KISS OF THE DRAGON

France, 2001, 98 minutes, Colour.
Jet Li, Bridget Fonda, Tcheky Karyo, Max Ryan, Burt Kwouk.
Directed by Chris Nahon.

Kiss of the Dragon is based on a story by Jet Li and the screenplay from Luc Besson (Subway, The Fifth Element). It is a formulaic plot but gives the opportunity for Jet Li to show his martial arts prowess.

Li portrays a Hong Kong agent sent to Paris to try to discover a drug kingpin. He encounters the French police inspector played by Tcheky Karyo – who turns out to be the major villain. Also in the plot is a prostitute whose daughter is held hostage by the police inspector.

Jet Li brings some warmth to this character. Bridget Fonda is a cut above average as the prostitute. Tcheky Karyo makes a credible villain – as a character rather than in his being responsible for all the crime in Paris, so it seems.

1.The popularity of Jet Li? This kind of European story? China in France? Martial arts? Drug issues? Police investigations?

2.The Paris settings, taking advantage of the city? The interiors, his uncle’s shop? The police precincts? Apartments? The musical score?

3.The set sequences, the murders of the businessmen? The fights? In his uncle’s shop? The chases in the streets? The final confrontation?

4.The title, the needle? In Richard’s neck, paralysed, death?

5.The basic premise: the international drug scene, the Chinese links, the businessmen, their meetings? The control of the French police?

6.Inspector Richard, his character, relationship with Jessica, taking her daughter? His setting up the Chinese inspector? Pursuing him? His henchmen? Unlimited thugs? His confrontations, his meeting with Jessica, not believing her, handcuffing her? With her daughter? The final confrontation and his death?

7.The inspector, character, completely dedicated to his work? In Paris, the initial set-up for murder? The pursuit and chases? His uncle’s advice? The attack of the pimp, the fight with the pimp? Jessica, sewing his wound? His getting her help, promising to get her daughter? Her being shot, hospital? His finally getting the little girl, the pursuit in the building, the final confrontation with Richard?

8.Jessica, her background story, drugs, her daughter, Richard helping, getting her into prostitution, the pimp? Waiting outside the shop, sewing the wound? Helping the inspector? Her daughter, being shot? The handcuffs and her getting loose? The hospital?

9.The background of crime, the toughs, the fights? Credible enough for this kind of action thriller?

THE HAUNTING

US, 1999, 113 minutes, Colour.
Lili Taylor, Liam Neeson, Catherine Zeta- Jones, Owen Wilson, Bruce Dern, Marian Seldes, Todd Field, Virginia Madsen.
Directed by Jan de Bont.

The Haunting is a remake of the 1963 film with Claire Bloom and Julie Harris. It is based on a novel, The Legend of Hell House by Shirley Jackson. It was also filmed by John Hough in the 1970s as The Legend of Hell House.

This film was not well received on its release. It had a very big budget, had lavish sets, special effects. However, the criticism was of the screenplay and its adaptation of the novel and of the earlier film – diminishing the characterisations, the subtle sense of emotions beneath the surface, the nature of the crime and the ghosts.

The film focuses on Liam Neeson as a doctor conducting a controlled experiment about group fear. The group is invited to a huge mansion – and the sets are extraordinary, like several palaces and museums in one. The applicants for the test are Lily Taylor who bears the weight of the film as well as Catherine Zeta- Jones with her glamorous style and Owen Wilson, already showing his comic slacker character. Bruce Dern and Marian Seldes have brief roles as the caretakers of the house. Virginia Madsen appears briefly as Lili Taylor’s sister.

Lili Taylor is good in terms of a strength of character, a woman who has looked after her mother, is susceptible to fear, is the person who sees the ghosts, discovers the truth of what happened in the house – the owner killing his wife and killing young children. At the end, she confronts the ghost, dies but goes into Paradise along with the children.

The film was directed by Jan de Bont, better known for his cinematography work and directing blockbusters, Speed and Twister.

While the film is lavish, it will appeal only to those interested in variations on horror and haunting themes.

1.The quality of the film? Its poor critical reception? Comparisons with the original novel? With the other versions on screen of the story?

2.The plausibility of the plot, characters, the controlled experiment, ghosts and hauntings?

3.The ordinary settings, Eleanor and her apartment, her confrontation with her sister, brother-in-law? Their callous attitude? Her looking after her mother? Her wanting her apartment? The phone call, the advertisement, her accepting to be part of the experiment? Her sensitivities and susceptibilities?

4.Doctor Marrow, his associates, the plan for the experiment and the investigation? The critique of the doctors because of the participants not knowing the truth? His reassurances? His choosing the three candidates? His associates, their going to the house? The associate injured by the loose piano string? The discussions about the control? His being left alone in the house? The gates locked?

5.Mr Dudley, unlocking the gates, his comments to Eleanor? Mrs Dudley?, her sepulchral style, her speech about being distant from the house?

6.Theo, glamorous, artist? The contrast with Eleanor? Their becoming friends, exploring the house? Meeting Luke? His offhand manner? The house itself and their discoveries? The room?

7.The nights, the monitoring of their sleep? The noises – and the explanation of the boiler for the bath? The fears? The cold and the icy breath? The effect of these experiences on each of the three? On Doctor Marrow? His reassurances? His telling them part of the background story – and explaining to his associates how they would embroider the story according to their own fears and interests?

