MADEMOISELLE CHAMBON

France, 2009, 101 minutes, Colour.
Vincent Lindon, Sandrine Kiberlain, Aure Atika, Arthur Le Hoerou, Jean- Marc Thibault.
Directed by Stephane Brize.

Very French – but most cultures would identify with the characters and the situations. Somebody remarked that they were reminded of Brief Encounter (even with an ending at a railway station), but this film develops its characters with a great attention to detail, quite ordinary characters, living quite ordinary lives in a French provincial town.

Jean (Vincent Lindon, seen more recently as the swimming coach in Welcome) is married to Anne- Marie (Aure Autika) and they have a young son, Jeremie. They seem to be a close-knit family and are initially seen talking homework with Jeremie, especially about verbs and the objective case (not a usual start for a drama). Jean is a serious builder and spends time as well caring for his about to be 80 father. Anne-Marie? works at a printer. Jeremie is an average student and is being taught by a new teacher for the year, Mademoiselle Veronique Chambon (Sandrine Kiberlain, married to Vincent Lindon for ten years and they work very well together).

As mentioned, the film pays great attention to detail, some of the sequences being quite long: Jean washing his father’s feet, Jean invited to talk to the class about his job and answer questions. The audience is immersed in this provincial world.

But, what can happen? What will happen? With a title like Mademoiselle Chambon, we might expect the teacher to be at the centre of a love affair, a tragedy, unrequited love and disappointment (the kind of emotional crisis that Zola or Flaubert wrote about in 19th century France). There is something of this, but the film’s main concern is with Jean in the 21st century. He is particularly introverted and it takes a while for us to appreciate that what we think might be going on in his mind is actually going on. The film moves us in this direction by the use of Mademoiselle Chambon playing the violin and then listening to CDs with Jean.

As the relationship becomes more complex, Jean invites the teacher to play the violin at his father’s 80th birthday party. There is a wonderful sequence of music, sound, nuanced expressions from the cast and, until the end of the piece, no words, played to Elgar’s. This sequence indicates emotionally but very clearly what is happening.

In many ways the characters are quite reserved and generally behave in a reserved manner. So, it is quite a shock when Jean reacts angrily and completely unreasonably to his wife’s suggestion of a buffet for his father’s party. He is then aggressively angry at the building site. But, almost completely, this is a film of interiors, of feelings, of infatuation, of live, of infidelity and, ultimately, of decisions. Bittersweet.

1. A satisfying French drama? Intense but low-key restrained? Yet passionate?

2. The parallels with Brief Encounter? Credibility of characters, situations, behaviour, decisions, emotional and moral decisions?

3. The town, its ordinariness, ordinary people, the builder, the wife working in a printery, homes, schools, apartments? The railway station as a place for the climax?

4. The musical score, the violin, the music of Elgar? Emotional? The points of insertion of music in the narrative?

5. The family and family life, Jean and Anne- Marie, Jeremie? The opening, together, discussing verbs and direct objects? At home, the meals, Anne-Marie? cooking, Jeremie doing his homework?

6. Anne-Marie? at work, hurting her back, coming home, the family care? A good wife and mother?

7. Jean and his work at the site, the phone call, meeting Jeremie at school, meeting Veronique? Meeting her again, being late? Her invitation to speak to the class, the long sequence of his explanation of his job to the class, taking questions from the wide range of children, enjoying it? Veronique and her affirmation?

8. Jean’s father, age, Jean taking care of him, washing his feet? The preparation for the party? The later visits? The father at the party, the gifts, Veronique playing for him, enjoying it?

9. Veronique and the window, Jean’s visit, the agreement, his work and the detail? Veronique asleep? His seeing the violin, asking her to play, her refusal, not wanting to face him? Finally playing, the effect, listening to the CDs, the quiet sitting on the couch? His response to Anne-Marie’s? wanting to invite Veronique for lunch, feigning a detachment?

10. His return, the CDs, listening, the kiss, the awkwardness and his leaving? His infatuation? Her response? His becoming edgy, snapping at his wife about the buffet? Breaking the tool at work? His wife announcing her pregnancy, his reaction, low-key? Shopping? Anne- Marie confronting him as they tried to buy things for the baby’s room? His denial?

