DIE HARD 4

US, 2007, 129 minutes, Colour.
Bruce Willis, Timothy Olyphant, Justin Long, Maggie Q., Cliff Curtis, Jonathan Sadowski, Kevin Smith, Cyril Raffaelli, Mary Elizabeth Winstead.
Directed by Len Wiseman.

Even older cinema goers who may not have been out for a while will recognise the title, Die Hard. And those who like an action thriller might get more than a little excited. Could a fourth in a series that is almost twenty years old be any good let alone better than its predecessors? The quick answer is a definite ‘yes’.

It is extraordinary how Bruce Willis has become one of the major Hollywood screen icons – and he shows no sign of flagging. Between 1985 and 1989, he appeared in 36 television episodes of Moonlighting. He also released some albums of songs. He was probably seen as something of a lightweight, especially when he appeared in his first feature film, a comedy, Blind Date. In 1988 came Die Hard and Willis was off, and in the film, literally running.

His character was called John Mc Lane. And John Mc Lane has become something of a Hollywood icon as well.

On his first Mc Lane appearance, Bruce Willis was 33 years old with terrorists led by Alan Rickman holding a skyscraper. Second time around he was 35 in 1990, saving an airport against Franco Nero. By 1995 for his third outing, he was 41, racing round New York to thwart Jeremy Irons. Which means that the question arises, how can John Mc Lane keep up the momentum at 52 as he faces security expert, Timothy Olyphant?

This is all something of a reminder about the past but also a preamble to saying that an ageing, bald Bruce Willis is fitter than most, performs a lot of action stunts and has to keep going in a plot that takes place over just twenty four hours without a moment of rest, anything to eat or a toilet break. But, while he is on screen, we don’t have time to think about this or work out all the logic or logistics.

The important thing for today’s audience is that the plot be set in the modern 21st century with all its problems. So, while Mc Lane is not particularly computer literate, he is given a sidekick, an IT geek who has unwittingly been part of a huge terrorist attack on the whole infrastructure of the US and who will have plenty of opportunity to rectify the damage. He is played very well by Justin Long who has appeared in a number of comedies, Dodgeball, Accepted… It’s a matter of Willis’ brawn combined with Long’s brains. The press notes say it’s their Yin and Yang. The pairing that does come to mind is something of a Laurel and Hardy odd couple.

But, they do work well together – and they do save the world.

One of the important facets of Mc Lane’s heroism is that he is not a comic-strip hero with superhuman powers. Mc Lane is a New York detective who uses ordinary and extraordinary things which are at hand, whether it be a fire extinguisher or a flying crashing car which destroys a helicopter. He tells Long that he was out of bullets!

This means that the older audience will enjoy the use of muscled wit and police experience. Younger audiences will be intrigued by the activity of brilliant hackers, the possibilities of computer links and the ‘Fire Sale’ which means that the terrorists are targeting everything from power utilities to money reserves.

Obviously, this is a modern ‘Boys’ Own’ action show with its breathless action and heightened violent conflict between good and evil.

1.The Die Hard series and popularity? Over twenty years? Bruce Willis as a screen icon? John Mc Lane as a screen icon?

2.The title, the tone, Mc Lane as a diehard type? His work in the past, buildings, airports, terrorists, criminals? The contemporary story? Mc Lane showing his age?

3.A technological age, the changed cultures, Mc Lane and his belonging to the past, the discussion about Creedence Clearwater? His recognising and using CB radio? Analogue in a digital world? Brains and brawn? Yin and Yang? And the touch of The Odd Couple and Laurel and Hardy? An effective combination between Mc Lane and Matt?

4.The Washington locations, New Jersey, the city, the streets, precincts, offices, the buildings? The simulated destruction of the Capitol? The countryside, the utilities sites? Authentic? The musical score – action and sentiment?

5.The situations, their credibility, the villain and his history with the Pentagon, American security after September 11? Skills, his team? The plan, closing things down, the fire sale? The results? Mad and ruthless? The FBI and the confrontation? Yet ultimate victory with single-handed heroes?

6.Mc Lane on heroes, ordinary people, using their wits, what was at hand, doing what’s right, no-one else doing it? Yet the sardonic touches, irony about pay and family life? Matt and the contrast with the computer geek, his experience, being saved, tagging along, volunteering to go at the end, the final heroics?

7.The plausibility of the events, the characters, the situations, imagining more – and then it happening on screen? And the power of survival?

8.The initial set-up, Gabriel, Mai, Trey, the huge staff, the vast complex for the computers, a computer world? Getting information from the hackers – then killing them? Going to kill Matt, the set-up? His not turning off the computer? Sending in the troops? Traffic chaos, the anthrax scare, evacuations of buildings, power going down? The TV, cell and satellite connections?

9.The introduction to Mc Lane, Lucy, spying on her, with her boyfriend? Showing his age? Her resentment towards him? The call, going to find Matt, the attack, the firepower, his saving Matt, his firing back, the danger of the escape, driving to Washington, the pursuit?

