THE DANGEROUS LIFE OF ALTAR BOYS

US, 2001, 105 minutes, Colour.
Emile Hirsch, Kieran Culkin, Vincent D' Onofrio, Jena Malone, Jake Richardson, Tyler Long, Jodie Foster.
Directed by Peter Care.

The Dangerous Life of Altar Boys is a bizarre but interesting film. It is based on a novel by Chris Furhman who died at the age of thirty-one and to whom the film is dedicated. The director is Peter Care, a director from television. It was produced by Jodie Foster’s company.

While the film’s title indicates a Catholic background, and this is to the fore in the visits to the church, the character of Sister Assumpta the teacher, the character of Father Casey the parish priest and sports coach in the school, the film shows the superficiality of so much of Catholic adherence to the church. It is more of an ideology, part of education rather than a religious experience.

The experience of this film is of two fourteen-year-olds, a sense of alienation from their families, an antagonism towards the severe sister who teaches them, a friendship with the priest who is the coach, their usual puberty problems of identity, relationships, friendship, sexuality. It manifests itself in some excessive behaviour but also in the drawing of a comic strip with themselves with the much larger-than-life heroes and the nun as the villain.

The drawings come alive in distinctive animation in the film. The animation is interspersed throughout the action, making an ironic comment on the attitudes of the young boys as well as the incidents in which they become involved as well as their judgment on Sister and Father Casey. The animation is impressive and striking – in the tradition of the Marvel comics.

The performances are very good. Emile Hirsch was at the beginning of his career and was to follow this film with The Emperor’s Club, Alpha Dog and Kieran Culkin had made an impression in such films as The Cider House Rules and was nominated for many awards after this for Igby Goes Down. Jena Malone had also received acclaim for a number of films including Bastard Out of Carolina. Vincent D' Onofrio does a good turn as the more sympathetic priest with the touch of severity (and too much smoking) and Jodie Foster gives an interesting if eccentric performance as Sister Assumpta.

The film is interesting in its presentation of rites of passage, the confusion in the minds and imaginations of fourteen-year-olds, the hard lives in dysfunctional families, secrets of sexuality and sex abuse – with a tragic ending, the consequences of irresponsible behaviour and adolescents not being listened to by adults.

1.The film as a memoir, of adolescence, of puberty and change, of adolescent perspective on the world, confusion about identity, moral issues?

2.The importance of the animation and its style? Showing the inside of the boys’ imaginations and emotions? Expressing what was difficult to express in aggression, vengeance? The big characters, bold, direct colours? Inflated? Action, characters? Heroes and villains? Captain Kick- Ass, the Skeleton, the girl to be rescued and her strength, the villains – and the nuns on the motorbikes? The insertion of this animation at various points in the film, illustrating character, commenting on action?

3.The focus on the boys, the focus on Margie? A small period of their lives? The background of their parents – generally absent? The importance of Sister Assumpta as the teacher? Father Casey as the coach but also available for comment? Responsibility and irresponsibility?

4.The title, Francis and Tim, serving at mass, the distractions, the passing of the note, Margie Flynn? With Father Casey, the chatter in the sacristy? The recurring serving every Sunday? Not being a religious experience? Yet the reality of the church, Francis able to ask Father Casey about the nature of sin? The role of the nuns in their education?

5.Francis and Tim, their age, family, the Sullivans’ break-up, Francis being outside and watching the fights? His own family – warm, but his distance from them? The two of them by themselves, their friendship? Talk, sex, Margie? The passing of the note, the poem, Blake? The triangle exercise and the cutting down of the telegraph pole? Its landing with precision? Francis calling out ‘Margie’ as it fell? The issue of the panther, in the zoo, the plan? The lowering down of the statue of St Agatha, their lives, secrets? Francis confiding in Tim, Tim blurting out the secret and the consequence for their fight? The final plan – leading to Tim’s death? Francis and his reading Blake’s poem at the funeral?

6.William Blake, the poetry, the symbolism of the tiger, the marriage of Heaven and Hell?

7.Francis, his age, personality, his family, love for Margie, the letter, the poem, the triangle exercise? In class? Francis and his being sent off to the bench, talking with Margie, arranging to meet, their being together, talking, the kiss, Margie confiding in him, his reaction? His having to tell Tim? Going to the zoo, the panther? Altar-serving? Talking with Father Casey about the nature of sin? Tim revealing the truth, the fight with Tim? Interrogated about St Agatha’s statue? His recounting St Agatha’s life? The plan to get the panther, not realising there were two? Their skills, Tim building the cage and Francis knocking it down? The better plan? Tim’s death? The discussion with Sister Assumpta, the drawings, her reaction? Reading Blake in the church? The nature of the animation, his being Captain Kick- Ass – and the comic’s comment on his experience?

8.Tim, friend, the background of his family and their squabbles? Sister praying for this in class? His sardonic reactions? Axing the telegraph pole? The plan for the panther, building the cage? The poem, the letter? The friendship with Francis, their talking, his awkwardness with girls, wanting to hear details from Francis? In the sacristy? The sport, the goals? The fight with Donny, blurting out the truth? The fight with Francis? His self-confidence, going into the cage with the panther, his death?