11. The preparation for the party, the argument, his sister’s living away? The party itself, the buffet? Anne- Marie watching Jean as Veronique played the violin, realising the truth?

12. The playing of the Elgar piece, the non-verbals, the communication of each character, awareness?

13. Jean, in the car, the vigil outside Veronique’s house, the phone call, her not answering, his leaving the note?

14. Veronique, her life, her past, her continually moving, plans, teaching, her success as a teacher, the principal urging her to stay on? Discussing this with Jean? Her mother’s phone call, her sister’s achievement, the contrast with Veronique? Her decision to go, playing at the party, her invitation to Jean, the sexual encounter, Jean’s promise to leave?

15. Veronique going to the station, Jean late, stopping at the foot of the stairs, waiting for the train to go? Veronique on the station, anxious, finally getting in the train?

16. Jean going home, his bag, Anne- Marie seeing this, their mundane talk at the table, the retreating camera, the bars on the window?

17. The question of where audience sympathies lay, Anne- Marie as a good woman, being hurt? Veronique, her affections, being led on, her being hurt? Jean and the crisis, handling it, infidelity, prepared to leave?

18. A film about the reality of ordinary lives?

BLACK IRISH

US, 2007, 95 minutes, Colour.
Michael Angarano, Brendan Gleeson, Tom Guiry, Melissa Leo, Emily Van Camp, Michael Rispoli.
Directed by Brad Gann.

Black Irish is a story from South Boston, the Irish area. The Irish consider themselves tough, black Irish, with a Catholic background.

This is a coming-of-age story where Michael Angarano (Man with the Chair, Gentlemen Broncos) is a teenager who is learning to stand on his own feet. He comes from quite a dysfunctional family: the father, played by Brendan Gleeson, an alcoholic and with menial jobs, Melissa Leo as his bitter mother, Emily Van Camp as his unmarried pregnant sister, Tom Guiry as his criminal-record older brother.

The film shows the family and their problems, their bickering. It also shows the young boy, following his mother’s desire that he be a priest and going to the junior seminary, having to face life, the problems of the family yet standing on his own feet, finally confronting his brother who is about to shoot the restaurant owner (Michael Rispoli) who has employed him.

There is a kind of hopeful ending as the terminally-ill father leaves hospital to go to watch his son play baseball, a talent that he has been able to develop by himself.

The film won a number of awards at festivals, praising it for its presentation of the life of a teenager coming to terms with life.

1. The title, the Irish, Irish Americans, Boston, tough, the migrant background, the Irish heritage, the Catholic heritage?

2. Boston and the neighbourhoods, homes, restaurants, baseball fields, schools, church? Atmosphere of realism? The musical score?

3. The story of Cole and his family, the tough family, the disappointments, the wedding and the mother’s reminiscences about her husband, the drinking, the father and his not succeeding at baseball, jobs and losses, menial jobs, his terminal illness? Terry as tough, the lack of affection for him as a boy, criminal record? Kathleen and her pregnancy, her boyfriend, handling the situation, her mother’s intervention? Cole as the good boy, his mother wanting him to be a priest, his talent at baseball?

4. Cole and his age, his place in the family, the wake, Terry wanting to kiss the corpse, the robbery, his drinking, his father discovering his drinking, his being ashamed? Going to confession, his sins, the problem with drinking and stealing, the priest recognising him, urging him to take a stand on his values? Withdrawn from the school, his father’s interview with the priest in charge, the priest and self-sacrifice and the father mocking him, especially about sex abuse and PR in the contemporary church? Cole as shy, meeting the girls at school, the clashes with Terry and his friend? The police? Kathleen’s pregnancy, the family needing money, the decision to withdraw him from the Catholic school, the interview with the priest, his stances, the new school, Terry wanting his trousers back? His being late, the girl talking to him, the hostile teacher, getting detention? His skill at baseball, the throwing, Terry and his whims and throwing the ball away? The coach, his success? Going to work in the restaurant, the interview with Joey? Washing up, delivering the food and seeing his father cleaning shoes outside the barber’s? His coming back and weeping in the kitchen? His waiting at tables, the girl, going for the date, her pet bird and his letting it out of the cage and its death? Terry and his wanting to rob the restaurant? Shooting Joey? Terry’s friend and his violence, being shot by Joey? Cole and his confronting Terry, shooting him as he tried to kill Joey? The emotional dilemma? Going to hospital, his father and his illness, confronting his father in the hospital? Terry in hospital? Cole and his age, playing baseball, his father coming to see him? Having to mature, find his values, stances and decisions?