10.The FBI, Bowman and his using his wits, his assistants? Plans, the technology? McLane? and Matt and the information? The fire sale? The Capitol going up – and the simulated explosion? The videos – and the humour of the voices and words of the various presidents? The threats of what could happen? The plans and the details?

11.Matt, his computer background, having all the information in his head, being able to draw on it? His theoretical ideology, against the government? Facing real life and the world? Talking, Mc Lane and the clashes, listening to the music, the mobile phones? The pursuit, his recognising Mai’s voice? The chase, the helicopter, the crashes in the tunnel?

12.The fire sale, the decision to go to West Virginia, the drive, the building and its being occupied by the gang disguised as FBI? The ruthlessness in shooting? Mc Lane and Matt intruding, the various confrontations? Matt and the computer? Mai and the fight, the truck into the centre, the elevator shaft? The fight, McLane? hanging on for dear life, Mai’s death? Hauled to safety? Gabriel and his setting all the gas to West Virginia, the explosions?

13.Gabriel and Lucy in the elevator, the contact, rescuing her, holding her, the talk, the television contact with Mc Lane? The threats?

14.Mc Lane and the helicopter flight, setting it down, finding Warlock, the comedy with Kevin Smith, the real computer geek? The discussions, the revelations, the talk, discovering where the headquarters were?

15.The headquarters, infiltration, Gabriel and his shooting his staff, keeping Trey? Taking Lucy? The fights? Matt and the computer, the threat for him to change the program? The henchmen and the acrobatics and the fights?

16.Mc Lane, driving the truck, the stealth plane and its firing on him, the destruction of the freeway?

17.The build-up to the final confrontation, the threat to Lucy, to Matt? The shootings? Matt and his saving Mc Lane’s life?

18.The aftermath, the discussion about heroics – with the ironies?

19.A 21st century action film, terrorism from within, threats, dangers, ideologies, US personal motivations, vengeance?

THE FIXER

US, 1998, 105 minutes, Colour.
Jon Voight, Brenda Bakke, J.J. Johnston, Miguel Sandoval.
Directed by Charles Robert Carner.

The Fixer was written and directed by Charles Robert Carner (the remake of Vanishing Point, Who Killed Atlanta’s Children, Judas). This is a story of a lawyer who is able to fix everything and who is employed by big business and criminal organisations to manipulate the law. After a riding accident, he gets the opportunity to reassess his life, confess to a priest, but is unable to extricate himself from the powers-that-be in his life. Jon Voight is very good in the central role of the lawyer who is a fixer.

1.The impact of this television movie? Moral fable?

2.The Chicago settings, the homes, the legal offices, the countryside? Authentic atmosphere?

3.The issues of crime and punishment? The role of the lawyer, able to fix situations for clients? Bribes and blackmail? Corrupt officials? The consequences of crime? The nature of punishment?

4.Jon Voight as Jack Killoran, screen presence, strong lawyer, the examples of his fixing situations, his dealings with his clients? Their backgrounds? Going riding, the accident? The airport, the papers, covering the murder? The father? His role as a fixer?

5.His clients, the different types? Corruption? Meetings? Plans?

6.The role of the accident, the effect, his being paralysed, the doctors, the monsignor and his not wanting to confess? The healing? His seeing it as a miracle?

7.The conversion experience, his own personal reflections, reassessing his life? His wives? His son? The monsignor?

8.The discovery of the body, the effect on Jack Killoran, the criminals and their plans? The importance of the tapes?

9.The talk with the monsignor – and the death?

10.The taking of Jack, faxing the plan, the tape, the FBI?

11.The court sequences, Jack in court? Skills?

12.His wife, his son, the consequences of his change of heart, pride in what had happened?

13.A moral fable – persuasive, interesting? Moralising?

LA CHAMBRE DES OFFICIERS (THE OFFICER’S WARD)

France, 2001, 135 minutes, Colour.
Eric Caravaca, Denis Podalydes, Gregori Derangere, Sabine Azema, Andre Dussollier.
Directed by Francois Dupeyron.

The Officer’s Ward is based on a novel by Marc Dugain whose ancestor experienced something of what is portrayed in the film. The director is Francoise Dupeyron who was to go on to make the moving Monsieur Ibrahim and the Flowers of the Koran with Omar Sharif.

The setting is World War One. Eric Caravaca (Son Frere, Monsier Ibrahim) is out on a reconnaissance to find a place to build a bridge when there is an explosion and his face is disfigured. He is taken to hospital, to the empty officer’s ward while all the rest of the soldiers are being crowded into the lower wards. He gradually discovers two other soldiers who have also experienced disfigurement. At first pitying himself, contemplating suicide, he comes to terms with himself and is able to help the other men. Meanwhile the nurse, Sabine Azema, supervises the recovery over a period of years. Veteran French actor Andre Dussollier is the surgeon.

The film builds slowly. In the first part of the film the audience does not see the face of the injured man, building up, as with The Elephant Man, a sense of disfigurement which is finally seen. Other comparisons might be made with the World War One film Johnny Got His Gun with Timothy Bottoms as a torso without limbs and whose life is restricted to his mind and consciousness. This is also the case with The Diving Bell and The Butterfly, the story of the editor who had lock-in paralysis and was able to communicate only by blinking his eyelids.

