GINGER SNAPS: UNLEASHED

Canada, 2004, 94 minutes, Colour.
Emily Perkins, Tatiana Maslany, Eric Johnson, Janet Kidder, Brendan Fletcher, Katherine Isabelle.
Directed by Brett Sullivan.

Ginger Snaps: Unleashed is a sequel to the 2000 thriller Ginger Snaps. There was also a prequel made in 2004, Ginger Snaps: The Prequel.

The original Ginger Snaps, written by John Fawcett (The Dark) was a commercial and critical success. The sequel is not bad at all – as far as werewolf films go.

The original film focused on Ginger, who was destroyed as a werewolf. Brigitte, her sister (Emily Perkins) was responsible. This film focuses on Brigitte, now a werewolf herself, trying to find a cure for her blood before the next full moon, hiding in a rehabilitation clinic from a werewolf which is pursuing her.

The gaunt Emily Perkins is effective in an unglamorous role (and appeared in the prequel as well). She is supported by Tatiana Maslany as a precocious and curious young girl – with sadistic tendencies. Eric Johnson is a rather creepy institution attendant.

The film capitalises on suspense, the audience not quite knowing what is happening to Brigitte, the machinations of Ghost, the intrusion by Tyler, the supervision by Alice, a former addict in the institution. Ginger keeps reappearing. Brigitte goes from cold turkey to desperate need for a remedy, desperate means to find them, and the final confrontation in Ghost’s mother’s house. Good as sequels go – and an interesting werewolf film in itself.

1.The impact of Ginger Snaps? Small budget, from Canada? No stars? The use of the werewolf themes?

2.This film as a sequel, focus on Brigitte, the presence of the ghost of Ginger, the special effects, the suspense, the horror, the violence? Brigitte’s torment? Ghost and her personality?

3.The dark colours, the night, Brigitte and the opening, her cutting herself, her needing medicine, her healing? Her collapse, in the institution? The institution itself? Ghost? Her mother? The escape, the hiding in the house, the final confrontation and the werewolf? The musical score?

4.The character of Brigitte, desperate, her imagining her sister, confronting her sister? Her cutting herself, her trying to heal, the wound’s closing up? The need for the medication? Her collapse, with Alice in the institution, meeting Ghost and talking with her, Tyler and his advances, harassment, not giving her the medicine? In the discussion sessions, her attitudes and attempts to escape? The final escape, with Ghost, in the house, the werewolf outside, the confrontations, her fight, Ginger’s appearance? Ghost and her trapping Brigitte at the end?

5.Ghost, the story of her mother’s burns, her telling stories, her age, precocious, eavesdropping? At the meetings? Telling everything to Tyler and her telling her everything? With Alice? Her attachment to Brigitte? Helping, the escape, the truth about her mother and her killing her? In the house, her control over Brigitte? The werewolf, its destruction? Her trapping Brigitte in the cellar? A morbid personality?

6.The institution, Alice, reformed addict, trying to help? Coping with the clients, with Ghost, with Brigitte? The phone call, her coming at the end, her being destroyed?

7.Tyler, at the institution, his advances, sexually harassing people? Talking with Ghost? Finding Brigitte, the advances, Ghost and her lies about his advance and Brigitte’s believing her, destroying him? The other members of the staff?

8.The supervisor of the discussion groups, the women telling their stories? The nightmare and sexual imagination in the group by Brigitte, her waking up? The linking of sexuality, blood and violence?

9.The conventions of the werewolf film – and the variations presented here?

GINGER SNAPS BACK – THE BEGINNING

Canada, 2004, 98 minutes, Colour.
Katharine Isabelle, Emily Perkins, Nathanial Arcand, Hugh Dillon, Brendan Fletcher, Tom Mc Camus.
Directed by Grant Harvey.

Ginger Snaps Back is the third in a series of horror films. The first film, Ginger Snaps, achieved a cult status with its blend of werewolf story, two sisters and their bonding, the blend of horror and of sardonic humour. This continued in the sequel, Ginger Snaps: Unleashed. Emily Perkins as Brigitte Fitzgerald is the central character in the sequel, with her daughter, transformed into a werewolf, threatening people in an institution.

This third film is quite different. It is set in 19th century Canada in a remote traders’ fort. It is under siege by werewolves – many of them an expedition which tried to find supplies and bring them back to the fort. Katharine Isabelle and Emily Perkins are Ginger and Brigitte Fitzgerald, wandering the wilderness, encountering an Indian seer who makes a prophecy about one sister killing another. They also encounter a Native American hunter.

The people in the fort are tense because of the siege, especially with the leader and the death of his son. There is a very puritanical and severe minister who threatens the two girls.

The film emphasises the historical atmosphere and creates it very well, especially in the winter landscapes. There are suggestions of horror with the werewolves throughout the film but the horror is kept until the end. Some fans of the series complained that this lacks the ironic humour of the other films. However, as a blend of atmosphere, history, mystery and the werewolves it succeeds particularly well.