8.The background story, Hugh Crain, his widow, the portraits – and the blood warning them to go? The décor, the children’s faces? Crain and his wanting to have children?

9.The appearances, only to Nell? Her fear, her being chased around the house? The parts of the house expanding, threatening? The special effects? Ghostly? The appearances of the ghosts?

10.Luke, his offhand manner, the slacker? Discussions with Doctor Marrow? Reassurances? The suddenness of his death?

11.The threats to Theo, her supporting Nell?

12.Nell, her susceptibilities, the question whether the house was haunted before she arrived? Her discovery about her ancestry? The fears, the confrontations? With Hugh Crain himself? Her death?

13.The effect on Doctor Marrow, the failed experiment, the ethical issues? Deaths?

14.The build-up to the culmination, the confrontation, Nell’s death – and her apotheosis? Going with the children into Heaven?

DEAD SILENCE

US, 2007, 90 minutes, Colour.
Ryan Kwanten, Amber Valletta, Donnie Wahlberg, Michael Fairman, Joan Heney, Bob Gunton, Laura Regan.
Directed by James Wan.

There has been a fairly long tradition of ‘devil dolls’ and murderous ventriloquist’s dolls. Here is a 2007 version.

Compared with the number of torture/horror films in recent times, like Captivity and Hostel 2, this is a very agreeable small scary show. Not too horrific at all (and not a swear word to hear and no confronting sex scenes).

It is the kind of fright film that gives some chills while it is there but not a great film at all. It looks good, some very eerie settings. However, the acting is only moderate, led by Australian actor Ryan Kwitain as the put upon hero and Donnie Wahlberg as a laconic, persistent detective. The dialogue is not too sharp either (and elicited some giggles from the audience). That said, it has an intriguing enough tale to tell (but most will guess something of the solution early enough).

The director, James Wan, and the writer, Leigh Whannell, both from Australia, were responsible for the much more gruesome Saw.

1.The work of James Wan and his writer, Lee Whannell (the Saw series)? This film as slighter – and more audience-friendly?

2.The title, the experience of the dead silence? Ominous?

3.The city settings, apartments, streets, takeaway – an ordinary opening? The contrast with the countryside, the mansion, the decaying theatre, the lake? The décor of the theatre, the houses? The musical score and atmosphere?

4.The opening, Jamie and Lisa, the happy marriage? The gift of the doll? The mystery? Fixing the sink, the takeaway dinner? Lisa and the confrontation with the doll, her death? Jamie and his return, hearing her voice, seeing her dead? The police, Detective Lipton and his interrogating Jamie? Scepticism? The evidence against Jamie?

5.Jamie and his decision to return home, to see his estranged father? His arrival, his meeting his father’s wife at the door, her welcome? His father sitting in the chair? Ominous? The arguments with his father? The nursery rhyme and the memories of Mary Shaw?

6.His investigations, going to the funeral director, the discussions about Mary Shaw, the memories of the past? The flashback, Mr Walker and his memories, as a boy, Mary Shaw’s performance, Michael Ashen and his scepticism, his disappearance? The vindictive attitude of Mary Shaw? The discussions with the dolls? Marian Walker and her sense of fear, ominous?

7.The father, Ella? Everything seeming normal? Jamie and his arguments with his father – and going back about the past, his hearing the story about Michael Ashen and his disappearance?

8.The arrival of Detective Lipton, his character, offhand? Questions? Jamie and his decision to go to the theatre? His previous visit, the boat? The message from Henry Walker? His arrival at the theatre, Lipton pursuing? The tour, the dangers, the heights of the scaffolding? Their discovery of the room with all the dolls? The dolls and their turning their heads? The appearance of Mary Shaw? Possessing the dolls? Eventually lighting the fire, the destruction of all the dolls? One missing? The death of Lipton?

9.Jamie, his return to the house, the discovery that his father was dead, his being manipulated by Ella? Ella and her vindictiveness? The spirit of Mary Shaw? Her destroying Jamie – and everybody becoming a puppet doll? The meaning of the word ‘ventriloquist’ as explained? The physicality of the dolls, the talk? The devil dolls and their evil?

HOSTEL PART 2

US, 2007, 93 minutes, Colour.
Lauren German, Roger Bart, Heather Matarazzo, Bijou Phillips, Richard Burgi, Vera Jordanova, Jay Hernandez, Jordan Ladd, Edwige Fenech.
Directed by Eli Roth.

The original film, Hostel, received condemnations for its torture sequences but was popular at the box-office. The Slovakian government was not too pleased that such a killing factory should be set in their country. However, here we are again.

The recent increase in what some commentators have termed ‘torture porn’ has brought such films as Paradise Lost (Turistas) and, the worst, Captivity, which had no redeeming features. In fact, compared with Captivity, Hostel 2 does not seem so bad at all. It is the plot of the first film re-run except that this time the victims are women (which somehow makes their humiliation and torture more degrading). Compared with the raunchy men in Hostel, these women are very restrained (mainly after some drugs). So, is the first half of the film. It has a gory nightmare and a rather brief glimpse of a ludicrous decapitated body but that is all. The torture is in the second half.