The film recreates the period with great attention to detail. One experiences the atmosphere of the First World War. There are also flashbacks where the central character appears not as sympathetic as one might have expected, rather self-centred, free in his relationship with women, but his injuries and the time spent in hospital give him the time to reassess his life as well as his character and find some kind of redemption. Visitors are unable to deal with his disfigurement, family find it difficult to communicate. However, he finally leaves hospital – with a symbolic scene as he frightens a little girl and then turns the experience into a game for her and she is able to be comfortable with him.

This is a film of great humanity – and even beauty in the world of disfigurement.

1.The impact of the film? As drama? As a portrait of suffering? As a perspective on war? Anti-war? Hope and survival?

2.The adaptation of a novel for the screen, its sweep? Opening it out?

3.France in 1914-18? The atmosphere of World War One? The shock to the French? The invasion of the Germans? The station, the war, the travel to hospital? The ward itself? Outings, the aftermath? The moving score?

4.The title, the focus, the officers, the other soldiers? The ward itself, the treatment of the soldiers?

5.Adrien? The introduction to him, his mission, the accident, his plight, travel to the hospital, audience sympathy? Medals? The lack of room? Clemence? The engineer? Adrien’s knowledge of what had happened or not?

6.The search for the site, the explosion, its effect? Adrien being saved, the difficulty of the transport, the bumps, the injuries, the heat? The device of Adrien’s interior voice? The voices of others? The diagnosis? The noise?

7.The effect on Adrien, his life in the ward, alone, suicidal, recovering, the time passing, four years? The interactions with Pierre, Henri? The Catholic, the Jew? Suicide attempts? Recovery? Marguerite, her visits? The effect of time? Mirrors and windows?

8.The character of Anais? A nurse, her sympathy, seen as an angel, her son, caring for the soldiers, the food, the relationship with the doctor?

9.The cheerful doctor, the science background, the operations, the skin grafts, their not taking, the baby, the ultimate change?

10.The other members of the staff, the detail of life, the routines? Cecile? The pretending to be a corpse? Jokes for survival? The rules?

11.Alain, not looking away, the visits, Clemence and her letter? Deciding to go? Death? Armistice Day?

12.The device of the letters home, the information, their being received?

13.The officer, in the hospital, his family rejecting him?

14.Adrien, his character, change, before the war, his face, accepting it, Clemence? The background of the bordello? Marguerite and the talk? His sister? The gradual change in him?

15.The end of the war, the effect on France, four years at war, the aftermath?

16.Adrien leaving, the doctor and his letting him go? Anais and her farewell? Her influence on his life?

17.Marguerite, her story of the bomb, coward?

18.At home, his mother, rest, the collapse, Clemence?

19.The incident in the Metro, the child and her fear, his playing the game, making the child laugh?

20.Clemence, the earring?

21.The accident, the wedding, everybody present?

22.The birth, the baby, the aftermath of the wars, time moving on?

23.The range of themes, the canvas of characters, of war issues, of injuries and recovery, of despair and hope? The period between the wars? World War Two on the horizon?

ABOUT SARAH

US, 1998, 93 minutes, Colour.
Kellie Martin, Mary Steenburgen, Diane Baker, Marion Ross, Nick Searcy, Chad Christ.
Directed by Susan Rohrer.

About Sarah is quite a moving film about mental retardation of an adult.

The film was written and directed by Susan Rohrer, director of a number of television specials on social problems for after-school programming. The film is a star vehicle for Mary Steenburgen as the impaired adult (Mary Steenburgen had won an Oscar in 1980 for Melvin and Howard). Kellie Martin (the Christy films) portrays her daughter. The cast also includes Diane Baker in a strong performance as the seeming sister of Mary Steenburgen but in fact, her mother.

The film shows the generations of women: the grandmother, Rose, Marion Ross, the impaired daughter who was raped, Mary Steenburgen, and her daughter who is intellectually normal, Kellie Martin. The film opens with the mother being lost and introduces the theme of her capacity as an adult or as the equivalent of a child. When the grandmother dies, she bequeaths the care of her daughter to the young woman who has ambitions to go away to study as a doctor. Her sophisticated aunt then arrives and tries to manage the household. The film shows the difficulties in the custody issue, the question of the woman being certified as having adult capacity or not. There is a suspicion of men – and an interesting character, played by Nick Searcy, who leads audiences to think that he is reliable and their expectations are disappointingly confounded.

Mary Steenburgen gives a moving performance as the forty-year-old adult with the mentality of a child.

1.The impact of the film? A real social issue? Mental handicaps? Custody and care issues? Designed for the home audience watching a television film?

2.The town, the homes, schools, institutions, the pier? An authentic and realistic atmosphere? The musical score?

3.The opening, Sarah Elizabeth and her disappearance, Mary Beth and Grandma Rose searching for her? Finding her talking – the equivalent of a child?