1.The impact of the original, the sequel? This film as a third? Similarities in plot, characters? Differences?

2.The setting in the 19th century? The historical background? The serious tone, the lack of humour? (The effect of the anachronistic language and swearing at times?)

3.The north, the wilderness, the trading post, the exteriors and interiors? The winter landscapes? The Indian village? The atmospheric score?

4.The title and its pun – the main touch of humour in the whole film?

5.The prologue, the expedition, the historical explanations, the werewolf attack, the transformation of the expedition?

6.The mystery of the two girls wandering in the snow, the stories they invented, not knowing the reality? Brigitte and her foot caught in the trap? Ginger and trying to help? The encounter with the Indian seer, her presence, the deserted village, the bodies and the blood, the prophecy about one sister killing another, the necklaces? The encounter with the hunter, his freeing Brigitte from the trap? Their fears, his help, taking them to the fort?

7.The fort itself, the men guarding, the role of the leader, his personality? The atmosphere of fear, wanting the expedition to return, their knowing that it would not? Doctor Murphy and his helping Brigitte? His joviality? His later confrontation with Finn? The leeches, Finn infected, his shooting him? The girls taken to their room? Settling in? The meal, the long grace and the attack of the minister? Ginger finishing the grace? The talk at the table? Tension?

8.The expedition, their turning into werewolf creatures, their attack, the deaths? The leader’s son and his transformation, Ginger discovering him in the room?

9.The sisters, their bonding, the confrontations? Their wanting to leave? The guard and his attack? The werewolves? The minister and his leading them away, locking them in the room with the werewolf? Their escape?

10.The hunter, his being humiliated by the men, as an Indian, his folklore, his visions? Character? His helping the girls? Brigitte and the sexual attraction? His visions?

11.The attack, the deaths, the boy and his being shot, falling in the well? The mutiny? The father and his confrontation, with the guard? His wandering the house, his suicide?

12.The return, the killing of the hunter? The sisters leaving, the seeing the seer? Her death? The confrontation and Brigitte making an option for Ginger?

13.The end, the mystery, their wandering – and a sufficient explanation for horror stories of two centuries later?

THE GHOST (THE GHOST WRITER)

UK/France, 2010, 128 minutes, Colour.
Ewan Mc Gregor, Pierce Brosnan, Olivia Williams, Kim Cattrall, Timothy Hutton, James Belushi, Tom Wilkinson, Eli Wallach, Robert Pugh.
Directed by Roman Polanski.

Robert Harris is a best-selling writer whose conspiracy books include Fatherland and Archangel. He has collaborated here with Roman Polanski in adapting his novel, Ghost, for the screen and has said that in refining, cutting and selecting for the screenplay, the film has some better features than the book. Whether that is true or not, The Ghost is an absorbing contemporary thriller with fascinating political suggestions and implications.

First of all, it is not about Tony Blair. Well, not quite. Harris has said that he had the basic idea before Labour came to power in the UK in 1997. But, with comments about Tony Blair and war crimes in the aftermath of the invasion of Iraq, Harris had found a situation to build his novel on. In fact, the screenplay becomes quite explicit at times about the repercussions of the invasion of Iraq for the British and the Americans and the role of the CIA.

Harris has also expressed an admiration for the films of Alfred Hitchcock with their ordinary and central character sometimes caught up in a world of intrigue and international espionage. This film can be described as in the vein of Hitchcock suspense. Roman Polanski showed himself a director in this genre with his 1988 Frantic.

Opening with the seemingly accidental death of the ghost writer of the former British Prime Minister's memoirs, the film quickly introduces Ewan McGregor? as the writer being courted to revise and rewrite the memoirs. Ewan Mc Gregor has proven himself quite an engaging screen presence in both serious and comic films and is able to take the weight of the film, appearing in every sequence.

Needless to say, there are complications, twists and some sinister chases and a writer, not used to being in this kind of danger, having to show bits of action and heroism that surprise him.

Pierce Brosnan has proven that he has an acting life after James Bond (well, not a sining one after Mamma Mia) and is very good as the irascible and genial former prime minister. Kim Cattral has a more serious role than usual as his minder and Olivia Williams relishes her role as the wife, a hard woman, strong, with a touch of jealousy but a power behind the throne.

The film is also enhanced by a number of important and effective cameos: Tom Wilkinson as a professor, Timothy Hutton as the official attorney, James Belushi as the head of the publishing company, Robert Pugh as the former Foreign Secretary and a welcome appearance by 93 year old Eli Wallach.

As the ghost writer uncovers more and more information, more possibilities for conspiracy theories arise until a good dramatic ending which we may or may not have been anticipating but which makes some sense (sinister sense) of what has been going on.

1. The popularity of Robert Harris’s novels, transition to the screen, the adaptation for this film? The work of Roman Polanski?

2. 21st century politics, in the United Kingdom, the United States, the Middle East? Policies, the CIA and its agents? The pressure from the United States?

3. The American settings, Massachusetts and Kennedy territory, Martha’s Vineyard and the island, the coast, homes, hotels, mansions? The musical score?

