manner, gruff but kind? His photographic skills? Jim accompanying Charlie, the various situations, helping Jim write the letters, Jim throwing away the drafts? Charlie keeping them and showing them to Alice?

11. The crisis for Marie, the scan, her husband absent, his coming back after the argument in the pub, the birth of the child?

12. Alice and her plan, Blake seeing her, his change of heart, deciding to help Jim so that he would be a better friend? The nature of friendship? Meeting Alice’s flatmate and falling for her?

13. Charlie, Jim signing the letter with Victoria signing the books, talking with her? Charlie and the phone call, going to Victoria at the hotel, the photo, imagining his love? His collapse, going to the hospital, his death? Everyone at the funeral?

14. Jim’s plan, the car and its being stolen, his having to run? The taxi and the jokes about the drivers? The older taxi driver, the various devices for delaying Alice getting to the airport? The banner over the bridge?

15. Jim saying ‘I love you’, the happy ending, for Blake as well? His leaving his job – and his boss urging him to go and make a new life?

16. Jim and having to grow up – an image for Australian males?