5. Desmond Mc Kay, the black Irishmen, tough, drinking, distant emotionally, loving his family yet hitting his wife, his weaknesses, failing jobs, inability to deal with his daughter, his despising of Terry, his visit to the doctor, fatal illness, collapse and hospital? With his wife, with Terry injured, Cole standing up to him, going to see him play baseball?

6. Margaret Mc Kay, a strong woman, the Irish Catholic background, giving affection and not giving affection, saying it was difficult to be affectionate to Terry? The wake, her concern about her sons? Kathleen’s pregnancy, taking her to the institution, the nuns, the counsellor? Kathleen walking out, her finding her, the discussions, the reminiscences? Meeting her at the hospital, backing down and her less concern about public opinion? Kissing Terry in the hospital, his hearing it, the issue of lack of affection? Her love for Cole?

7. Terry and his being tough, his friend, at home, defying his father, the wake, the drinking and the robbery in the house, the police, clashing with his father, taking back his trousers from Cole, wanting to sign up to the marines, their reaction to him, his angry outburst? The final robbery, the confrontation with Cole? Hospital?

8. Kathleen, her pregnancy, her boyfriend, the family shame, going to the institution, getting a job, meeting her mother? Accepting the baby?

9. Joey, the hiring of Cole, the jobs, his criminal connections, being shot?

10. The priests, the presentation of the church, confession, values, celibacy, the seminary? Desmond and his shot at the church and the sexual abuse situation? The significance of Desmond, his talking to the crucifix, saying that Jesus was not unhappy on the cross, urging him to come down and change places?

11. A coming-of-age film in difficult circumstances?

GET HIM TO THE GREEK

US, 2010, 109 minutes, Colour.
Jonah Hill, Russell Brand, Rose Byrne, Sean Coombs, Colm Meaney, Elizabeth Moss.
Directed by Nicholas Stoller.

Refinement is not the first, second or even hundredth word that springs to mind in reviewing Get Him to the Greek.

Rather, this is one of those raucous American comedies where there is potential to offend sensitive audiences as well as potential to offer some laughs to different sensitivities about how silly human beings can be.

The silly human being in this case is a British rock star named Aldous Snow. He appeared as a supporting character in writer-director Nicholas Stoller’s previous film, Forgetting Sarah Marshall (and she has a moment or two in this film). He was played by comedian Russell Brand who is not known for being a quiet or subtle performer. He tends to be in your face with few holds barred in his topics for laughs or in his language and references for jokes. He comes across as a sometimes raving extrovert and the success of the film mainly depends on whether you enjoy this type of character and Russell Brand’s interpretation. Like him or not, he does have his moments.

Aldous Snow is the ‘him’ of the title. For those who don’t know LA, the Greek is short for the Greek Theatre where rock concerts are held. The command ‘get’ refers to Aaron Green, a publicist and producer for a record company. He is played with a mixture of affability, exasperation and some silliness too by Jonah Hill who has shown a flair for offbeat comedy in many roles in recent years, including Superbad and Funny People. It is Aaron who has the bright (?) idea to resurrect Snow’s career by getting him to sing at a concert in Los Angeles. Snow is in London, has a reputation for erratic behaviour and the rock star propensity for drugs, drink and sex. Will Aaron persuade him, get him out of London, get him to LA (after a detour to see his musician father, played by Colm Meaney, in Las Vegas). And what effect will this have on Aaron who thinks he has broken up with his medical student girlfriend (Ellisabeth Moss) who wants to move to Seattle for hospital opportunities?

A surprise is Sean Combs (P.Diddy) in the role of the demanding, manipulative and wheedling record company director.

The tone is set in the opening credits which are quite an amusing parody of music videos, especially one called African Child which is claimed to have done more damage to Africa than apartheid (and pokes at Madonna and other western adopting parents). It is also a summary of Snow’s success and then the collapse of his career and separation from his wife and music partner, Jackie Q (a surprising and different performance from Rose Byrne).