4. The credibility of the plot? The revelations about the CIA (and comparisons with attitudes towards KGB infiltrators)? The British prime minister, policies, the influence by the CIA agents? Political reactions and denunciations? Human rights issues? War crimes? The courts? The possibility of the arrest of the ex-prime minister, staying in America, immunity?

5. The relationship of the plot to Tony Blair and his career? Similarities and differences, Iraq and Afghanistan? War crimes accusations?

6. The opening, the ferry, the cars leaving and the car stranded, the body washing on shore? The repetition of the car episode with the Ghost? The Ghost and the information about the tides, the old man, the woman in coma? Suspicions?

7. The meeting about the Ghost writing, the publisher and his tough demands, the editor and his supercilious attitude towards the Ghost, the agent and his wanting a good deal, the lawyer and his opinions? Persuading the Ghost to write, the discussions, the agreement? The large amount of money, the happiness of the agent? The Ghost and his being wary?

8. The Ghost and his character, age, experience, attitudes, skills?

9. Going to the island? Being met by Amelia, her brusque manner, the introduction to the house, his room, the office, the security for the manuscript? Ruth and her haughtiness? The other members of the staff, the Asian woman and her offhand manner with the meals? His going to the hotel, settling in? His later return to the hotel – and the interchange with the angry man who swore at him?

10. Adam Lang and Pierce Brosnan and his style? Resemblances to and differences from Tony Blair? His reputation for his time as prime minister? His being a moody man, his demands, the isolated world and not having any money, not being able to drive? The discussions with the Ghost, the ups and downs of their relationship, his exercising, his minders, the security guards? His relationship with Ruth, the tension? The past, her influence? The influence of Amelia and a relationship or not?

11. The Ghost and his work, editing the manuscript, trying to copy the manuscript and the security coming down, his evading detection? The stories? The story about Ruth, the inconsistency with the dates of Lang joining the Labour Party? His questions? Throwing out the clothes of the previous writer, finding the photos, the phone number? His puzzle, suspicions? The Foreign Secretary’s phone number and his calling?

12. Ruth as a character, interacting with people, talking with the Ghost, going to walk with him, the sexual encounter, rescuing him and his bike? The advice on the television revelations, not wanting her husband to go to Washington? Her staying behind?

13. The Ghost and his bike-riding, the encounter with the old man and his information? Going back to the hotel? The phone call to Rycart? Going to Paul Emmett, being allowed in, the discussions, seemingly innocuous? Emmett’s reaction? Going back to the ferry, trying to elude the car that was following him, getting off the ferry? Ringing Rycart again, Rycart coming to him, the discussions after the security check? The advice to return to the island, the prime minister arriving, his being shot?

14. Amelia, as a minder, businesslike, the personal relationship with the prime minister?

15. Television and revelations, the Foreign Secretary and his denunciation, not being personal? The Hague, the courts, warrants? The visuals of the protesters? The group watching the television, the Ghost and his writing the expert press release? Lang going to Washington, the dinners, the arrangements, the cover-ups, the interviews? On television and Ruth criticising him for grinning?

16. The prime minister’s death, the tributes?

17. The return to London, the Ghost finishing the book? His being the plus-one with Amelia for the launch, his not being invited? Seeing Emmett and Ruth, his suspicions? Giving the manuscript to Amelia as a souvenir, looking at it again, the code, the information about the beginnings? The discovery of the truth and the code about Ruth and her being a CIA agent?

18. The audience rethinking their perceptions of Lang, their perceptions of Ruth?

19. The Ghost going out into the street, his future? The crash off-screen, his death, the pages fluttering along the London street? The touch of cynicism and pessimism?

HACHI: A DOG’S STORY

US, 2009, 93 minutes, Colour.
Richard Gere, Joan Allen, Sarah Roemer, Jason Alexander, Cary- Hiroyuki Tagawa.
Directed by Lasse Halstrom.

Dog lovers prepare to weep. Not so sure about those who are not attached to dogs and their leaping, licking and nuzzling playfulness. Perhaps, just sit back and enjoy.

Based on a 1987 Japanese film which was, in turn, based on a true story from the 1920s and 1930s (with the real Hachi's photo appearing at the end as in many a biopic), this is a story of how strong a dog's best friend credentials can be.

We see Hachi being sent from Japan to the US and, by a series of accidents that do no credit to postal or transport and delivery services, poor little Hachi finds himself, label-less, except for the luck emblem around his neck, wandering a railway station in smalltown USA. Fortunately for Hachi, music professor Richard Gere runs into him, tries to find his owner but, despite his wife Joan Allen's antipathy towards having a dog in the house, they bond. Having seen dog owners and their bonds with their dogs, I soon realised that Gere's bonding with Hachi was Bonding (with a capital B). Actually, Gere's delight in performing with Hachi is such a strong factor for the film that the story becomes quite credible, especially in the latter part of the film where Hachi for years goes daily to the train station to wait attentively for his master – with a lot of help, love and care (and constant treats) from the hot dog stand owner, the book shop manager and the butchers, husband and wife, both advising Hachi to keep it quiet because the other does not know that they are sneaking out to feed him.