9.Wade and his friend, the books, the drawings? Talking about kissing Margie? The panther and their fears?

10.Margie, her age, the background of her story? Her relationship with Donny, the sexual encounters, her explanations? Her later saying that it was her fault and instigation? Her low self-image, attempted suicide? Meeting with Francis, talking with him, in the room, the kisses, how far to go? Margie and the panther incident? In church? A future friendship with Francis – forgiveness, rehabilitating her self-image?

11.Sister Assumpta, her leg, the nickname, her prayer in class, her lessons? Tough? Her private prayer, discussions with Father Casey? The comics, her reaction? Father Casey, his personality, the sport, the training, Francis able to approach him? Finding himself in the comic? The issue of St Agatha’s statue and its disappearance? The interrogation of the boys? Sister Assumpta finally coming to Francis before the ceremony? Father Casey at the funeral?

12.How realistic this world? Heightened? A perceptive look at adolescent boys? Adolescent girls? A world that is not black and white but grey and confusing?

FIVE SECONDS TO SPARE

UK, 1999, 99 minutes, Colour.
Max Beesley, Valentina Cervi, Ray Winstone, Andy Serkis, Sarah- Jane Potts, Kris Marshall, Sean Pertwee, John Peel.
Directed by Tom Connolly.

Five Seconds to Spare is a little-seen British drama of the late 1990s. It can be called bizarre and weird – and is somewhat difficult to follow. It is set in the music world of London in the 1990s. Max Beesley plays a young musicial coming from the country hoping to compose and to play with a band. He encounters agent Vince, a drug-addicted crazy played by Ray Winstone. Andy Serkis also plays a bizarre character who is an agent. Max Beesley’s encounter leads him to meet a young woman, Madeleine, played by Italian actress Valentina Cervi (Artemesia, Portrait of a Lady).

The film involves drugs, bands playing in clubs, record deals, mysteries from the past, the work of agents. It also involves a musician and his being murdered by two dwarve – at the instigation of the drug-addicted agent.

The film moves from one episode to another without much logic – being drawn together at the end.

This is the only film to date written and directed by Tom Connolly.

1.The impact of the film? Interest for English audiences? Worldwide? The music world?

2.The importance of the music, the variety of songs, performance? Record deals? Deejays and radio performance? Clubs? The money perspective on the music industry? The drugs connect with the industry?

3.The London settings, the set and production design, dark colours, interiors, nights? An eerie feeling to the film? The meaning of the title?

4.The structure of the film, William, Vince, Chester, going to the flat? The drugs? The group going for the recording? The dwarves arriving, the murder, William witnessing it? The aftermath? The flashback?

5.William, from the country, earnest, his music, with the group, playing, performing? The crowds, liking the beat music but not the romantic? His playing alone on the radio? His meeting with the older woman, her talking about the Dwarves of Death? Going to the library, finding out more about her? Vince as the producer of the album? His greater involvement with the group, interactions with the members of the band? Meeting Madeleine, the agent with her, their coming to the gig? The attraction to Madeleine, going to eat? His meeting Twig, her friendship? The mystery of the older woman, her daughter? The build-up to the killing, the repeat of the killing? The aftermath, Vince and his madness? Chester and his behaviour? The resolution?

6.Vince, a Ray Winstone performance, drugs, the music agent, going berserk, seeming calm? The interaction with the woman, her explanation of herself, the attraction to William, her child? The past with Vince – and letting him fall into the river?

7.Madeleine, friendship, the gig, the agent, the promises?

8.The members of the band, their skills, hopes? Performance?

9.The background characters, an enclosed world in London? A bizarre presentation of this kind of world?

THE GREAT GATSBY

US, 2000, 90 minutes, Colour.
Toby Stephens, Mira Sorvino, Paul Rudd, Martin Donovan, Francie Swift, Heather Goldenhersh, Matt Molloy.
Directed by Robert Markowitz.

The Great Gatsby is considered one of the greatest of the American novels, certainly the greatest of F. Scott Fitzgerald.

It was filmed in 1949 with Alan Ladd and Betty Field with Macdonald Carey as Nick Carraway. The best-known version is that of 1974 with Robert Redford and Mia Farrow with Sam Waterston as Nick Carraway.

This version was made for television, by Robert Markowitz who directed a number of television movies. It is very elegant, keeps a lot of Scott Fitzgerald’s dialogue, keeps the voice-over by Nick Carraway who this time is played by Paul Russ, better known for comic roles.

Toby Stephens, the son of Maggie Smith and Robert Stephens, becomes American in his interpretation of Gatsby. He has the broad smile, he has the personal charm – which is especially striking because Stephens has often played more villainous roles or roles on television like Mr Rochester in Jane Eyre. Mira Sorvino is Daisy Buchanan and Martin Donovan is very good as her arrogant husband Tom. Francie Swift is Jordan Baker and Heather Goldenhersh is Myrtle Wilson.

The film keeps faithfully to the novel, presents life on Long Island and in the mansions of the rich in 1922, is very strong on décor and costumes, music of the period – and an interpretation of an American classic.

1.The status of the novel? F. Scott Fitzgerald? The various film versions? The television style of this film?

2.Reliance on the text of the novel, Nick Carraway’s voice-over?