There is quite an amount of mayhem along the way to the Greek. But, underneath the bravado and living up to the reputation, there is a redeemable character inside Snow who, while he often does his best to undermine Aaron’s life and values, allows Aaron to be a catalyst for some change for the better. All is not lost. (There is a remark that British rock stars, unlike so many Americans, don’t burn out and kill themselves; after all, look at the Rolling Stones and their age and popularity.)

One of the producers of the film is Judd Apatow. Most of his films have the dramatic curve of beginning with obnoxious characters and/or obnoxious behaviour, centring on immersing the audience in the obnoxious and then ending with an optimistic and morally reforming finale: the Judd Apatow Syndrome. The same here.

1. A raucous comedy? Not refined…?

2. Audience knowledge of the Greek Theatre in Los Angeles, its reputation, rock ‘n roll concerts?

3. The American music industry, Los Angeles, the life, Las Vegas and casinos? The American road, the desert? The Greek Theatre? The American feel?

4. The contrast with the UK, postcard London, the high life and ordinary life?

5. The importance of the music? The introduction, Aldous and Jackie? The mocking of the MTV visuals, action, songs, lyrics, production, off-camera behaviour? The range of songs and their success? The sexual and parody lyrics? The importance of African child video? Filming, motivations and interviews, poking fun at Madonna and adoptions? The failure of the record? The comments about its offence to Africa?

6. The importance of careers for rock ‘n roll singers, celebrities, personalities, appearances? Talk and manner? Drinking, drugs, collapse? Failed careers?

7. Russell Brand as Aldous (and his appearing in Forgetting Sarah Marshall)? His age, lifestyle, British background, his friends, his relationship with Jackie, the failed marriage, the visit to his mother? Parties, the venues, the blatant lifestyle? His behaviour with people, with women, on the plane?

8. The boss, his personality, style, his career in real life, parodying the world in which he has been successful? The calling for ideas, his manipulative style, the response of his staff, his ridiculing them? His values, easily adapting for the financial needs? Promotions, meetings and talks, ideas and failures, mockery? Knowledge of the industry and parody?

9. The introduction to Aaron, in himself, Jonah Hill’s screen personality? Waking up, his relationship with Daphne? His idea, admiration for Aldous? The suggestion about the ten years anniversary at the Greek Theatre? The boss giving the go-ahead, the deadline?

10. Aaron and Daphne, their life, busy? Both having heavy schedules? The discussions, arguments, promotion? Daphne as doctor, needing sleep? The offer for her to move to Seattle? Thinking things over? Aaron thinking that they had broken up?

11. Aaron going to London, his experience of the different culture, the shock, meeting Aldous, the outings, the drinking, Aaron’s sense of urgency, the taxi to the airport, the traffic jam, getting on board? His experience of the high life of London, drinking, drugs, women?

12. The hazards and Aldous being erratic? Arriving in the US? His behaviour? The fans, New York, the interviews, radio, singing the song, the difficulties about the lyrics and depending on Aaron? His changing the lyrics, the effect of the fans, the interviewer? Success? Aldous and his behaviour, the hotel, wanting to see his father? The background of his story, the father as a musician, leaving the family?

13. Aaron desperate, yet the trip to Las Vegas, going to the club, his father’s performance, the music, their talking, sexual behaviour, Aaron and the women, the sexual attack on him? The effect? Aaron shocked? His concern about Daphne?

14. The boss arriving in Las Vegas, putting on pressure, manoeuvring?

15. Getting to the Greek Theatre, getting on time, the difficulties that Aldous had with the technical side? Putting on a tantrum? Going on stage, the change, his loving to do performances, rapport with the audience?

16. The ending, the change in Aldous, a comeback? The change in Aaron? Achievement? The disillusionment with the business? Daphne and the reconciliation? Going to Seattle? The club, the records, Aldous singing in Seattle, success?

17. The shift from a raucous comedy, unrefined, to something nice and hopeful?

THE A TEAM

US, 2010, 117 minutes, Colour.
Liam Neeson, Bradley Cooper, Jessica Biehl, Quinton ‘Rampage’ Jackson, Sharlto Copley, Patrick Wilson, Gerald Mc Raney, Henry Czerny.
Directed by Joe Carnahan.