Whether the Akita breed of dogs is more 'human' than most, I don't know, but with the training and the photographic angles and the direction, you would be sure that Hachi not only knew what was happening but really understood – a range of smiles, eager looks, cute looks, quizzical looks... (And, at times, the camera goes black and white to show Hachi's point of view and sight of what is going on,)

This is a film suitable for all. Adult dog lovers will empathise with Richard Gere and, eventually, Joan Allen. Children will be well focused on the dog. Then the thought came: who is the better example of canine love and loyalty, Greyfriars Bobby or Hachi? Probably, a draw.

1. A true story? The 1920s and 30s in Japan? The statue to the original dog outside the railway station in Japan? The transposing of the story to the United States?

2. The film’s appeal, dog lovers, humans? Devotion, the dog as the human’s best friend? Emotion, tears?

3. The opening, the story of the young dog, the Japanese background, the monk, sending the dog to the United States, the labels, the hazards of travel, the dog being lost?

4. The opening with the class: Ronnie and his telling his story, heroes, his grandfather, the story of Hachi?

5. The railway station, Carl, his caring for the dog, yet wanting to find the owner, for it to be out of the station? Professor Parker Wilson and the encounter, the late time at the evening, his helping out, taking the dog? Cate and her not wanting a dog in the house?

6. Richard Gere as Parker, his skill in acting with the dogs and keeping audience sympathy? His background, music, composition? His classes, the students? His love for his wife? Their daughter? The story of family relationships?

7. Hachi and his name, the collar? Ken and his Japanese background, friendship with Parker, explaining the dog, the Akiti breed? Nobility? Parker bringing the dog into the house, concealing it from Cate, getting into trouble? There being no claimants at the station? Taking the dog home, the set-up, the kennel in the garden, play, Andy and her love for the dog? It becoming part of the family, Cate accepting it? Parker and his attempts to teach it to fetch – and failure? Parker going to the station, Hachi following, burrowing under the fence, chasing Parker? The repetition day by day, faithful, waiting, waiting for the return? Meeting the train? Parker and his friendship with the various storekeepers, their meeting Hachi and befriending him, supplying him with food?

8. The pattern of life, Hachi growing bigger, becoming a pet of the family, of the people at the station, Andy playing with the dog? Her marriage, Ronnie’s birth?

9. Parker, trying to get Hachi to fetch, the final success? The collapse of the professor in class, the heart attack, his death, the funeral?

10. Andy and her husband, taking Hachi, trying to make a home – but Hachi leaving and going back to the house?

11. The change of residents in the house, Hachi with nowhere to go except the station? His friends at the station?

12. Ten years of repetition, the vendors, Carl, supplying food, his being the town pet?

13. Cate, her visit to her husband’s grave, seeing Hachi after all the years?

14. The journalist, the story, taking pictures – and Carl wanting to intrude? The publication?

15. Hachi as old, Hachi’s death, the erection of the statue in his honour – and the theme of dogs as everyone’s best friend?

WALLANDER: CELLISTEN

Sweden, 2009, 85 minutes, Colour.
Krister Henriksson, Lina Endre, Sverrir Gudnason, Nina Zanjani, Fredrik Gunnarsson, Douglas Johansson, Max Bergman, Stina Ekblad, Magnus Roosmann.
Directed by Stephan Apelgren.

In the Swedish version of Wallander, Krister Henriksson plays Wallander in twenty-six episodes, the first in 2005, the second in 2009/10. He is a contrast with Kenneth Branagh who portrayed Wallander in six British/Swedish telemovies.

The Swedish film is much more ordinary in its presentation of police work in Sweden, contrasting with the Branagh version where he is a tortured soul and the film focuses on his own personal crises, relationship with his father and his daughter, his anguishing over his work and its implications.

Wallander seems a much more ordinary person in this film, laughing a great deal more than does his Branagh counterpart. The team is there working with him as well.

The films are interesting police stories in themselves, as well as Swedish interpretations of the novels by Henning Mankell.



1. The place of this film in the second series of Wallander films? Its quality, impact?

2. The Ystad setting, the town, homes, the water, the streets, the precincts? The concert halls? The musical score – especially the cello music?

3. Wallander, his listening to the concert, enraptured by the music? His background, age, about to retire? His walking, his dog? The interactions with Katarina? With Pontus and Isabell? Working with his team? Relying on them? Svartman and his ordinary work, but his breakthroughs? Martinson and his Wallander suspicious of him?

4. The focus on the cellist, the murder of her boyfriend? The car bombs? The Russian Mafia? The cellist and her being a witness? Wallander talking with her? Her being taken to the hospital, her surviving, the faulty bomb? The possibility of losing the use of her hands?