3.The Long Island settings, the world of the mansions, the bay? The contrast with the garage? The importance of the advertisement with the eyes and the glasses? New York, interiors, décor and costumes? Musical score? The jazz age music?

4.The structure of the film: the opening with the shooting of Gatsby, Nick Carraway’s voice-over, telling the story? The linear narrative of the events? The flashbacks to Gatsby and Daisy? Flashbacks to Myrtle, her own flashbacks and relationship with Tom?

5.Nick as the central character, his army background, the bond with Gatsby? His age, turning thirty, his worries and regrets? World War One? The friendship with Tom, going to visit, Daisy and her little girl? Meeting Jordan, the attraction and friendship? The talk about Gatsby? Going to New York, his embarrassment with Tom picking up Myrtle, in the apartment? The drinking? Nick and his concern about Daisy? The invitation to the party at Gatsby’s house, his arrival, the guests, talking to Gatsby without knowing who he was? The set-up of the visit for Daisy? His doing it, wary? Daisy’s arrival, meeting Gatsby, his leaving them together? The embarrassment at listening to Gatsby and Daisy and their love for each other? The party, at Gatsby’s, the confrontation between Tom and Gatsby? The harsh words spoken, Nick’s reaction? Going to New York, passing the garage? The tension in New York, Daisy’s declarations? The return, Nick going with Jordan? Passing the garage? Learning about the death? His going to Gatsby’s, Gatsby telling him the truth about Daisy driving? Gatsby’s death, Nick’s reaction? The phone calls about the deals and the bonds? His reflections on the friendship? Gatsby’s father, the truth about his name: Jimmy Gatz? The funeral? Nick’s attitude, going to confront Tom, Tom giving the information to Wilson, murdering him – and Tom’s disregard? Nick’s future? The experience of the friendship with Gatsby?

6.Toby Stephens as Gatsby, his appearance, style, manner? Smile? Buying the house for Daisy? His father’s story about him, Jimmy Gatz, his notebook, ambitions? His leaving home, going into the army? Meeting Daisy, falling in love? The deals, the forgery? His wealth? The lifestyle in the mansion, declaration of love for Daisy, his becoming almost boyish? Tom, the clash, the investigation? The friendship with Nick and sharing with him? Nick’s admiring him while disapproving of him? The anxiety over Daisy driving? His death?

7.Daisy, her past, rich, spoilt? Love for Gatsby, not waiting? In love with Tom, the baby? Hurt by Tom’s infidelities? Nick’s visit, her visit to his house and meeting Gatsby? The memories of the past, the flashbacks? The confrontation with Tom, her declaration of love for Gatsby but unable to say she had not loved Tom? The drive back from New York, the flashback to the accident, Myrtle running onto the road, not stopping? Her feeling alright, a rather callous attitude? No contact with Gatsby, going away with Tom?

8.Tom, his arrogance, racial superiority and comments, his infidelity with Myrtle, the discussions with Wilson, selling him the car? Friendship with Nick, clash with Gatsby, the investigation? His rudeness to him at the party? Telling Wilson about Gatsby’s car? His final callous comments?

9.Myrtle, her life, her love for Tom, the confrontation, Wilson as a simple man, work, the gas, wanting the car, knowing the truth, the decision to leave? Myrtle’s death and his grief? Killing Gatsby and himself?

10.Jordan Christopher, golf, lifestyle, rich, friendship, dalliances?

11.The world of Long Island, the 20s, surfaces and appearances, reality? Nick’s criticism of the Long Island set?

IRON MAZE

Japan/US, 1991, 104 minutes, Colour.
Jeff Fahey, Bridget Fonda, Hiroaki Murakami, J.T. Walsh, John Randolph.
Directed by Hiroaki Yoshida.

Iron Maze is a strange collaboration between Japan and the United States. It is a B-action film with Jeff Fahey, so prominent in so many B films. Bridget Fonda plays the wife of a Japanese businessman who comes to Pennsylvania to buy a town. He is injured. In a Rashomon type of screenplay, various possibilities for his injury are given from the point of view a young man who works in the town, from the point of view of the wife, from the point of view of the injured man.

The film has an interesting social background, filmed in Braddock, Pennsylvania, a vast set of a dilapidated town where the mill stopped and the town and the citizens went into decline.

The plot, however, is rather thin and the possible explanations of what happened are rather stronger than what actually happened.

1.A thriller? Japanese? American?

2.The settings, the town of Braddock, the dilapidated mill, the streets, the offices? An authentic atmosphere? The action sequences, stunt work? The musical score?

3.The Japanese-American? interest? The Japanese businessman buying the town? Changing it? The possibility of setting up a theme park? The American need for this kind of capital input? The reactions of the mayor, to the man being injured, to the discussions about what happens in the town, the fair and the theme park? The finale with him looking at the plans for the theme park?

4.The injured man, his not being dead? Barry and his escaping on the motorbike? Chris and her leaving in the car? Mikey and his hanging out in the mill?

5.Jack and his assistant, the police, driving to the mill? Discovering the body? Taking it back, discovering that the man was not dead? Barry giving himself up, the interrogation and his version? The phone call from Chris and her version? The discussion with the injured man and his version? Taking Barry back to the scene? The difficulties with Mikey? The resolution?