Eli Roth is a good craftsman and he establishes his characters and moods effectively. Since we know what is going to happen, he can spend more time establishing the situations and characters. After the abductions begin and the torture, there are three graphic and ugly scenes, not nearly as much as in the first film. It’s just that they seem so ugly: a literal bloodbath, a chainsaw and a castration. Patrons can choose whether this is what they want to experience – and wish that Eli Roth would turn his talent to more positive themes.

There are some unexpected psychological twists at the end which work – but, then, some would say that the film was already twisted in the first place.

1.The impact of the first Hostel film? The criticism of its sadism, torture, violence? The tone? Expectations of a sequel?

2.Hostel 2 and the rerun of the basic plot, the changing of men victims to women victims? The effect of this? The brutality towards men? The sadistic treatment of women? The comparative brevity of the torture scenes compared with the first film? Their impact? The finale and Beth’s treatment of Stuart?

3.The opening in Rome, the art class, the hotels, the trains? The transition to Slovakia, the hostel, the factory? The background of the celebration? The sinister aspect of the children? The hostel staff? The musical score – and the classical tone, belying the brutality? The wealthy mansion, the river – and the contrast of the beauty with the ugliness?

4.The three women, Americans, their attitude, the art class and the demonstrations, the arts class professor? Axelle and her taking to Beth? Following her, the discussion about the drawing?

5.The train ride, Lorna and her fussiness, wanting to go home? Whitney and her bravado? Beth and her serious-mindedness, the background of her inordinate wealth? On the train – Axelle on the train? The encounter with the young men, wanting the drugs, their fright?

6.The decision to go to Slovakia, Axelle’s influence? Booking in at the hostel? The sinister man at the desk? Their going out, the carnival atmosphere, the various encounters, the dancing, the music? Whitney and her sexual relationships? Beth and her supervising? Lorna and her naivety, stubbornness, going off with the fat man, despite Beth’s warnings? Beth and her encounter with Stuart?

7.The desk clerk, the photo of Beth, going out on the internet? The ugliness of the international bidders? Whitney and Beth for sale? The bids? Todd and his getting the final bid – on the golf course? Stuart at home, the alienation from family? His travelling immediately, with Todd? Todd and his callous attitudes, wanting to kill someone? Talk about heroism, macho attitudes? Stuart not entirely persuaded? Stuart and his meeting with Beth, knowing who she was?

8.The abduction of Lorna, the torture, hanging upside down, the woman in the bath? The literal bloodbath? Audience response to this sadism?

9.Whitney, her abduction, being tied up, Todd and the chainsaw, the accident? His change of heart? His not fulfilling his contract? His being killed? Whitney and the other bids, her death?

10.The other torture, the men, the sadistic professor, carving the flesh, eating?

11.Beth, her abduction, her previous escape, the children pursuing her, the rescue by Axelle and the owner? The rebuke of the children? The children themselves, their violence – and their having spat on Lorna? Beth in the security of the home, its beauty, wealth?

12.Beth and Stuart, the discussions? Her trying to persuade him to free her? His change of attitude, his violence, enjoying the sadism? Beth and her turning the tables on him? The authorities, their watching the screens, the authorities coming down, the woman and the contract? Beth and her tying up Stuart – and the violence of the castration?

13.Beth, her money, making a bid for her life? The irony of her change of character? With the children? The owner – and his shooting the child? The ruthlessness?

14.Beth, at the fair, eyeing up potential victims?

15.The overall effect of this kind of film? The description of torture porn?

THE CHUMSCRUBBER

US, 2005, 108 minutes, Colour.
Jamie Bell, Camilla Belle, Justin Chatwin, Rory Culkin, Thomas Curtis, Lou Taylor Pucci, Glenn Close, William Fichtner, Ralph Fiennes, Caroline Goodall, John Heard, Lauren Holly, Jason Isaacs, Alison Janney, Carrie- Anne Moss, Rita Wilson.
Directed by Arie Posin.

The Chumscrubber is the name of a character in a computer game. Images of the chumscrubber sometimes appear in the background of this film. What the title seems to suggest is that teenagers today seem to be trapped in the seeming computer games which are their lives.

This is a rather black, though bright colourful, satire on dysfunctional families and suburban American life. During the credits we watch some animation, little box houses which become real, postcard-like, in what is advertised as an ideal neighbourhood for comfort and safety. It is Anywhere USA. Within a few minutes, we discover that a young boy has hanged himself. The film goes on from there.

The central character is Dean. He is played very well and with some inner intensity by Billy Elliot’s Jamie Bell. Bell has specialised in this kind of alienated role both in the UK and in the US (Dear Wendy, Undertow, Hallam Foe). His mother is played in a well-wishing but absent-minded way by Allison Janney, his self-absorbed psychologist author husband by William Fichtner. The mother of the hanged boy is played by Glenn Close as if she were one of the Stepford Wives.

This satirical portrait of the adult generation is compounded by the mother of a boy who is kidnapped by the local teenage drug-dealers who want to get their hands on the stash the dead boy had and pressurise Dean who was the dead boy’s best friend. They think they have taken Dean’s brother but have taken another boy with the same name – who goes along for the ride while his mother (Rita Wilson) is so busy preparing for her second wedding that she does not notice her son is missing. She is divorced from the local police chief (John Heard) and is about to marry the mayor who seems to be in a perpetual daze (Ralph Fiennes). He is in turn admired by the mother of one of the kidnappers (Carrie Anne Moss).