5. The background of the Russian Mafia, the boss, his son as an assassin? The son arrested and in jail? The boss and his henchmen, his orders? Yet his not being on any police lists? His religiosity, visiting the churches, Russian Orthodox, the icons? A cruel man? The irony of his leaving the concert, passing Wallander, dropping his wallet, Wallander picking it up and giving it to him?

6. The cellist, her release from hospital? The protection? Her being transferred to the boat? The recovery of her ability to play? The build-up to the final concert? On the houseboat, the attack of the criminals, her shooting?

7. Katarina, her work as a prosecutor, friendship with Wallander? Something more? Jens Riis and her background with him? His being involved in the case from Malmo? His living on the boat, his relationship with his daughter? His becoming involved, working with Katarina? With Wallander? The discussions, his contribution? The criminals and their taking his daughter as hostage, blindfolding her, his concern, the rescue?

8. Katarina, the investigation of the case, Wallander and the clues? His confrontation with the Mafia boss, in the church? His speculation, offering him a deal?

9. The boss, going to jail, the greeting to his son, the reconciliation from the past and his despising of his son? Their both serving jail sentences?

10. The straightforwardness of the story, the role of the cellist, Wallander and Katarina going to her concert? The successful pursuit of a criminal case?

WALLANDER: LACKAN (THE LEAK)

Sweden, 2009, 90 minutes, Colour.
Directed by Henrik Georgsson.

Krister Henriksson plays Wallander in twenty-six episodes, the first in 2005, the second in 2009/10. He is a contrast with Kenneth Branagh who portrayed Wallander in nine British/Swedish telemovies.

The Swedish films are much more ordinary in their presentation of police work in Sweden, contrasting with the Branagh version where he is a tortured soul and the film focuses on his own personal crises, relationship with his father and his daughter, his anguishing over his work and its implications.

The team is there working with him. The films are interesting police stories in themselves, as well as Swedish interpretations of the novels by Henning Mankell.


1. The place of this film in the series? Audience knowledge of Wallander, his staff? His methods? Ystad and its locations?

2. The use of the city of Ystad, the waterfront, the police precincts, homes, the woods? The musical score?

3. The title, the indication of the armed robberies, the information, the leak? The mystery in who was the leak?

4. The opening, the shooter in the forest, killing the jogger? His body found? Identification – and the indications on his map where he was killed?

5. The raids, the crew? Belker and his reputation?

6. The police: Pontus and Isabell, their discussions, uniforms, trainees, on the streets? Their seeing the raid, disobeying orders, the pursuit? The van backing? The injuries to Pontus, taken, tied up, in the van, his escape? Their both being in hospital? Wallander rebuking them, but glad that they were safe? Svartman and his wife and family, going to the body in the woods, his spending time in the woods, his attention to detail? Martinsson, being ready with the gun, the interrogations?

7. Wallander, his personality, age? In uniform, going to the ceremony, Katarina inviting herself? His encounter with his friend Sven? Sven’s wife? Sven’s story, insecurity, giving up on the police, going to the South of France? The murders, the raids? His following through clues, the investigation? His knowledge of Belker? His upset and Isabell disobeying orders? The body in the woods and its identification? The card from Sven, going to visit the man in charge of the plans, his compulsive gambling? Sven and his confession, the preparations for attacking the raiders? The pursuit of Belker? The injuries to Sven’s wife, Sven and his arrest? Wallander and his relationship with Katarina, close, friendship? The dogs? The absence of the family stories in this film?

8. The gambler, Martinsson following him, his information, the location of the van at the harbour?

9. The focus on robbery, killings? The investigation and successful outcome? Belker being left to Interpol?

COPIE CONFORME (CERTIFIED COPY)

France/Italy/Belgium, 2010, 104 minutes, Colour.
Juliette Binoche, William Schimmel, Jean- Claude Carriere.
Directed by Abbas Kierostami.

‘What was that all about?’ is a fair question. ‘Who was that all about?’ may be an even fairer question.

This is really a cinema essay, verbal and visual, about art and perceptions of art, about life and about fantasy. It is celebrated Iranian director, Abbas Kierostami, making a non-Iranian film and a film outside Iran (though he did make the short story in Italy which was his contribution to the 2005 Tickets).

A British writer on art theory delivers a lecture in Tuscany. A French art dealer who lives in Tuscany with her young son attends and disagrees with aspects of the book. She takes the author on a drive which leads to much (much) discussion about art, originals and copies, about marriage and relationships. An Italian lady mistakes them for husband and wife and the woman follows through with this role play, the author gradually joining in. They encounter young marrieds with the woman elated and the man surly and unwilling to be photographed, trying to be realistic about change in love and life. They argue about a statue in a piazza and she enlists some tourists to bolster he interpretation against his snobbishness. He is also snobbish about wine in a restaurant and does not notice the woman’s putting on lipstick and earings. Finally, they go to a hotel room which she states is the room of their wedding night fifteen years earlier. Will the author leave for his train or stay with the woman? Here the film stops leaving us to speculate after the credits.