6.Barry, his work, at the hotel, the interaction with Chris, the sexual story? Sugita and his disdainful attitude? As interpreted by Barry? At the mill, Chris’s presence, the clash, the chase? Mikey’s presence? His fall?

7.Chris’s story, the attack on Barry, the sexual encounter, its brutality? Her driving away? Going to a hotel? The end, her return? What really happened? The relationship?

8.Mikey, in the ruins, his attitude towards Sugita, slapping him? Hiding, Barry trying to get to him, up on the scaffolding, the falls? His fears of going to prison?

9.Sugita, in reality, as perceived by the others? Buying the town, improving it? His injuries?

10.How satisfying the resolution – the three different stories compared with the happy ending?

SCHOOL TIES

US, 1992, 106 minutes, Colour.
Brendan Fraser, Matt Damon, Chris O’ Donnell, Randall Batinkoff, Cole Hauser, Ben Affleck, Anthony Rapp, Amy Locane, Peter Donat, Zeljko Ivanek, Kevin Tighe, Ed Lauter.
Directed by Robert Mandel.

School Ties is a very interesting – and trenchant – look at private schools in the early 1950s.

Brendan Fraser portrays a student from a working-class background who doesn’t easily fit into the milieu of the exclusive school. He is also Jewish but is advised to keep this to himself because of anti-Semitic prejudice in the school at the time. One of the spoilt students discovers this and reveals it and causes a crisis in terms of feelings of the students and the sports achievement the school wants. The student is also involved in a cheating dilemma, blaming the Jewish student – and causing the rest of the students to take sides.

Brendan Fraser was at the beginning of his career, a serious role – although he is very good at comic roles as well. A young Matt Damon is the spoilt student. Chris O’ Donnell, in the year of The Scent of a Woman in which he was co-starring with Al Pacino, is a more sympathetic student. Ben Affleck has a supporting role.

The film is interesting in its presentation of a theme with which audiences are much more familiar from British films. It is also notable that this is the decade in which such films as Dead Poets Society and Mona Lisa Smile were set.

The film is set only five years after Gentleman’s Agreement won the Oscar for best film of 1947 – one of the first overt films about Jewish relationships in American society.

1.A film about education? Prejudice? Class distinctions? Racial issues?

2.The New England setting, the school and its environment, interiors and exteriors? The town? The New England lifestyle? The clubs, sport?

3.The re-creation of the period, the early 1950s, dress, style, dances, songs and the musical score?

4.Anti-Semitic prejudice. The aftermath of World War Two? Clubs, schools, WASP expectations? Talk and presuppositions?

5.The character of David Greene, his age, home background, his relationship with his father, his father’s work? His place in the family? Discussions, the educational opportunity? The sports scholarship? The clashes and the repercussions?

6.His arrival at the school, the bus, the coach, the atmosphere? His reactions? Meeting the coach, the principal? His being expected to fit in? The repercussions for himself, his character? Concealing his identity? His being a sports star, others’ reactions?

7.The presentation of the live at the school, its ethos, the chapel ceremonies? The meals – and his being a server? The rooms? The classes, French? His skill at sport? Making friends? Bonds?

8.Charlie Dillon? His position, family, affluent background, comparisons with his brother? His being dropped from the team? In class, French? Rip Van Kelt? Sally Wheeler? Family, parents? The play and the prejudice? The football, strengths and weaknesses, failure? Sally, anger, the information? The shower sequence? The issue of cheating, the clash with David, the end and loyalties and friendship?

9.Rip Van Kelt, the prefect, his managing the students, his own personality, leading to the dilemma about Charlie Dillon and David?

10.Chris Reece, ordinary young man, more sympathetic character, his friendship with David, his reactions to Charlie Dillon, the issue of lying, the discussions?

11.The school offering difficulties for David, his sport, religion? The French teacher? The collapse?

12.The French teacher, spite, talk, the collapse, the car?

13.The sports sequences, success, the fans, the headmaster, talking to David, the issue of chapel?

14.The girls, Sally, the date, the phone calls, meeting, the parents, the swimming pool and the revelation of the truth? Sally and her having to face her family, decisions, prejudice?

15.David as devout, his father’s training him well, the headmaster, the achievement in sport, education, Sally, the reaction to the truth, anger? The exams, Charlie and the cheating, the shower sequence? The final situation, his moral decision, confrontation?

16.The teachers, their codes, examinations, discussions, prejudice?

17.A film of its era? The presentation of the other boys in the school, the Ivy League, their wealth, society background, inherited attitudes from their parents, the range of students: Mack, Jack Connors, Chesty Smith, Richard Collins?

18.The portrait of the coach and his attitude, training of David? The headmaster and the running of the school? Mr Cleary and his prejudices?

UP PERISCOPE

US, 1959, 112 minutes, Colour.
James Garner, Edmond O’ Brien, Andra Martin, Alan Hale Jr, Carleton Carpenter.
Directed by Gordon Douglas.

Up Periscope is one of the better submarine films. It is fighting World War Two over again, this time at the end of the 1950s. It is the style of story that was very popular in the British films of the 1950s, a focus on a particular mission and heroic achievement.