As can be seen, the cast is very strong indeed, with teenagers Camilla Belle, Justin Chatwin, Lou Taylor Pucci and Rory Culkin in there as well.

In trying to indicate the mood of the film, critics have been scrambling for comparisons – which are worth referring to so that audiences have an idea of where they stand and what they are in for. Someone referred to Donnie Darko (though it is not quite so bizarre). Someone else said that it is like David Lynch in sunshine (though it is not quite so obscure). I rather liked the publicity material’s claim that it is thematically provocative. Part funny, part absurd, part surreal, more than part serious, it is an oddball questioning and critical view of America.

1.The film as a piece of Americana? The range of characters? Adults and children? Dysfunctional family, dysfunctional society? Death, suicide, repercussions?

2.The title, the computer game, the dead boy, Dean and his fantasies and dreams? The explanation of the computer game?

3.The artificial American town, the layout of the streets, the houses? Life, homes, school, shops, real estate? The mayor? Yet the dark side of families, separation, infidelities, drugs, suicide, abductions?

4.The blend of the serious and comic style? Heightened reality? Stylised? The musical score?

5.Dean as the central character, Jamie Bell and his interpretation? Seeing him within his family, the tensions, his room, possessions, posters, going out, going next door to see Troy, the party, greeting Troy’s mother, discovering Troy hanged? The background of the glimpses of school, the comments on the drug dealing in the school, Troy and his clients? Dean’s grief, inability to share it with Troy’s mother, with his family? Dean at school, his being bullied? His relationship with his staff? The encounter with Crystal, with Lee and Billy? Their bullying? The pressure on finding the drugs? His going into Troy’s room, finding the drugs? Troy’s mother and wanting some kind of understanding? Lee and Billy, putting the pressure on Dean, deciding to abduct his brother, abducting the wrong boy? The reaction of the abducted boy? Dean’s reaction? The drugs at home, his younger brother experimenting with them, switching with them, putting them in the casserole? Dean’s father, his publications, his theories, his concern about his son, persuading him to take the pills, the different confrontations and the further pills? The effect on Dean’s consciousness, on his psyche? The build-up to the fight with Billy? The police intervention, not believing him? His finally realising that the abducted boy was the police officer’s son? The effect of the pills on him, his dreams, Troy haunting him, the video game? The relationship with Crystal, having lunch outside the school? Her coming to get his help? The confrontation with Lee and Billy? The final meeting with Troy’s mother, his offer of sympathy? His future? A glimpse of a disturbed young character – but with potential for good?

6.Dean’s parents, his mother and her decisions, the father and his psychiatry, his books, his puffed-up importance, his tours? Giving the drugs to his son? Going to the police? The mother, her being passive, the television, her younger son? Making the casseroles, giving them to Troy’s mother? Preparing the food for the party? Her being spaced out at times? Not realising what was going on? The tension with her husband?

7.Troy’s mother, unaware of what her son was doing, his death, her grief, her work in the garden, her flowers? The party, the drugs in the casserole? The various guests? Dean and his being able to speak to her, give her some consolation in her grief?

8.The mayor, genial, with Terri? The planned marriage? Pleasant but out of it? The nature of the engagement, the preparation for the wedding? The flashback to the accident and its effect? His meeting Jerri, attracted? The painting of the blue dolphins everywhere in the house, Terri’s reaction? The marriage not going ahead? His binding with Jerri?

9.Terri, the estate agent, continually busy, continually on the phone? Her engagement to the mayor? The encounters with her husband, the clashes in the street? Her lack of relationship with her son, not even noticing that he was absent? The focus on the preparations for the marriage, the dress, the discussions with the shop owner, the timetable? The build-up after the dolphins being on the display house?

10.Mr and Mrs Parker, their attitude towards their son, their relationship, the satiric touch on out-of-touch parents?

11.Officer Bratley, his role with the police, stalking his ex-wife, the arguments? The meeting with Dean, questioning him? The final realisation that his son was abducted? The portrait of the boy, his playing on the susceptibilities of his captors? Wanting his own way – and enjoying the abduction? The final dangers and the possibility of his being killed?

12.Jerri, her role as a mother, not understanding her son? Unaware of his activities? The encounter with the mayor, helping him – and the future marriage?

13.Billy, tough, wanting the drugs, pressurising Dean? With Lee, bossing him about? The abducting of the boy, holding him over the night, caring for him, exasperation? The knife, the fight, his being wounded in the eye? His being hit by the car?

14.Lee, his bravado, parents, with Billy, his cowardliness, Billy trying to make him do the violent work? The finale and his opting out?

15.Crystal, her relationship Billy and Lee, with Dean, at school, the go-between, getting Dean’s help for the boy?

16.A portrait of American suburbia? An alternate to American Beauty?

MIRRORMASK

UK, 2005, 101 minutes, Colour.
Jason Barry, Stephanie Leonidas, Rob Brydon, Gina Mc Kee, Dora Bryan, Stephen Fry, Andy Hamilton, Simon Harvey, Lenny Henry.
Directed by Dave Mc Kean.