For audiences who like the director and this kind of debate cinema, they will be delighted. Others may not have the staying power, even though Juliet Binoche is the woman and William Shimmell is very good as the man. (Kiersotami fans might be wondering in the first part of the film but there is a Kierostami relief moment when the camera goes on to the front of the car to film the conversation and they indulge in a Kierostami drive!)

1. A film, an essay in words and images?

2. The work of Kierostami, his traditions, style, experimental? This film as non-Iranian? A film of Italy and Tuscany? Italian characters, French characters, British? The western perspectives? The characteristic Kierostami car ride? The musical score, songs?

3. The narrative development: the lecture, mother and son, the outing, arguments, phone calls, the Italian woman reflecting on women, the couple getting married, the heroine and James as a couple, the role-play, seeing the wedding, the psychodrama and the anniversary, the photos and the reaction against, the statue, the travelling couple and their opinions, the restaurant, the woman and lipstick and earrings, the wine, in the piazza, the hotel, room nine on the third floor? The end or the film just stopping? The audience continuing with ideas and reflections?

4. The introduction to James, the professor, his being late, the audience, his book, the signings? Theory of Art? His British background, introduction, jokes, his paper, the interruption by the mobile phone? The themes of art, originals and copies, origins and birth? Humans as DNA copies of ancestors? Copies, the technical aspects, the viewer response?

5. The woman, sitting in the front, her son, his texting, awkwardness? Her leaving, walking with her son, going to the café, his wanting Big Mac food, her being irritated with her son, the information about her life, his comments about her attractions? Her disliking the book? The gifts? James’s later story of the mother and the son following at fifty paces, the woman identifying with this, explaining she was ill at the time?

6. The invitation, James coming to the shop, subterranean? The ride in the car, the camera on the car, filming the conversation? The woman talking about her sister and her husband, her being irritated with James and his views? The information about her life? James’s story of the mother and the son? The discussions about simplicity?

7. Stopping for coffee, the talk, the story, the phone call, the attacking lady and her conversation with the woman, the discussion about wives, about being married, status, husbands and their love for work, the women and their control? James as a loving husband? Her misinterpreting, the woman allowing her to go on? The Italian lady convinced that she had the truth because she could see it? The woman identifying as married, and the talk about being married, the detail?

8. Her own phone call, her son, irritated with him, looking for something in the drawers? James’s reaction?

9. In the street, the discussions, going to the museum, seeing the wedding couples? The woman and her enthusiasm, wanting to be photographed, because of the anniversary? James and his being surly, remaining outside, the bride drawing him in?

10. The woman and her comments about subjectivity and observing art, James becoming more irritable? The statue in the piazza, the man protecting the woman? James’s disdain? The woman talking with the couple, getting them to explain, the wife and her interpretation of the statue? The feeling? The man being immortalised because of his protection of the woman? The husband and his giving advice to James, to put his hand on the woman’s shoulder and reassure her?

11. The restaurant, James’s demands, instant? The waiter delaying? The wine and the tasting and his not liking it? The woman and putting on lipstick, her earrings? James not noticing? Her anger? Seeing the wedding couple outside for their fiesta?

12. James and his apologies, the discussions about sleeping and dozing, blaming each other?

13. Going to room nine, she and the memories of the wedding night? He playing along?

14. The tone of realism, his having to get back to the station – but his looking in the mirror, staying?

15. Theories of art, technical art, subjective responses giving life to the work of art?

16. Theories of life, subjective aspects, objective aspects? Emotion? Identity? The nature of marriage? Love?

17. A visual and verbal exploration of these themes?

MARMADUKE

US, 2010, 87 minutes, Colour.
Lee Pace, Judy Greer, Caroline Sunshine, Finley Jacobsen.
Voices of: Owen Wilson, Kiefer Sutherland, Emma Stone, George Lopez, Christopher Mintz- Plasse, Steve Coogan, Stacy Ferguson, Marlon Wayans, Damon Wayans Jr, Sam Elliott.
Directed by Tom Dey.

Moviemakers have a passion for telling dog stories. And, of course, so do their owners. So, there seems to be a ready market out there for more dogs on screen. Marmaduke is one that fulfils the definition of a family film. Large great dane who rarely stops talking and making goofs and gaffes which should please the younger audiences. Dogs talking and aping human behaviour will entertain humans in a non-demanding mood.

In Marley and Me, Owen Wilson owned a dog and lived through years of affection and disruption. This time, he is the voice of the chattering Marmaduke. There are some other interesting voices for the range of dogs, especially those who hang out in an LA dog park. Emma Stone is the nice but ignored Maisie while Fergie is the attractive Collie, girlfriend of the bully around town, Bosco, who is voiced by Kiefer Sutherland. Two Wayans brothers have comic dog roles and there is the unmistakeable drawl of Sam Elliott for the old veteran. Lee Pace has a lot to do as Dad, put through all kinds of paces, so to speak, by Marmaduke, transferring his family from Kansas to LA and trying to ingratiate himself with the boss of the pet food company, William H. Macy. Judy Greer has much less to do as Mum and looks on benignly at the goings on, with Marmaduke’s mayhem and her pouty young teenage daughter who is at that age... and the young son who skateboards, does not want to play soccer but does not want to disappoint his father.