Edmond O’ Brien portrays the commander of a submarine who, with secret commands, has had to act in such a way that one of his men was killed. He is then in charge of a special mission, taking James Garner as a trainee commando to go to a Pacific island to recover the Japanese code for messages.

There is tension in the submarine, a focus on the chain of command in the submarine – as well as the particular excitement of an attack on the submarine by Japanese planes and the counterattack of the submarine on a pursuing Japanese destroyer. The mission also has its own tension – though it is strange that James Garner does not have any dark camouflage on his face for a night mission.

James Garner was appearing in Maverick at the time and was a popular figure – prefiguring his performances over the next fifty years. Edmond O’ Brien had just won an Oscar for best supporting actor in The Barefoot Contessa. Alan Hale Jr supplies some cheerful humour. The film was directed by Gordon Douglas, a director of many action films like Only the Valiant as well as the later detective stories with Frank Sinatra, Lady in Cement and Tony Rome.

1.An interesting film? The perspective on the Pacific war from the 50s? From later decades? A re-enactment of a heroic mission?

2.The San Diego settings? The ocean? Underwater? The details of the submarine, the interiors? Surfacing? The title? The musical score?

3.The opening, the introduction to Kenneth Braden, with Sally Johnson, on the beach, falling in love? The proposal? His sudden call to the mission? His instructions? The revelation that Sally was a naval officer and was recruiting him? His going aboard? The nature of his mission, his commando skills, knowledge of Japanese?

4.Commander Stevenson, the mission, the background of the previous attack, the man dying, the funeral, the reaction of his men and alienation? Questioning of his authority? His reliance on Phil Carney for support – even though he differed and would not have gone exactly by the book? Pat Malone and his cheerful presence? The other members of the crew? His wariness about the new mission?
5.
6.The attack by the Japanese planes, the deaths? Phil Carney and his being injured, telling the other men to go down and close the hatch? The reaction of Captain Stevenson? The new promotions, the new orders? The pursuit by the destroyer, the tactic of evading the destroyer, the depth charges? Lining up the torpedos? Firing them and success?

7.The mission, the strict attitude of Stevenson towards Braden? The time limit? Braden and swimming, the Japanese, the explosion, photographing the code? Swimming back, the tapping sound to guide him back, Stevenson waiting the extra minutes? Success?

8.Stevenson, dictating the letter to ask for an investigation into his own behaviour – and his not going by the book as he always did? Braden saying that the letter was lost?

9.Pat Malone, cheerful, promotion, the girls in Hawaii? The return – and the girls turning up? Sally Johnson turning up? Happy ending?

THE FANTASTIC FOUR: RISE OF THE SILVER SURFER

US, 2007, 92 minutes, Colour.
Ioan Gruffudd, Jessica Alba, Chris Evans, Michael Chiklis, Julian Mc Mahon, Kerry Washington, Andre Braugher, Doug Jones (voice: Laurence Fishburne).
Directed by Tim Story.

When the first Fantastic Four film came out in 2005, it was considered a lesser effort and production compared with the ‘big’ adaptations of comic strip characters like Batman, Superman, Spiderman or the X Men. This was true. However, in its modest way, it was a straightforward entertainment with entertaining characters, stunts and effects, four mutant superheroes along the lines of the X men but less high profile, more down to earth, so to speak. The other factor was that the plots were less complicated, heroes and villains clearly delineated, some comic touches – and a general treatment that made the film acceptable PG action.

And this is true of this sequel. The four are now familiar and can illustrate their abilities without having to explain them. Reed Richards (Ioann Gryfudd) can stretch when need be. Sue (Jessica Alba) can become invisible as she wishes. Johnny (Chris Evans) can fire up instantly and pursue enemies through the air and Ben Grimm (Michael Chiklis) looks even more granite boulder than before. The film has Reed and Sue about to get married, but the ceremony is interrupted so that the world can be saved. The writers also work into the plot some humour where each of the Four is affected by the Silver Surfer and, with a touch, can absorb the powers of the other – some jokes here as Johnny turns into stone etc.

The Silver Surfer rides a cosmic surfboard. Coming from a dying planet, he swoops over the earth with instant ice storms, or solidifying harbours or causing blackouts in LA. He also (conveniently) passes over the prison where past villain Victor Von Doom (Julian Mc Mahon) has been held since the last film and frees him. Von Doom is smart and teams up with the singleminded military commander (Andre Braugher) to work with the Four to defeat the Silver Surfer. But his plans, of course, are egotistical and power-hungry.

Action sequences are enjoyable. The Silver Surfer (voiced by Laurence Fishburne) turns out to have his own sad story. And the world is saved again, even if this time Reed and Sue have to hurry through their marriage ceremony to get back to more heroics.

1.The popularity of film versions of Marvel comics? The appeal, younger audiences, older? Heroes and heroines? The blend of the ordinary and extraordinary? The opening with the cosmic credits?

2.The plausibility of the plot, fantasy, destruction of the world, saving the world?

3.The special effects – for each of the main characters: Reed and his stretching, Sue and her invisibility, Johnny and his fire, the appearance of Ben? The effects for the picture of the universe, the world, the cosmic destruction all over the world, freezing the harbours, the blackouts? For the Silver Surfer? For Victor von Doom, for the battles? The musical score?