4.The gradual filling in of the background – and audience surprise at Lila being Sarah Elizabeth’s mother? The role of Grandma Rose, taking Sarah out of the institution? Bringing her up? Looking after Mary Beth? The revelation of the rape and their having kept it secret? And Mike’s comment that this is where Mary Beth came from but not who she was? Lila as the aunt? Distant? Sophisticated and successful? Her husband, death? Her relationship with Sarah, with Mary Beth? Her return, her strong feelings about what should happen? Her interference? The later revelation that she was actually Sarah Elizabeth’s mother? The court case? The custody and the declaration of adulthood? A hope for honesty and good relations between the women?

5.The focus on Mary Beth, her age, her intelligence, at school, friendship with Mike? Looking after her mother, her mother as a child, putting her to bed, her disappearances? Her friendship with Johnny? Lila’s suspicions? Mary Beth’s reaction, seeming hard, Sarah’s being upset – and the irony of Mary Beth and Lila being proved right? The plans for Mary Beth to go to university, the letter of acceptance, Lila supporting her, taking Sarah to the institution, Sarah wanting to go home? Taking her to the house with the women in similar situations? The going to school, learning to cook? Johnny, the flowers, his attentions, Mary Beth going out and finding Johnny in the garden? Johnny and the pier, talking with Sarah, saying he loved her, she was beautiful? The irony of the money situation and his absconding? His later phone call, saying that he was scared? Mary Beth and the decision for Sarah to be named competent, Lila’s opposition, going to the court? The testimony in the court, the two women supporting Sarah? Her getting her autonomy?

6.Mary Steenburgen’s performance as Sarah? Credible as an adult with a child’s mentality? Initially being lost? Her relationship with Rose, in the house, meals, going to bed, her prayers? Not being able to write? Her love for her daughter? Her love for Lila but fearing that Lila hated her? The friendship with Johnny, her dependence, the flowers? Her work in the garden? Her being upset when Lila forbade her contact with Johnny? Running away, going to the shop, at the pier? Johnny and his declaration of love, writing her name, in the bottle? The issue of the money? Finding that Johnny had hurt her? The issue of the court case, Lila talking to her, explaining that she was her mother – and Sarah knowing this? The declaration in the court, about her mistake with Johnny? Her being granted competence?

7.Lila, strong woman, the gallery, smartly dressed, wealthy? Love for Sarah and for Mary Beth? The reading of the will? Getting the chain – and later giving it to Sarah as the oldest daughter of the generation? In the house, her severity about Johnny, the memories of the past? Her trying to cope, emotional? The clashes with Mary Beth? Wanting the best for her? The revelation to Sarah? In the court? The fact that she was Mary Beth’s grandmother? The honesty – and the future?

8.Grandma Rose, her taking the care of Sarah, of Mary Beth? At home, putting her to bed, the suddenness of her death?

9.Johnny, the flowers, sympathy, visiting with Sarah, her going out with him, his smooth talk? The issue of the money – and his absconding? The phone call?

10.Mike, his shock at first seeing Sarah? Mary Beth’s reaction? His later explanation of his own family, separated parents, mother suicidal? The graduation, the party, his support of Mary Beth, especially in saying that her father was where she came from but not who she was?

11.Lew, the lawyer, the reading of the will, his continued support, the court case?

12.Grace and the other people in the house, competence and incompetence, the cooking, the fellowship?

13.An emotional look at real social and family problems?

THE SECRET GARDEN

UK, 1993, 101 minutes, Colour.
Kate Maberly, Maggie Smith, Heydon Prowse, Andrew Knott, Laura Crossley, John Lynch, Irene Jacob.
Directed by Agnieszka Holland.

The Secret Garden is one of Frances Hodgson Burnett’s most famous novels. The other two which have remained in popular consciousness are A Little Princess and Little Lord Fauntleroy. Already there were film versions of these novels after 1914 and they have been continually remade. A fine version of The Secret Garden was made by Fred M. Wilcox in 1949 with Margaret O’ Brien as Mary, Dean Stockwell as Colin, Gladys Cooper as Mrs Medlock and Elsa Lanchester as Martha. Herbert Marshall was the uncle.

In this version Kate Maberly is Mary Lennox and Heydon Prowse (his only film) is Colin. Andrew Knott is Dickon and Laura Crossley Martha. Maggie Smith is a crusty Mrs Medlock and John Lynch appears as Lord Craven. French actress Irene Jacob appears in photos and flashbacks as Mary’s mother and her aunt.

The film was directed by Polish director Angieszka Holland. She made a number of films in continental Europe, Poland and Germany as well as a number of films in the United States. These include To Kill a Priest, The Third Miracle, Washington Square, Copying Beethoven.

As with Frances Hodgson Burnett’s other stories, the opening is in India where Mary is orphaned when her neglectful parents are killed. On her return to England, she goes to a country house where her reclusive uncle will not see her, the household is managed by the strict Mrs Medlock and she discovers her invalid cousin, Colin. With Dickon, a local lad, she finds the secret garden of her aunt, finds her cousin, causes mayhem as she takes him outside and into the secret garden where he learns that he is healthy and that he can walk.