Marmaduke is sometimes a bit slow on the uptake despite his comments about how the family is going and how he thinks they take his advice. But, making friends early with a group of muts, including Maisie and a Brit-voiced dog voiced by Steve Coogan, he is attracted by the alluring collie, sets up his fellow pet, the cat (George Lopez) to play scared so that he can be the hero. Trapped into entering a dog surfing contest, he does very well – and it all goes to his head, with dire results. How can Marmaduke be redeemed? You will have to go and see it (or watch it over the kids’ shoulders when it comes on DVD).

1. The popularity of dog films? For children, adults, families?

2. The cartoon origins of this film, transformed to the screen, action sequences, the inclusion of words? Films about talking dogs, the mouthing? The barks, words, humans and communication and not understanding dogs?

3. The move from Kansas to Los Angeles, the Los Angeles house, the parks, beaches, mansions? Ordinary Los Angeles? The score?

4. Marmaduke and the credits, the sketches, the final credits?

5. Marmaduke and the voice-over? Owen Wilson and his voice, tone, drawl? As a great dane? Marmaduke’s size, big, clumsy, getting chased, being upset, the bedroom, the breaking wind, the cat as his friend? Carlos the cat – and the Hispanic touch?

6. The Winslow family, Dad, pleasant, earnest, his job, pet food, always busy, wanting the move? Not listening to the family? Mum and her willingness to go, Brian and his willingness, Barbara and her tantrum? Wanting her friends? The move, the new house, settling in, the new job, new schools, new friends?

7. Marmaduke and Carlos, together, going out, the extroverted Marmaduke, going to parties, finding the mutts, Maisie and the attraction, learning from her, taking her for granted?

8. Going to the park, the party, the crowd, Bosco and his tough attitudes, Jezebel as his girlfriend, sweet? The big group of followers, conforming? Marmaduke and his head being turned?

9. The boss, anxious about contracts, the plans, the father and his ideas, Marmaduke bowling the boss over? The surf, the idea of the competition? The visitors from the company? Bosco wanting to win the surfing? The big waves, Marmaduke pushed out to sea, riding the surfboard, winning? The acclaim, the upset and the clash? The visitors being drenched?

10. Brian, his father wanting him to play soccer, his not being willing, the shirt? Barbara, at school, with the girls, disowning Marmaduke? The boy and the attraction? Wanting to own Marmaduke, her changing attitude?

11. The weekend away, the children’s reactions? Marmaduke and the friends, the party, the absolute mess, the return of the family, Dad’s reaction, Marmaduke’s being left outside, his leaving? Trying to rectify things by leaving the shirt and Barbara’s mobile phone?

12. Chupadogra, at first seeming menacing with Marmaduke and Maisie, Marmaduke meeting him again, finding him old, listening to his story, the wise talk, saving him from the pound?

13. Maisie and the mutts, upset with Marmaduke, yet searching for him?

14. The family searching for Marmaduke, the breaking of the water main? Marmaduke and Maisie, going into the hole, the flood, the rescue? Dad and his going to search for Marmaduke, diving into the water, saving him?

15. The boss, relenting about sacking Dad, the rescue filmed and shown on YouTube?, the range of sponsors?

16. The dogs and their dance, the video commercial?

17. Staying in Los Angeles, Mum and the kids resigned, Marmaduke happy?

R U THERE

Netherlands, 2010, 87 minutes, Colour.
Stijn Koomen.
Directed by David Verbeek.

Are You There is a surreal film experience, a Dutch film but set in Taiwan. It is in the world of cyberspace – with the title and the language of texting, a presentation of computer games and players obsessed with these games. In Taiwan there is a championship with international competitors for winning at computer games.

Stijn Koomen portrays a young man, with great skills, going to Taiwan, encountering a woman called Minmin, relating with her, but also going outside the city into nature, and returning to compete in the games.

While the film does have some realistic touches in its narrative, the ending, with the young man in the corridor of the plane and removing its door – in midair – leaves the audience also up in the air.

1. The title and texting?

2. Computer games, in themselves, the players, the obsessions? The championships and competitions?

3. The presentation of virtual reality – contrasting with real life?

4. The Dutch, sending the team, going to Taiwan? Locations, nature, the games, hotels, the competition room? Musical score?

5. The visuals of the games, inserting dialogue, the battles and shooting, heroes and heroines, myths?

6. Jitze, his age, in himself, his play and skills, in the competition?

7. The Chinese background, the hosts, the technicians, Min Min?

8. Jitze and injuring his shoulder, getting help, the massage, difficulties, losing a game?

9. Jitze in the hotel, wandering, Min Min and her friendship?

10. Going into nature, Min Min and the boy in the water, Jitze playing?

11. The return, winning? The nature of the game, wishing Jitze bon voyage?

12. The surreal ending with Jitze walking the corridor and removing the door of the plane and walking out?

BURNT BY THE SUN 2: THE EXODUS

Russia, 2010, 150 minutes, Colour.
Nikita Mikhalkov, Oleg Menchikov, Nadezhda Mikhalkova.
Directed by Nikita Mikhalkov.