4.The entertainment value of the stunt work – for Reed, for Sue, for Johnny, for Ben? For their interchanging and using each other’s effects?

5.The cosmic opening, the rise of the Silver Surfer, his serving of Galactus, the destruction all over the world, Japan, the freezing, the snow, the blackouts? The effect of the Surfer? The surfboard? Separating the Surfer from the board? The role of the military, the military machine? Reed and his investigations, trying to track down the Surfer? Susie and her talking to the Surfer, his choices? The resurrection of von Doom? His collaboration with the military? The takeover? The threats to Sue? The choices, the confrontation with the Silver Surfer? His choice for good? The Silver Surfer as an icon, Laurence Fishburne’s voice?

6.Reed, his reputation, his gift of stretching – as illustrated in saving people? His being affected by Johnny and the fire? His relationship with Sue, the preparations for the wedding, the interrupted wedding? His building the machine to track the Silver Surfer? The link with General Hager? His relationship with the rest of the group? The confrontation? The final ceremony – and the commitment to saving the world?

7.Sue, her gift, love for Reed, preparations for the wedding, the incident and her invisibility? Waking up without clothes? Her love for Reed and the ceremony, the interruption? Her involvement in saving the world – and the discussions with the Silver Surfer, issues of choice? The final ceremony?

8.Johnny, cheeky, the fire, chasing the Silver Surfer? The risks? The military? His touching the other people – his becoming stone like Ben? The final confrontation and pursuit?

9.Ben, stone, his being transformed to his ordinary look and with the fire? His relationship with Alicia, her blindness? Her support?

10.The military assistant, Johnny flirting with her?

11.The military, the jocks and the nerds? The demands? Collaboration with von Doom? The destruction and their dealing with it? General Hager?

12.Von Doom, his resurrection from prison? The offer to help, his plan, using the military, separating the Surfer from the board? Wanting world power?

13.Reed and Sue, the wedding comedy, the minister? The preparations, the ceremony, interruptions, their decision about having a family and yet still saving the world? The problem about Venice sinking?

14.The blend of the comic and the serious? Warm characters? The bonds between them? Comic strip heroes?

ENGKWENTRO

Philippines, 2009, 61 minutes, Colour.
Felix Roco.
Directed by Pepi Diokno.

Engkwentro is a small feature, just over an hour in running time. It was written and directed by a young film student in his early twenties. The film went on to win a substantial prize at the Venice film festival, 2009, with one hundred thousand euros, enough to encourage the young man to continue his film-making,

The film takes up the life of vigilantes, urged on by government authorities and the police, to take justice into their own hands and kill off the criminals in the Manila streets. The film focuses on a family, the older son involved in the gangs, wanting to protect his younger brother from this kind of life. There is pressure on the head of the gangs to eliminate rivals. However, the young boy and his friends are eager to impress the leaders – and the final confrontation is between the two brothers.

The film is stark, rough in its presentation of the violence in the streets of Manila as critical of the vigilante attitudes of authorities in trying to clean up the streets and to make an impression of law and order and the administration of justice. The film joins quite a number of films in the critique of government, as well as the difficulties of crime and poverty in the Philippines.

1. Manila, its life, poverty and crime, social order, justice and vigilantes?

2. A student film, high definition and its style, guerrilla film-making, the locations, sense of realism? Editing and pace, fluid camera movement? The score?

3. The title, gangs, violence, vigilantes?

4. The opening song, The Dreams of the Philippines, a motif, resumed at the end?

5. The information about killings, vigilantes, statistics? The end information?

6. The voice-over of the mayor, his policies, speeches, strong stances, on killing, stealing – but in order to keep order?

7. The introduction to Ricardo, the makeshift huts, alleyways, homes? The poverty, Ricardo and Raymondo and their father, ordinary life, breakfast? Tomaso?

8. Ricardo and Jenny, Ricardo as head of the gang, being pursued, his appearance, age, wanting to leave Manila, go to safety, the camera following him, experiencing the squalor? His relationship with Jenny? Ray and his going to school, Ricardo giving him the food, the father and his upset? Accompanying Ray, Ray not wanting it? The warnings? His hopes for Ray?

9. Ray, his age, not going to school, the friendship with Tomaso, being initiated into the gang, their talk?

10. The role of the gangs, the kids and their identification, types, the nature of the crime, the streets?

11. The build-up to the encounter, the night, streets, violence, Tomaso and his orders for Ray? The two brothers, the confrontation, the plea, the shootings?

12. The two brothers walking, the vigilante coming up on them, shooting them both? Their bodies into the canal? His riding off?

13. The finale and its impact? The film and its bold social comment on Manila and law and order?

THE FLYING SCOTSMAN

UK, 2006, 103 minutes, Colour.
Jonny Lee Miller, Billy Boyd, Laura Fraser, Morven Christie, Brian Cox, Steven Berkoff.
Directed by Douglas Mackinnon.

This is a welcome Scots film. They will know the story of Graeme Obree, the 1990s cycling champion and be pleased that it has now been brought to the screen. Members of the other countries of the United Kingdom will welcome him as British. But, it probably helps to know a little of his career and his hard-fought victories and some of his personal struggles.