Mirror Mask is a fantasy – based on stories and comic narratives by Neil Gaiman and director Dave Mc Kean. The two have strong reputations as authors and artists. This is an attempt to bring their stories as well as their visual style to the screen. Audiences will be reminded of a number of fantasies, especially from the Jim Henson Studios, films like Labyrinth.

The film is dark, very much a dream of the heroine, played by Stephanie Leonidas. In fact, she has to play two characters: herself and her anti-self.

In her dreams, Helena escapes from the circus and goes into a fantasy world where two kingdoms are opposed. Her quest is to find a Mirror Mask in order to save the kingdom. In that way she will be able to return home. She encounters all kinds of characters: Jason Barry as the sympathetic Valentine, Rob Brydon as the prime minister, Gina Mc Kee as the Queen of Light and the Queen of Shadows. Interesting supporting roles are taken by Dora Bryan as Aunt Nan and Stephen Fry as Librarian. Lenny Henry appears as Cops 1 to 4.

The film will be of great interest for those who delight in fantasy and the fantastic.

1.The impact of the fantasy? A world of magic? A world of fable? A film for adults, for children?

2.The importance of the visual style, the blend of reality and fantasy? Brighton, the town, the hospital? The circus? The anchor? The importance of the musical score?

3.The dream tone of the film? The work of the illustrators, the drawings? The fairy characters? The humans? The range of creatures? Benign, frightening? Nightmare? The mother appearing as the Queen of Light, the Queen of Shadows? The guide, the clown? Helena and her appearing in her own dream, as herself, her anti-self?

4.The situation, the circus, Helena’s father? The circus acts and performance? The mother and the tickets? Helena and her moodiness, the clashes, running away? Staying, her performance? Family tension?

5.The mother, her selling the tickets, interactions with the customers, collapse, going to the hospital, Helena at the hospital, her father, grandmother, Aunt Nan?

6.The dream, the psychological dimensions of the dream, the characters in the dream as being part of Helena’s self? Her own self? The mother as the two queens? Valentine as the guide? The other characters appearing (and the echoes of such stories as The Wizard of Oz)? The creatures, their mythical nature, the fairies? The soul figures for Helena?

7.The quest, Alice in Wonderland overtones? Through the Looking Glass overtones? Helena, free? The importance of the mirror, the mask? Her mother’s advice? Seeing in front?

8.Valentine, the mask, the character, appearance? Help and talk? Appearing and disappearing? Comic style?

9.The creatures, the shadow aspects of Helena’s character and self? Frightening, helping?

10.The queens and their talk, mother images? Destruction? Helena and her destroying the images? Valentine?

11.The mask, its mystique, the role of masks, the role of mirrors? Valentine, Helena’s discovery, wearing the mask?

12.The Helena of the search, the Helena of the mask, the sleeping Helena, the waking Helena?

13.How satisfying the resolution of this dream and quest?

THE MUSIC TEACHER

Belgium, 1988, 100 minutes, Colour.
Jose van Dam, Anne Roussel, Philippe Volter, Sylvie Fennec, Patrick Bauchau.
Directed by Gerard Corbiau.

The Music Teacher was written and directed by Gerard Corbiau who has a particular interest in music and, a few years later, was to make the biography of the castrato, Farinelli.

This film focuses on an ageing singer played by opera star Jose Van Dam. When he retires from performance, he takes in young singers and trains them. The film focuses on two of the students played by Anne Roussel and Philippe Volter. The film shows the delight in music, the intentions of the instructor, the response of the pupils – as well as their relationship.

However, there is rivalry because of the jealousy of Prince Scotti (Patrick Bauchau) and his assistant. They try to undermine the progress of the two young singers.

Excerpts from opera and a number of songs are included, especially the Lider (**?? Should that be Lieder? Not sure, just a feeling, probably wrong) of Mahler.

1.An Oscar-nominated film? Its quality? Music film? Opera? From Belgium?

2.The period, costumes and décor, theatre, country estates?

3.The importance of the music, the score, the selection of operatic excerpts, Mahler’s songs?

4.Joachim, the opera singer, his age, performance, his relationship with his wife? His cough, the decision to retire? The farewell, the return to the country? Life in the country? His relationship with his students, Sophie and her enrolling, training? The lessons? Jean and his arrival? Continuing the training? The thief, the chase? The singing, the master and the students working together? The issue of the rivalry with Prince Scotti? The competition? Death? Achievement?

5.Prince Scotti, arrogant, the concert, his victory, the competitiveness? His motivation, his protégé? The plan, the performance? The contest?

6.Sophie, her singing, the quality of her voice, her ambitions? Her relationship? The thief? Love and relationship? The contest, the duet? Her doubts? Winning?

7.The thief, on the run, the market? Coaching, the invitation, learning? His relationship with Sophie? The contest?

8.The portrait of Joachim’s wife, at home, her continued devotion?

9.The portrait of the world of music, training, performance?

10.The quality of the singing, the voices, the range of music, the delight? Creative presentation of classical music?

11.The blend of drama – with the touches of melodrama?