The Secret Garden has always been a very popular children’s story. This is a fine version.

1.The popularity of Frances Hodgson Burnett’s stories? Of The Secret Garden? Other versions?

2.The Indian opening? The atmosphere of India, the credit images, Mary, her servant, her parents, their socialising, their deaths? Mary as an orphan? Going back to England? The voyage, the children not liking her, singing ‘Mary Mary Quite Contrary’? Mrs Medlock being late in collecting her? The trip in the coach, Mrs Medlock eating, talking? The arrival?

3.The country house, vast, the hundred rooms, the touch of the sinister? Mary confined to her room, told not to go round the house? The exteriors, the beauty of the countryside? The different seasons, the collage from winter to spring? Animals, flowers, sunshine? An authentic atmosphere? The musical score?

4.Mary and her selfishness, presumptions, wanting servants to wait on her? Martha and their talk, her superiority, wanting Martha to dress her? Her having to learn that she should not be so imperious? Going around the house, Mrs Medlock and her being strict with her? In the grounds, talking with the staff? Finding Dickon, talking with him, playing with him, mellowing? The garden wall, finding the key, the gate? Going into the garden? Dickon and Mary and their work in the garden with the flowers? The secret?

5.Her finding Colin? The background of Colin’s birth, his mother’s death in childbirth? His father’s grief, seclusion, protecting his son? Not wanting to see him? Mary and her audience with her uncle, his kindness? But his continually moving away? Colin and his tantrums? The servants wearing masks? His fear of spores? Not going into the open air? The chatter with Mary, her accusations that he was selfish? Her hiding under the bed, Martha seeing her? Her taking Colin outside? Into the garden? His gradually standing on his feet, walking? At play with Dickon and Mary? Mrs Medlock’s disapproval? Colin and his being put in the ice bath? His tantrums?

6.Mrs Medlock, strict, with the servants? Her treatment of Colin? Her disapproval of Mary? The other members of the staff? Martha, her simplicity, kindness to Mary, her optimism? The final confrontation between Lord Craven and Mrs Medlock, Martha supporting her?

7.Lord Craven’s return, Colin not in his room, Mary not in her room? His going into the garden, the children playing hide-and-seek, seeing his son walking, his son walking towards him and touching him? His joy?

8.The happy resolution, the servants watching from the window, the children playing, nature, the boy and his father? Mary finding a place in the household?

BIG MOMMA’S HOUSE 2

US, 2006, 99 minutes, Colour.
Martin Lawrence, Nia Long, Emily Procter, Zachary Levi, Mark Moses.
Directed by John Whitesell.

One is tempted to check whether the director’s name is real or not. After all, this is a Martin Lawrence comedy and, in the US, it has to be a ‘black sell’ rather than a ‘white sell’.

Obviously, a lot of people enjoy Martin Lawrence comedies. He is clearly popular when he teams with Will Smith in Bad Boys movies. And, for ten years, he has been making a lot of come and go, hit and miss, comedies. Big Momma’s House in which he was a detective doing a Mrs Doubtfire was one if his more successful outings. Success suggests a franchise, a franchise means a sequel and here it is.

Lawrence is once again detective Malcolm Turner but is on desk duty as his wife is expecting. But, of course, he is itching to get on a case again – and applies for a nanny’s job as Big Momma. That gives him the opportunity to do a lot of mugging as the oversized Momma, to be the substitute parent figure for neglected and pressurised kids and to do a whole lot of gymnastics dressed (and undressed) as Big Momma.

The plot involves computer and terrorism conspiracies, murder and blackmail, abduction. But, this is more of a PG show, so it is all basically in good fun. The plot lines make huge assumptions and leaps that defy a realistic interpretation – but a realistic interpretation is to miss the point of a cheerful, time-passing entertainment.

1.The popularity of the original film? Call for a sequel? Martin Lawrence, stand-up comedy, impersonations, cross-dressing as Big Momma?

2.The situation with Malcolm at his desk, with his wife pregnant? Yet his wanting to be away and at work? As Big Momma?

3.The family situation, Big Momma as the nanny? The ordinary domestic life? In the house, at the swimming pool, the underlying subplot of espionage and the role of the father? Believable or not?

4.Malcolm as a character, love for his wife, yet itchy to get out on the job? The interview, his going to the house as Big Momma, his relationship with Leah? With Kevin? The absent father? The two daughters? Their age and their problems? The detail of his work as nanny, the domestic mishaps? His becoming the disciplinarian? Becoming the counsellor? Transforming the children? The mother relying on him? The exposure of the father? The slapstick jokes, the pratfalls – and the gymnastics of Big Momma (dressed and undressed)?

5.The family, the children, the little boy and his problems, the young girl, the teenage girl? Predictable situations? The influence of Big Momma, the changing of their lives?

6.Leah, her character, love for her husband, trying to cope with the children? With Big Momma? Tom, his being trapped, blackmailed? The undercover work of Big Momma, exposing him?

7.The blend of comedy with detective work, with industrial espionage? A satisfying sequel?