This is a film that one could recommend for a general audience but, sadly, Graeme Obree has suffered from depression that made him feel suicidal. In fact, the film opens (powerfully but discreetly) with his main depressive episode and returns to it later. However, back we go to his childhood and then his career from 1993-1995.

Graeme was bullied when he was at school which undermined his self-confidence and his self-esteem. However, his policeman father gave him a bike for Christmas and it made all the difference. He could outride his tormentors by riding fast. But it also gave him a sense of exhilaration and he discovered a talent.

The film moves quickly to 1993 when his heyday of winning was over. He is lovingly married to Anne and has a small child. He works as a bike courier in Glasgow. However, his mind keeps ticking over about how to improve his riding technique with the laws of thermodynamics. His mind also keeps ticking over about how to improve the structure of his bikes by the laws of physics.

He was fortunate to find supportive friends. Those in the film are composites of several real characters in his live. One is his friend and manager, Malkey. Another is a supportive older man, Baxter, who he discovers is a minister of the church of Scotland.

History records that Obree tried to break the hour cycle ride, failed and tried again the next morning and succeeded. His bike was built from scratch – and included many scrap parts, along with the ball bearings from the home washing machine. When his record was soon broken, he tried again and succeeded as well as breaking some shorter race records.

The World Cycling Federation took dim views of his winning and altered rules constantly to try to mean-mindedly exclude him.

One of the strengths of the film is that Graeme and Anne Obree were on the set, Graeme doing some of the riding and the couple coaching the actors who portray them.

Jonny Lee Miller trained powerfully to be able to ride and act the part of Grame Obree. Often a sullen-seeming and taciturn performer, he fits this role particularly well and communicates the torment of his depression. Laura Fraser is sensible and vigorous as Anne. The role of Malky is played by an actor who engaged world audiences as a hobbit friend of Frodo, Billy Boyd. Another pleasant surprise is Brian Cox as the sympathetic minister who has experienced sadness in his life but who is able to make an emotional breakthrough that enables Graeme to enter counselling and gain more control of his life.

This is a modest film. Everyone of us has ridden a bike so we can identify with the cycling even if it is in categories way above our competence. But it is a human drama with strong positive values.

1.A satisfying sports film? Inspirational? Celebration of talent? Struggle and achievement?

2.A Scots audience response, UK response? Beyond? Response to sport films? To cycling films? Knowledge of cycling or not necessary?

3.The true story, the technical advice from Graeme Obree and his wife?

4.Scotland, Glasgow, the countryside? The velodromes, the continental atmosphere, Latin America, the visit to France? The camerawork, especially for the cycling? The musical score?

5.The title, the media title, Graeme Obree and his career, success?

6.The opening, the woods, the riding on the interior velodrome, the rope – and the return later to this sequence, Graeme’s fall, his being found, going to the hospital?

7.The background of depression, it not being named? His condition, the background of bullying when a child, self-image, esteem, his parents and the gift of the bike? Moods and being in the grip? Defeats? Treatment by the World Cycling Association? Suicidal? Anne and her support? Baxter and his friendship, the talk, the possibility of therapy? Friendship as important?

8.Graeme Obree as a character, Jonny Lee Miller’s screen presence? The riding? The athleticism? The determination? As a young boy, the bullies, the taunts, his father as a policeman, giving him the bike, outriding his tormentors? The later confrontations with them, what they did with their life – and the later offer of help?

9.Passing over his initial success, the audience having to take it for granted? And his marriage and child? His love for Anne, her being his manager? Her work as a nurse? His cycling and delivering messages, speed, the wrong parcel? The meeting with Malky, the talk, friendship? Anne and her friendship with Katie?

10.Graeme’s ambition, the shop closing down, Baxter coming in, the ride and the bet, his winning but falling? Baxter’s support, his search for the parts for Baxter’s bike? Baxter’s workshop? Malky and their friendship, becoming his manager? The detail of the building of the bike? Malky, raising the money, failures, the sponsor – and his changing clothes for his sport and Malky’s embarrassment? Success?

11.Aerodynamics and physics, the Superman stance, the building of the bike, posture, the parts from the washing machine? The practice? The money and going to Norway, the World Cycling Association, the Italian champion, the sardonic official? The bad ride? Determination, the night and the difficulty sleeping, exercise, sleeping in? Trying again, few present, the Italian congratulating him, his success?

12.The short time as champion, being beaten? Malky and the new bike, his difficult reaction? Using it? Deciding to go in for the short sprints after his success with the hour cycling? Success? Sponsors and fame? The media?

13.The clash with the association, their mean attitude, their meetings and discussions, continually changing the rules, the applications of the rules, the red flags when his chest was touching the handlebars, his fall?

14.The despair, the moods, the attempt to kill himself?

15.Baxter, his discovery that he was a minister, his support (and watching TV during the notices in church)? Engineering the visit, the talk, Graeme unburdening himself about his life? The first step to therapy?

16.The short time of his achievement, his ultimate success and world records? An ordinary man, determined? Scots gruff, support and friendship? Achievement? Inspiration?