MARRIAGE ACTS

Australia, 2000, 90 minutes, Colour.
Colin Friels, Sonia Todd, David Whitney, Linden Wilkinson, Anna Lise Phillips, Laurence Breuls.
Directed by Robert Marchand.

Marriage Acts is a television movie which focuses on the difficulties experienced by judges in the Family Court throughout Australia. Many of the men, especially, who feel themselves discriminated against in court judgments, take to violence, even to planting bombs in the grounds of the residences of the judges. This film follows the story of a judge, his wife and family, the repercussions of the bomb threat.

Colin Friels, as always, gives a solid performance as the judge and is well supported by Sonia Todd as his wife. The film was written by Anne Brooksbank, a prolific writer, especially with her husband, Bob Ellis. Director Robert Marchand specialised in television series and television miniseries including the version of The Potato Factory by Bryce Courtney.

1.The impact of the television movie? The portrait of the home, family? The portrait of the courts, justice, violence?

2.The Australian city, streets, courts, homes? Authentic and realistic atmosphere? The musical score?

3.The women’s perspective, the writing of Anne Brooksbank? The perspective on the Family Court, on parents, children, on victims?

4.The title, the reality, the legislation? The focus on sexuality, love and sexuality? Children and family? Abortion?

5.The drama and the melodrama of the court proceedings, the threats? The plausibility – especially with so many incidents in the Australian courts at the end of the 20th century?

6.The Family Court, the issues, the cases and crises? The impact on the men, on the women, on the children? The role of the judges, impartiality and justice? The barristers and pleading their cases? The available evidence? The judge knowing and not knowing the underlying realities? The bases for decisions, decisions and consequences?

7.David Mc Kinnon as a judge, conscientious? His plain hearings of the cases, not intuitive? His reading, listening, working on precedents? His objective treatment? The threat and his reconsideration? Remembering – the visuals, the taxi, the mechanic, John, learning, the mistakes? The taxi, the death? The mechanic and fear? The wife and her anger, as directed towards the judge? The discussions with the family and with Miriam Hawkins?

8.David Mc Kinnon as a man, his relationship with his wife, with his family? Brian, the bomb? John and his visit? Religious, tense? Miriam and her being caught, separated, the police and non-cooperation? Brian and the window and the truth? The visit, Marj and the taunts? The phone, fear? The files? The dead body? Michael, Anne, the talking? The break with Miriam? The hostage situation? Talking with John? The boy at the end? The rounded portrait?

9.Jean, loyal, the tension, being humiliated? Marj and her fears? The intuition? The phone, the affair? The discussion and the tension? The end? Anne and the abortion? The study, the divorce? Dropping out? Nepal?

10.Character of Brian, the bomb, talk, the truth?

11.The character of Marj, her place in the drama?

12.The portrait of the police, their work, cooperation – and lack of cooperation?

13.John, credible, religious, born-again, his art? God and the break, the bombs? The flashbacks? In the house, the phone? Anne and the first-born? The boy and the phone? Shot, dead?

14.The experience and sense of the Family Court, of people, of cases, of judges?

NIGHT OF THE SUNFLOWERS

Spain, 2006, 123 minutes, Colour.
Carmelo Gomez, Judith Diakhate, Celso Bugallo, Vicente Romero, Walter Vidarte.
Directed by Jorge Sanchez- Cabezudo.

This is a most carefully plotted thriller, intriguing as it moves from episode to episode and from character to character. After a prologue where the audience sees a middle aged man responsible for the death of a young woman whose body he leaves in a field of sunflowers, the film moves into separate chapters with characters whom we have momentarily glimpsed during the prologue. Though the film is not difficult to follow, it is best to have your wits about you as each chapter has some initial backtracking in its timeline.

In some ways, the initial murder is something of a distraction. The plot goes in other directions. The first chapter shows a man, a travelling salesman, in a motel. We follow him in his work and watch him take a by-road that was suggested for better business. Here he sees a young woman alone in the woods. The next chapter concerns a group of caving experts (unfortunately the copy under review translated the word for caves as ‘potholes’ for the subtitles!). The young woman is the wife of the leader who has come to the village to explore a newly discovered cave. This becomes important as the cavers see a man on the road and make wrong assumptions about his assaulting the woman and they attack him.

The next chapter concerns ‘the proper authorities’. This title has a more than a touch of irony as the local policeman is not at all proper in his life. However, his father-in-law who is the police chief is. In the next chapter, Mad Amos, an old man of the vicinity comes with reports of a murder which confuse the police. Finally, in the last chapter, dedicated to the father-in-law, the pieces all come together in a shrewd investigation of what really happened.

The end is also dramatically satisfying (but still morally ambiguous) as we glimpse each of the main characters and assess how these events have changed them. The man from the motel also arrives home to his family.

Very well acted, expertly plotted with a lot to offer about personal dilemmas, moral choices and the changing society of Spain.

1.An award-winning film? Popular? Crime thriller? Social thriller, psychological? Moral thriller?

2.The Spanish settings, the atmosphere of the countryside, the remoteness, the villages, the mountains and caves? The cello score?

3.The title, the introduction, the fields, the murderer and the car, the body, its discovery?

4.The structure of the film: the different chapters, the different points of view, the retracking in time, continuity, the strength and detail of the plotting?