Burnt by the Son won the Cannes Palme d’Or and the Oscar for 1994. It told the story of a family in Stalin’s Russia prior to World War II. The story now continues into the war, ending in 1943, with the promise of the part 2 of part 2 to follow. (this part runs for two and a half hours.)

Sergei Bondarchuk and Mikhalkov used to make films like this in the Soviet Union of the 1960s and 1970s (Waterloo, War and Peace). It is large in scope, sweeping in its several plots and presenting war and battles most impressively. The standout in this film is a lengthy sequence of a Red Cross boat sailing with German planes doing exercises overhead but not bombing the boat. When an individual does something stupid, and one of the German bombers is doing something stupider, everything changes and there is a heart and gut wrenching attack on the boat. There are also effective scenes of political prisoners in the gulags and the outbreak of war and another wrenching sequence where a group of soldiers deemed criminals are joined by a brash group of tall young elite groups to help stop the German advance – which comes from behind them with tragic results. And there are other war episodes.

This is what Mikhalkov wanted to do, to show aspects of Russia’s experience of the war and its unpreparedness and what it suffered, especially in casualties from military to civilian. German soldiers do not come out well in this film.

But, there is political background as the central character of the original film finds himself in prison, escaping at the outbreak of war and serving as a simple soldier. He thinks his wife and daughter (played by his daughter as she did as a young girl in the 1994 film) are dead, but his daughter survives the bombed Red Cross boat.

While showing the war experiences of 1941-1942, there is a sub-plot concerning Stalin’s hearing that the general is alive and his sending an officer to track him down. The actor playing Stalin is very effective, appearing in two scenes, one the opening where the General offers Stalin a cake when he visits his house and serves the cake in a way Comrade Stalin would not expect, the second where he makes the officer keep playing the piano while he instructs him on the search for the General. The sly, political nous is suggested quite sinisterly.

So, old-style film-making with more than an influence of Saving Private Ryan’s war scenes, offering a lot to reflect on with Russia’s harsh war experiences.

1. The impact of the original film, the portrait of a family, life in Russia in the 1930s? The fate of Kotov?

2. The sequel, the first part of the sequel? Title, the exodus and war?

3. 1941-1943: war action, Kotov's experience, prisoner in the Gulags, serving in the trenches? His beliefs about his family's death? Nadia and her story?

4. The framework, the dream and Stalin, 1941 and action, 1943 and Stalin and the search for Kotov? Intercut?

5. The opening dream, the family, lyrical? Stalin genial, Beria present? Stalin's delight, Nadia, the cake and the timing, Stalin admiring the cake, Kotov smothering Stalin in the cake? Waking up?

6. Kotov and his friends, waking up, the prison, going to work in the mine, changing his status? Trying to find out his status from (*the?) political prisoner? The war, the escape, the Germans and the attack?

7. Kotov and his serving on the front, the working soldiers, digging the trenches, the lieutenant and his command? Holding the line? The arrival of the large elite group, young, tall, well drilled, naïve? The interchange of the leaders? The young commander learning? The tanks coming, the soldier running to greet them, the German tanks, coming from behind the lines, the advance, the fight, the slaughter? Kotov and the survivors? The lieutenant shooting himself?

8. Nadia, in the special squad, the Red Cross boat, no-one with guns, the German air aces, their exercises over the boat, the man with the gun, the bomber and his mooning the boat, the shooting, the pilot and his anger, not obeying orders, attacking, the decision to attack the boat and massacre the people? The detail and realism?

9. Nadia, surviving in the water, holding on to the mine, the priest, his talk about prayer, baptising her, his floating away? The ship with the archives, the glamorous woman and her chandelier? Their not stopping for Nadia, her getting ashore, the mine destroying this boat, the wreck of the chandelier and Stalin's statue on the shore?

10. Nadia and the village, no-one to be found, three German soldiers, the confrontation with the gypsies, the massacre without motivation? The two Germans killed by the girl? The girl encountering Nadia, going up the hill, watching, the question to go down the hill to the German squad and to the people or not? Nadia and the cross, prayer, the right time, doing God's will? That there was more to do? The people from the village gathering, the girl killing the soldiers, the shooting, the burning of the people in the barn?

11. Stalin and his quest for Kotov, summoning the officer, with Beria, making him play the piano, his standing to listen to Stalin, Stalin ordering him to keep playing, the focus on Stalin's face and his shrewdness?

12. The officer and the search, the young girl from the special corps, her story, information, the flashbacks? Going to the intelligence headquarters? The officer, trying to be hospitable to his visitor, his trying to deal with the Russians living in occupied territory? The Kotov stories?

13. Nadia on the front, the deaths of the young Russians, the dying nineteen-year-old boy, wanting to see her, her baring herself for him? The long reverse zoom from her?

14. To be continued ....