BIG MOMMA’S HOUSE

US, 2000, 98 minutes, Colour.
Martin Lawrence, Nia Long, Paul Giamatti, Jascha Washington, Terrence Howard, Anthony Anderson, Cedric the Entertainer.
Directed by Raja Gosnell.

Big Momma’s House was one of many comic opportunities for Martin Lawrence. He had appeared in such things as Blue Streak and was to appear in National Security, The Black Knight.

The screenplay is obviously influenced by Mrs Doubtfire, Tootsie and other films with the actor cross-dressing. Lawrence plays Malcolm Turner, a detective, who is investigating an escaped convict, played by Terrence Howard. His girlfriend, Nia Long, is in the witness protection with her son and under the care of Big Momma. However, Big Momma has gone to visit other relatives and so Malcolm takes her place. With the aid of his partner, Paul Giamatti, he makes the dresses and the facial mask for Big Momma – with the consequent mishaps, comic turns. The film will depend on how much one likes Martin Lawrence in this kind of role, his impersonations, his patter. (Nia Long is long-suffering because she appeared in the sequel as well as in the two films with Ice Cube, Are We There Yet and Are We Done Yet.)

1.The popularity of Martin Lawrence as a comedian? Impersonation? Stand-up comedy? How well did he fit the role of Big Momma? The contrast with his role as Malcolm Turner?

2.The police background, the south, Big Momma’s house, the church, the shops, the atmosphere of the town? Credible? The musical score?

3.The situation: Malcolm, John and their investigation of Lester Vesco? The following of Sherry Pierce and her son? The witness protection? Finding that Big Momma had left on a visit? Malcolm and his taking her place, preparing the mask, the clothes? The voice? John and his looking through the telescope across the street? The earpiece and giving him information?

4.The arrival of Sherry, Trent? Malcolm and his ability to improvise? The various mishaps in the house? The cooking, difficulties with his wig, the martial arts class and the wig coming off? The jokes? The suitor for Big Momma, the reverend at church, the women and his having to act as a midwife? The enjoyment of these kinds of set pieces?

5.Sherry, agreeable, relationship with Lester? Her love for her son? Trent, settling into the town, playing by himself, talking with Big Momma? Sherry and her meeting Malcolm after he fell out the window and came in the house as himself? Their discussions, his being a father figure? The romance?

6.John, working with Malcolm, his improvising, the telescope, giving the information – for example about the midwife’s role in a birth?

7.Lester, the thief, from prison, his going to the pharmacy, his tracking down Sherry, the confrontation?

8.Nolan, at the birth, his being a security guard, the martial arts lessons, with Big Momma, with the other women?

9.The people in the town, the women, friendship with Big Momma, the birth of the baby – and success? The martial arts class? Church? Ben Rawley and his approaching Big Momma? The reverend at church?

10.An enjoyable comedy for African American audiences? The wider American audience, worldwide audiences? This kind of slapstick humour?

QUICKSAND

US, 1950, 80 minutes, Black and white.
Mickey Rooney, Jeanne Cagney, Barbara Bates, Peter Lorre.
Directed by Irving Pichel.

Quicksand is a brief supporting feature, a moral fable in the tone of the 1950s – crime does not pay.

Mickey Rooney, different from his Andy Hardy image as well as his musicals, is a mechanic in a garage who needs twenty dollars to go on a date with the vampish Jeanne Cagney. This involves him in all kinds of substitutes of money, borrowings, hold-ups, attempted murder and escape to Mexico. Jeanne Cagney is the vamp, a bit like her brother James Cagney in terms of strong and sullen attitudes. Barbara Bates is the sweet girlfriend. Peter Lorre has a role as a sinister manager of a penny arcade.

The film was directed by Irving Pichel who directed a number of religious films including The Great Commandment of 1939 as well as Martin Luther and Day of Triumph.

1.Interesting film of 1950? B-budget? Supporting feature? Moral fable?

2.Black and white photography, Los Angeles, apartments, the garage, nightclubs and penny arcades, the ocean, the pier? An authentic naturalistic feel? The musical score?

3.The title, indication of what was happening to Dan Brady? A moral quicksand?

4.Mickey Rooney as Dan, his work, his friends, chatting in the bar? The encounter with Vera? His coming on to her? Going out, her looking at the mink coat in the window? His relationship with Helen and his saying that she was too good for him, his being afraid to commit? The need for the twenty dollars, asking his boating friend, taking it from the till, the voice-over commenting on what he did? Putting it back when the inspector was looking at it? The outings with Vera, the interactions with Nick, his surliness? The need for the money, the boss and his pressure, the hold-up of the man with all the money, being seen? Giving fifty dollars to Nick? Nick and his blackmail, wanting the car, Dan driving it away? Mackey and his pressure for the car, the money back? The confrontation, the gun, Dan attacking him with the phone cord? The relationship with Helen, using her to escape after the hold-up? Discussions, meeting her, her knowing the truth, wanting to go with him? The car hold-up, the abduction? Talking with the lawyer, his saving Helen? Going to the police? The fact that Mackey was not dead but unconscious? The chase with the police, dropping the gun, his being wounded? Serving his time, the support of Helen, the support of the lawyer? Portrait of an ordinary man and his downfall?