5.The prologue, the girl in the field, the police, the glimpse of the police, the glimpse of Esteban and Gabi, of Cecilio, of Beni?

6.The chapter: man in the motel: his watching the television, the information about the murder, the passing of two weeks, his phone call and talking to home, as a salesman, offering the girl the lift, her boyfriend, the hostility, his discussion with the manager, trying to promote the sales of the vacuum cleaners, his lunch, meeting the boyfriend, his advice, suggestion to go to the quarry, the village, his driving, his seeing the girl in the town, in the van, following her? Parking the car, seeing the girl alone, his attack on her, the brutality, her wounding him in the hand, her escape, in the car, his bashing on the car, trying to get in, having taken the keys? The crash, the horn, the voices and his leaving?

7.The cave experts: Esteban, his arrival in the town, the meeting, the others delayed, the discussion about the caves, Beni finding the cave, wanting it named after him? Phoning Gabi about the equipment, Pedro coming, the arrival? Going to the cave, the exploration, Pedro and his photography, Esteban and his skills, climbing? Gabi back in the village, waiting, her driving out, the retracking of the episode of the attack, her being found?

8.The man on the road: his personality, his going into town to buy supplies, cantankerous, the clashes with Amos, setting the traps, walking along the road, being pursued by Esteban and his friends, the confrontation in the house, his getting the gun, the shooting, the pitchfork, Pedro attacking him, his death, setting him up, cleaning the house, taking him away? The moral dilemma?

9.The proper authorities: the focus on Tomas, his liaison with the married woman, his wanting to get out of it, her taunts? Not long married, the relationship with his wife? His father-in-law? Accompanying him on his rounds? The tension in the house, his going back to the woman? Drinking, his driving, finding the group with the van? His stopping, being sick, his interrogating the three? His going outside, thinking, his plan and proposal, Pedro and Gabi and their reactions, Esteban and his principles, his threat of prison? Persuading them that the cover-up could happen? Their cleaning up the house, taking the body, going into the cave, dropping the body into the well? The cover-up?

10.Amos: the police, at work, the various reports, Amos and his wandering around, his clashes with Cecilio, finding the traps, the dog injured, going into the house, seeing the body, his reports, his own personal madness, going to the cemetery and talking to people in the graves, Thomas and his trying to persuade his father-in-law that nothing was wrong, his explanations of Amos’s madness? The background of Thomas’s wife, her sickness, pregnancy, telling her father-in-law?

11.The alligator: a nickname for the police chief, his listening to the reports, the evidence, the dead body, the accident, his searching for clues, questions, the various visits? Thomas’s reply? Going home to the family, Thomas’s report about Cecilio having been sighted?(*or cited?) The old man waiting, following Thomas, the three out in the countryside, the fire, his confrontation, burning the money? His willingness to have the cover-up? His resignation?

12.The focus at the end on each of the main characters and their future? The effect on Pedro, his cowardice and greed, fear? Gabi and Esteban and their dishonesty, their relationship, the loss of the money? Thomas and his wife, his father-in-law’s hold over him? The disillusionment of the father-in-law? Amos and his collecting Cecilio’s things?

13.The man in the motel, his arriving home, his continuing on his life?

14.The film and its observations of human nature, food for thought, posing of moral dilemmas? Its portrait of Spain – and rural changes?

THE FOURTH WISE MAN

US, 1985, 72 minutes, Colour.
Martin Sheen, Alan Arkin, James Farentino, Eileen Brennan, Harold Gould, Lance Kerwin, Jerry Houser, Adam Arkin, Ralph Bellamy, Ramon Estevez, Sydney Penny, Charlie Sheen.
Directed by Michael Ray Rhodes.

In 1985, Fr Bud Kaiser, the Paulist producer of the religious Insight programs on television (240 episodes from 1960 to the 1980s) and later producer of Romero and the Dorothy Day movie, Entertaining Angels, made a telemovie about one of the wise men (Martin Sheen) who never got to Bethlehem, The Fourth Wise Man. Based on a story by Henry Van Dyke, The Other Wise Man, it had been made for television in both 1957 and 1960. This version was written by Tom Fontana who had long television experience, especially with Homicide: Life on the Streets. He also wrote the film Judas for Paulist Productions. Director Michael Ray Rhodes also worked for Paulist Productions and made Entertaining Angels. Martin Sheen portrayed the earnest young Magus, Artaban, and Alan Arkin was his continually complaining servant, Orontes. Veteran Hollywood actors (and Sheen’s sons Ramon and Charlie) filled out the cast.

The film is a Jesus film. He is the goal of the Magi’s journey. His message is put forward. He is glimpsed with Mary and Joseph going into Egypt as Artaban and Orontes arrive in Bethlehem unaware that the King they seek has just passed them. Later, Jesus will appear – at a distance for the way of the cross and the crucifixion. His words from the cross will be heard but, more importantly for the story, he will appear to Artaban. The voice of Jesus is provided by James Farentino.