SPACE COWBOYS

US, 2000, 128 minutes, Colour.
Clint Eastwood, Tommy Lee Jones, Donald Sutherland, James Garner, James Cromwell, Marcia Gay Harden, William Devane, Loren Dean, Courtney Vance, Blair Brown, Barbara Babcock.
Directed by Clint Eastwood.

Space Cowboys is a title that indicates Clint Eastwood’s themes in his films: Cowboys and the American heritage of the past, while Space indicates he is looking forward to the future.

This is Clint Eastwood’s film of the millennium. After it he made a film version of Michael Connolly’s Blood Work. After that he began what many people call his renaissance in his seventies with Mystic River (2003), an Oscar for Million Dollar Baby (2004), the two films on Iwo Jima, Flags of Our Fathers and Letters from Iwo Jima (2006) and The Exchange (2008). Clint Eastwood enjoys himself as a former test pilot for NASA. In 1958 four seemed to be certain to go into outer space. However, they are prevented by their boss (James Cromwell). The other members of the team are played by James Garner, Donald Sutherland and a rather younger Tommy Lee Jones (at least younger than the other stars).

In the 1990s there is a difficulty with a Russian communication satellite going to crash into Earth. Since Eastwood designed much of the guiding system, he is called back to try to help. The James Cromwell character is still present and hostile. However, the engineer insists that he have his old team so that they can go into space at last. Needless to say, there is opposition, difficult training for the old men, a difficult mission – but success. The younger generation is played by Courtney B. Vance and a whiz kid played by Lauren Dean.

An entertaining film in itself but an odd addition to Clint Eastwood’s collection of distinguished films.

1.The impact of the film? Audience interest in space? On the eve of the millennium? 20th century achievement in space? Possibilities for the 21st century? Threats, hopes?

2.The work of Clint Eastwood, director, producer, star? His interest in the range of American genres during his career? Low-key heroics? Tough, age and skills, the space genre and his reworking of it, achievement?

3.The NASA background, the achievements in the past? Budgetary requirements? Bureaucracy? The hands-on people, control, engineers? In the present, the centre, its atmosphere? The simulators and training? The control rooms? The rockets themselves, space? Action in space? Authentic atmosphere? The musical score, rousing and emotional?

4.The title, the contrast between young and old? The old astronauts and their cowboy attitudes?

5.The prologue, Frank and Hawk, their daring flights in the 1950s, going straight up, space, having to bail out, the loss of the spacecraft and the planes? The reaction of the boss? The arguments, the ejection, the press conference, the monkey going into space, the bitterness?

6.The predicament in 1999, the old satellite, Russian, the US technology in it, the decay, going out of orbit, the danger of crash, the secret of the nuclear weapons? The danger? The role of the Russian general, his discussions with his American counterpart? The role of the engineers, Marcia Gay Harden and her staff?

7.The decisions about Frank, the antagonism towards him? Marcia Gay Harden and her visit, seeing him at home, his age, repairing things, with his wife, his life, love? The discussions, his anger? The basic situation, his change, confronting the boss, arguments about the past, the conditions for the flight, getting his team together? The agreement – but the boss and his manoeuvring behind the scenes to prevent them going into space?

8.Tank, as a preacher, his sermon, the congregation? His life? His being persuaded to go? Jerry, the rollercoaster, his engineering work, his being a womaniser? Their both agreeing to come, waiting in the diner, Frank and his meeting with Hawk, Hawk taking the young man up on his birthday flight, the man being sick – and his covering for him for his girlfriend? The exasperation between the two, the recriminations of the past, each blaming the other for not going into space? Frank frustrated – and Hawk being at the diner?

9.Their arrival, the memories of the past, their age, physical condition? The meals and the young men and their jokes at their expense? Ethan and Roger? In the simulator, the bets? The fights? The headlines? The physical training? The boss and his reaction to the headlines? Marcia Gay Harden and her enjoying it? The boss and his instructing Ethan to get all the information and so prevent the old men going into space?

10.The variety of characters, the Clint Eastwood type, in charge, his serious-mindedness? Short temper? Jerry and the problem with his eyes, the visit to the doctor, the reading of the chart, his memorising it? Her getting him new lenses? Hawk, younger, his devil-may-care attitude? The discovery that he had cancer? Tank and his reliability? Hawk and his relationship with Marcia Gay Harden?

11.William Devane as the controller, his character, memories of the past, the clashes, his making the decisions, working in control, celebrating the return to Earth?

12.The discovery about the truth, Frank and his aggression, the boss and his explaining that they would have to go because of the media popularity? Their appearance on the Jay Leno Show?

13.The launch, the family and friends watching, the nature of the mission? Their arrival, the discovery of the truth? The anger? The Russian general and his blaming others, the recriminations, the American denial of responsibility? Ethan and his brashness, going out, the destruction for the spacecraft? The old men using their wits, the tension, the timing, the lack of oxygen, fuel? The possibilities for repair? The image of the moon, Hawk and his cancer, his decision to stay behind – and the irony of his being on the front of the rocket? And the later scene of the debris on the moon and his body?

14.The return, the tension, Tank and Jerry staying, the seeming impossibility, Frank and his skill in guiding the craft through the atmosphere, the landing?

15.The right stuff, experience, skills, the brash young, the bureaucrats, and the success of the old stuff?