5.Vera, platinum blonde, tough, working in the bar, resisting Dan’s overtures, agreeing, her desire for the mink coat above everything, the outing, with Nick, the confrontation? The hold-up, her support? Holding the money – buying the mink, Dan’s upset? The police coming, her telling everything? Her being taken away?

6.The contrast with Helen, sweet, doting on Dan? Seeing him, supporting him, going away with him? The lawyer? The finale at the pier?

7.Nick, a Peter Lorre sinister character? At the penny arcade, his hold over Vera? The fifty dollars, the hold over Dan, getting the car? His informing the police?

8.The background characters, Mackey and his standover tactics at the garage? The garage men and their work, friendship with Dan? The pursuing and interrogating detectives? Millie and her friendship with Helen?

9.An effective but small-budget fable – of its period?

PAY IT FORWARD

US, 2000, 124 minutes, Colour.
Kevin Spacey, Helen Hunt, Haley Joel Osment, Jay Mohr, James Caveziel, Jon Bon Jovi, Angie Dickenson.
Directed by Mimi Leder.

A journalist intruding on a siege scene sees his car smashed by an escapee. However, a businessman gives him his Jaguar to drive, no strings attached. Amazed and confused, the journalist pursues this story of generosity and discovers a trail of people who have received help from strangers who were 'paying forward' rather than paying back for what they had received.

Meanwhile in Las Vegas, teacher Eugene Simonet begins his Grade 7 Social Studies class by challenging his students to find a new idea that could change the world. Trevor, whose mother, Arlene, is alcoholic and whose father has disappeared, plans to help three people who, in turn, might help three people each. There would be a movement of generous help of people who 'pay it forward'.

Trevor helps a homeless addict (who later prevents a suicide) who also helps Arlene. At first angry with Simonet, she is manouevred into meeting him by Trevor who has come to admire him. They fall in love. Unexpectedly, Trevor's father returns and Arlene feels she has to give him another chance. Eugene tells her the story of his childhood with a violently abusive father who had set him alight and burnt his body and face. He cannot forgive Arlene.

The reporter traces the movement back to a prisoner who had helped the Jaguar owner's asthmatic daughter in an emergency. He had been helped by a bag lady - who, in fact, is Arlene's alcoholic mother who had learned of Trevor's project. Hailed as a celebrity, Trevor is filmed for television on his 12th birthday. However, he has failed in helping his schoolfriend against bullying. When he does so, he is stabbed in the schoolyard and dies. Crowds gather for a candlelight remembrance vigil at his home.

Markets are an image of the world. They offer both trash and treasure. Helen Hunt's Arlene sees herself as trailer trash, an alcoholic, promiscuous, a victim of a violent, drunken husband. But it is her son, Trevor (Haley Joel Osment of The Sixth Sense and AI) who discovers the treasure, the goodness in each person and their capacity for being selfless and helping others.

Most movies depend on a conflict between good and evil for their dramatic impact. It is very difficult to make a movie about goodness. It seems too good to be true. Or it seems sentimental wishful thinking. Leslie Dixon's screenplay, based on a novel by Catherine Ryan Hyde, acknowledges these difficulties and often inserts sharp comments about do-goodism and being too optimistic. The Las Vegas working setting (with the sleazy backgrounds of the gambling city), the portrayal of people on the streets, drug and alcohol addiction, the reality of physical abuse and dysfunctional families, schoolyard bullying and violence ensure that the audience knows that this is the real world with its mean streets and that this is where goodness is needed and is possible.

Kevin Spacey has shown versatility in his performances, especially his villains (The Usual Suspects, Seven) and his ambiguous suburban heroes (American Beauty). His Eugene Simonet is a good man, litteraly scarred by domestic violence, who strives to overcome his bitterness by encouraging children to engage with the world and try to change it. Helen Hunt gives a strong variation on her single mother performance in As Good as it Gets. Osment also shows versatility and conviction as a boy who eventually is presented as a martyr. Direction is by Mimi Leder who gained her experience on Hill Street Blues and ER as well as movies, The Peacemaker and Deep Impact.

1.The impact of the film? The comic touches? Serious? Popular? Sentiment and sentimentality?

2.The plausibility of the plot, Trevor’s behaviour, the effect of the pay it forward scheme? Credible? The preaching of the scheme of pay it forward? Offering hope? The sudden change with Trevor’s death?

3.Las Vegas as the context for this story, its gambling background, criminality? Homes, the school, the casinos? Las Vegas society? The community outside the casinos?

4.The focus on the Mc Kinney family? Trevor and his age, his life so far, his anger with his mother, with his absent father? Taking the angers to school?

5.The introduction to Mr Simonet? His face, alone, going to the school, new at the school, his class, his talking to the students, his vocabulary – and the importance of words (and this later intimidating Arlene)? His story, his angers? His place in the school? Social studies, talking to the students? Their responses and ideas? His singling out Trevor for his idea?