Blast, boom, bang. Then bang, bang, blast, boom. Not the most subtle of actioners.

Based on the 1980s television series, this is an update in terms of time (war in Iraq) and in weaponry and technology. Hence, the bigger blasts, booms and bangs.

This time we have, of all people, Liam Neeson as the ageing expert and leader of the special squad who seem to be able to achieve any secret mission (unless they are betrayed) and one wonders why they haven’t found Osama Bin Laden or were not called in to cap the Gulf of Mexico oil spill and effect it instantly. Here we see their prowess during the opening sequences in escaping capture and death from several dastardly situations. This is meant as a bit of background to the origins of the team and their working undercover. They later receive a mission to retrieve some plates for minting US notes (which Saddam Hussein had purloined) but it goes awry and they are arrested and imprisoned. But, out they get and go to remedy the situation and unmask the traitor (whom they and we were not expecting). The other members are ‘Faceman’ Peck (Bradley Cooper), B.A. Baracus (Quinton ‘Rampage’ Jackson) and the seemingly insane daredevil, Murdock (Sharlto Copley who was the put-upon official in District 9).

Complications in their lives and mission include Peck’s former girlfriend and now suspicious military officer (Jessica Biehl, who actually is given a lot more to do than might be expected in this macho macho outing) and CIA smoothie, Lynch (Patrick Wilson). Veteran Gerald Mc Raney is a commanding officer.

Somebody remarked with the two films’ simultaneous releases that what Sex and the City is to female audiences, The A- Team is to male audiences. So, there we are – or not!

1. Expectations, from the television series? Macho action?

2. The television series, the original stars, television icons? The new cast, the old identities? The action styles of the past? 21st century action styles?

3. The update, the background of Iraq, the 21st century? Plots? The US military, the CIA? Greed and dishonesty, clandestine operations, cover-ups?

4. The introduction to the team, establishing and re-establishing the characters? Hannibal Smith, the torture, the interrogation, Mexico, the rescue and escape? Face Man and his style, happy-go-lucky, the rescue? B.A. Baracus, driving the jeep, the pursuit, the introductions? Smith? Murdoch, mad, daredevil? The bonds between them, establishing the team?

5. The personalities, Smith as the tough leader, Face Man and his bravado and women, Baracus and his Mohawk style? Murdoch, flights, helicopters, explosives?

6. Time passing, the situation in Iraq? The transfer of the plates from the mint? The background of Saddam Hussein? Lynch, approaching the group, hiring them? Pyke and the rival group, his personality? General Morrison, friendship with Smith? Sosa and her relationship with Face Man, the break? Her suspicions? Orders?

7. The mission, the double-dealings, the explosives, the loss of the plates?

8. The arrest of the team, the court-martial, their internment in prisons, the different institutions, Murdoch and insanity? The glimpses of them?

9. Lynch, his background, the CIA, his associates and assistants? Retrying? Collusion?

10. Engineering the escapes from the prisons, the action sequences, techniques, reassembling the team?

11. Obtaining the intelligence, going to Europe? The plans, the locations? Face Man and his preparation of a plan?

12. The betrayal by Lynch, the pretence? Pyke and his involvement? Sosa and her involvement?

13. Lynch, Pyke, relentless?

14. The boat, the discovery of General Morrison’s deceit, his death? The explosions? The timing of the arrival of the plates? Lynch and his team? Murdoch and his putting on the helmet, pretending to be the dead general? The risks? The tapes, Lynch caught on the tapes confessing?

15. Sosa, the phone calls, her participation in the plan? Her superior, Mc Cready? His wariness? The finale, the door going up – and Lynch being caught?

16. The CIA taking Lynch, and another Lynch appearing to take his place?

17. The achievement, clarifying their reputations, their good name – and readiness for any sequel?

NORMAL

Canada, 2007, 100 minutes, Colour.
Carrie- Anne Moss, Kevin Zegers, Callum Keith Rennie, Andrew Airlie, Tygh Runyan, Camille Sullivan, Lauren Lee Smith, Michael Riley, Brittany Ervin, Alison Hossack, Cameron Bright, Tara Frederick.
Directed by Carl Bessai.

Normal is a story about the aftermath of a car accident. It is what might be called a normal car accident, could happen anywhere to anyone?