Artaban is presented as a Christ-figure. Already on the way to Bethlehem, he stops to aid an injured stranger (echoes of the Good Samaritan). He shields a young mother in Bethlehem, saving her child by giving one of the jewels that he had in his possession after selling everything he owned to seek the Lord (and one of the jewels is a pearl of great price). Artaban and Orontes spend years in Egypt searching for the King. Orontes even sets up a man to claim that his four year old son is the child they are looking for – but the father is not too good at remembering the details of the gifts they received from the Magi. Waylaid by villagers who are thieves and prostitutes, Artaban helps a sick girl, tries to heal a blind boy but does not. A day with the villagers turns into a week, months, 30 years. The unwilling Orontes writes letters to Artaban’s Magus father commenting on what life has been like and the decisions of his son.

Artaban also stays to help the villagers become self-sufficient, irrigate, grow and harvest crops and even start again when jealous neighbours set the crops alight.

When the blind boy visits Jerusalem, he encounters the crowd hailing Jesus with palms. He learns what Jesus does and he himself is healed (offscreen). He takes the news to Artaban. Even Orontes, when he hears that Jesus is to be executed, goes to the village to tell Artaban. Together they try to enter the praetorium but are refused – only to hear the sound of the scourging and the mocking soldier talking about Jesus’ ‘coronation’. Artaban collapses. He still presses on, following Jesus carrying his cross, glimpsing him at a distance. But, even then, he cannot reach Calvary. The daughter of a merchant Magus who has visited Artaban in the village to tell him of his father’s death, is now bankrupt because of the destruction of his ships. He is killed and his daughter taken for sale to repay the debts. Artaban buys her freedom with his pearl. He hears Jesus’ words of abandonment and then his committing himself to God in death.

Artaban is dying, a sense of failure in his mission. At this moment, Jesus himself appears (seen only from the back as in Ben Hur). He reveals himself to Artaban who is sad that he has no more gifts to offer Jesus. The screenplay has Jesus speak the words of Matthew 25 about feeding Jesus, clothing him and visiting him in prison. Artaban is astonished and declares that this did not happen. Jesus tells him that this is his gift, himself, because when he did this for others, he did it to Jesus himself. Artaban joyfully repeats this for Orontes – and dies happy. And Orontes goes back to the village to continue to help.

1.The impact of this biblical fable? For all audiences? Christians? Non-Christians?

2.The production by the Paulists? The Catholic perspective? The long television experience of the writer and the director?

3.The Middle East and Israel? Re-creation of atmosphere, the desert, the villages, Jerusalem? The costumes and décor? The musical score?

4.The title, audience familiarity with the story of the Magi? Imagining another member of the Magi? His journey? His not finding the King until he died? The moral of the story?

5.Persia, the Magi, the various leaders, the meetings, the prayers, the study of the stars? Artaban and his discovery of the star, interrupting the service, his patient father, the leader? His deciding to sell everything and go on the journey to find the King? His father and his concern? His father sending Orontes?

6.The character of Artaban, the back-story of his marriage, his wife and children killed in the fire? Selling all his possessions? Getting three jewels to support him on his journey as well as to give to the King? Taking Orontes with him? A lifelong journey? Orontes and his continued writing letters to Artaban’s father – the wry comments, his discomfiture, keeping the Magi abreast of what was happening?

7.The journey, the hardships in the desert? Their meeting the man who was ill, Artaban caring for him, Orontes wanting to move on? Giving him the bread and water? Arriving late for the Magi? The decision to pursue them to Israel, buying the camels, going on the caravan?

8.The encounter with the brigands, their being taken, the village? The people and their being thieves, prostitutes? The blind boy, the sick girl? Judith and her persuading Artaban to help? His attempts to help Passhur? Helping the girl? Staying on an extra day? The pleas for Artaban to help with the sick? Orontes and his desperation? Time passing? The fact that Artaban spent thirty years with the villagers?

9.Their reputation, his urging them to become self-sufficient, his deciding to help them, the irrigation? The harvests? The jealousy of the townspeople and their setting the fields alight? The decision to start over again? Orontes and his desperation, his absences?

10.Passhur going into Jerusalem, the encounter with Jesus? The palms and the rejoicing, the message about Jesus? The healings, Passhur regaining his sight? His return to the village? The impact on Artaban? Artaban’s age, illness?

11.Orontes in Jerusalem and his learning that Jesus was to be crucified? Going back to Artaban? Artaban going to Jerusalem with Orontes, seeking out Jesus, at the palace, their being kept out, his collapse? His hearing the scourging, the soldier and his comment on the coronation? Artaban and his consciousness, determination to follow the Way of the Cross?

12.On the road to Calvary, the encounter with Shimir? Her father, the Magus, his going to the village to meet with Artaban, admiration for him, the news of the death of his father? A merchant – and the news of his ships failing, his creditors? Shimir and her being arrested? The encounter with Artaban, his giving his pearl (which Judith had kept over the years) for the redemption of Shimir? His looking at the cross and Jesus dying? Hearing the voice of Jesus, feeling abandoned and committing his life to God? The lightning, the aftermath of Jesus’ death?

13.Artaban’s return, collapse, dying? Jesus appearing to him, the words from Matthew 25 about doing things for brothers and sisters and their being done for Jesus? The consoling words, Artaban saying he had not given his gifts, Jesus reassuring him that he had? His death?

14.The impact of this variation on the Gospel story? The appearance of Jesus? Jesus’ message – put into practice by Artaban?