6.Trevor, taking the assignment seriously, going into action? The encounter with Jerry, his drug background, homeless? Bringing him into the house? Arlene discovering him, her anger, wanting to oust him? Jerry in the garage, the next encounter with Arlene, their talk, his explanation of the pay it forward? Her change of attitude towards him? Jerry and his wandering, still wanting the drugs, encountering the suicide girl on the bridge, their discussion, his talking about changing his mind, the option of helping her?

7.Chris Chandler, the journalist, his driving, going to the accident, intruding? His being offered the car after the crash into his? Mr Thorsen? and his lack of explanation? The gift? His finally telling him the story of his daughter, the asthma, the stances of the medical staff, the African American man and his intervention?

8.The African American man, his help in the hospital, his stand, being in prison, his behaviour there? The background story of his meeting Grace? His claim for pay it forward as his own idea? Chandler and his going to visit Grace, her alcoholism, on the streets? Her story of Arlene coming to see her? The reconciliation of mother and daughter? The limits, Arlene explaining her past to her mother? Welcoming her to the birthday party if she could keep sober? Chandler and his arrival at the party?

9.Trevor, the setting up of Mr Simonet with his mother, the go-between? The discussions? His happiness, his angers with Mr Simonet, going to see him in the cafeteria? Arlene’s initial anger, going to see Simonet at school? The confrontations, his coming to the house? Bonnie as Arlene’s friend, her questioning about the relationship? The setting up of the date, the restaurant? The sexual relationship? Mr Simonet and his wariness, the return of Ricky? His going?

10.Ricky, his return, the background of his drinking, his story? His wanting reconciliation? Trevor angry with him, not talking? His drinking again? Taking it out on Arlene? Mr Simonet, his talking to Arlene, her explanation – and his going back over his own story, his father, the burns, the anger of his father? His wanting to rescue his mother? His mother continually going back to her husband? Seeing the pattern with Arlene? The effect on her?

11.The party, Chandler’s arrival, the discussions?

12.The television interview, Trevor’s explanation – and Arlene and Mr Simonet? later watching it? the sad irony of his helping his friend whom he had failed, his death (and pierced side) and the overtones of the Gospel in his 'martyrdom'.

13. The moral of the film – and the moralising?

KILL THE MAN

US, 1999, 86 minutes, Colour.
Luke Wilson, Joshua Malina, Paula Devicq, Phillip Rhys, Phil La Marr, Jim Fyfe, Teri Garr, Michael Mc Kean, Brian Doyle- Murray.
Directed by Tom Booker and Jon Kean.

Kill the Man is a small-budget independent comedy. It has its moments – and seems to have a message about equal opportunity for everyone. However, it opts for a comic ending rather than any serious explanation of examination of the issue.

The film was written and directed by Tom Booker and Jon Kean, actors as well as writers. Luke Wilson was at the beginning of his career. Joshua Malina mugs excessively. There are some funny moments with Teri Garr and Michael Mc Kean as the hero’s girlfriend’s parents.

The film is about small enterprise, two men running a copying shop – and a syndication setting up a twenty-four hour shop opposite them and using all kinds of means to promote themselves and destroy the opposition. Phil La Marr appears as a comic socialist, anarchist, who helps the two young men to start a series of industrial sabotage (comic style) against the big copy shop. In the meantime, Luke Wilson as Stanley has commitment problems for his girlfriend which lead to further complications.

A minor film – some funny moments, some irritating moments.

1.The small-budget film? American comedy? Performance? Screenplay?

2.The title, the small independent businesses against the big business world? The socialist slogans? Industrial sabotage? The cop-out humorous ending?

3.The shop, Stanley and Bob, their background, the money? No customers? The pensioner and his putting on a turn? His coming back – and the irritation to Stanley? Bob and his dreams, his flow charts, his economics course? The failure of the shop? Marky Marx and his arrival, swindling them, staying around, inspiring them to action?

4.Stanley, as a person, his relationship with Vicki, going to the house, the meal with the parents, the proposal, his being sick? Vicki and her being upset? His inability to phone her, avoiding her? The clashes with Bob? His pursuit of Vicki, his photocopying his private parts – and her putting them up, his arrest? His having time to think out schemes against the copy shop? The visualising of these? His final change of heart, relationship with Vicki, the engagement, the bingo game and his almost getting the money? The final irony of his disguise, getting the copying done, the salesman and his reluctance? Everybody arriving – and his being the winner of the competition? Lifelong copying for nothing – and his using it for his own shop?

5.Bob, frantic, on medication, enthusiastic? His interactions with Stanley? All the schemes to embarrass the main shop?

6.Vicki, her sister, the parents, the father’s negative attitude, criticising his wife? The wife, happy with the engagement? The bingo game?

7.Marky Marx, the rap, his ideas, participating in the demonstrations? Seth, his English background, sponging on the group?

8.The salesman in the big shop, his manner, the various schemes? His comeuppance? The three suits, their looking at the shop, their offer, its being withdrawn?

9.The comic elements, the dialogue, farce? Satisfying or not?