The film opens with the mother of a dead boy grieving. She is played with stern sadness by Carrie- Anne Moss. She is alienated from her husband who has not wept at the death of her son. She is distant from her surviving son (Cameron Bright). Another strand of the story involves Walter (Callum Keith Rennie) who was the drunken driver who crashed into the stolen car in which the dead boy was a passenger. He is looking after his autistic brother (Tygh Runyan). The third element of the plot involves Kevin Zegers as the young man who stole a car and had the dead boy as his passenger. He gets out of juvenile detention, is angry with his intolerant father, has a liaison with his young stepmother (Camille Sullivan) and meets the girlfriend of the dead boy.

The film, rather grimly, pursues the emotional torments of each of these characters. It finally brings them to some kind of connection, the young man wanting to meet the mother of his dead friend, the drunken driver finally meeting the mother and experiencing her angry outburst against him. The film moves to some kind of resolution, as the characters try to deal with their grief and their guilt.

The film won a number of awards in its native Canada.

1. The impact of the film? Grim? The reality of accidents, the reality of grief, the reality of angers? People’s ability or inability to continue with life?

2. The setting, the aerial shots of the beautiful area, the cliffs, the water? Homes? A comfortable area? The musical score?

3. The title, the accident, the reactions as normal? The challenge to go back to normal?

4. The family story, the home movie of the young boy, Catherine and her comments on losing her son? Her keeping his room, clothes? Her alienation from her husband and his inability to understand it? Her distancing herself from Brady? The tension in the household, Brady and his surliness, the basketball, his father criticising him, the father’s accident, Brady and his confrontation with his mother, with his brother’s basketball? The carrying on with life, but Catherine in a lifeless manner? Meeting friends, going out? Absent-minded and not listening? The build-up to a confrontation, her burning her son’s clothes and possessions? Her husband’s reaction, putting out the fire, her turning on him, accusing him of not weeping? Her trying to reconcile with Brady, deciding to go away to her sister’s? Jordie and his phone call, her sitting with him, a reconciliation? Walt and his arrival, her angry outburst, dragging him out of her way? Able to face life? Brady smiling? The distance between husband and wife?

5. Jordie’s story, coming out of detention, with his father, the tension between them? His father and Elise? At home, his violent outbursts, hitting Elise, fighting with his son? Jordie and Elise, their talk, the seduction? Jordie and his meeting with the dead boy’s girlfriend, their sharing memories, going out? Jordie and his work in the pizza shop, surliness, clash with the owner and walking out? His being disturbed, by himself, the decision to ring Catherine, talking with her, his confessing and going over what happened, the stealing of the car? Some kind of forgiveness from Catherine?

6. Walt’s story, drinking, in the car? Relationship with his wife, the break-up? His looking after Dennis? Dennis and his autism, the effect of the accident, staying in his room? The autistic behaviour, the repetitions, the nervousness? Walt and his friendship with Sylvie, Dennis talking with Sylvie on the phone? Walt trying to do the best for his brother, get him outside the room, his failure? Walt and his teaching? The meeting with Sherri, her wanting an extension, their going out, dating, the sexual relationship? Her work at the television, wanting a degree, not just wanting to be a glamorous weather girl? Dennis watching her on the television and liking her? The break? Sherri and her upset at the visit to Dennis? Sherri and the man in her room, the fight with Walt, the reconciliation? Her telling him how she interviewed him at the court, the story of Catherine’s attack on him? Walt, drinking, trying to come to terms with what was happening? Sylvie, her arrival, Dennis talking through the door? Finally deciding to go out, in the bus, the night out? Walt satisfied with this? His going to meet Catherine, her violent outburst against him, dragging him out of the way of the car, leaving him? Some kind of hope or not?

7. A humane experience, yet a gruelling emotional experience for audience? Insight? Empathy?

SIDE STREET

US, 1950, 83 minutes, Black and white.
Farley Granger, Cathy O’ Donnell, James Craig, Paul Kelly, Jean Hagen, Paul Harvey, Edmon Ryan, Charles Mc Graw, Adele Jergens, Harry Bellaver, Whit Bissell.
Directed by Anthony Mann.

Side Street is a small film noir from MGM. It was directed by Anthony Mann who had directed a number of small features, often tough features, from 1942. He made this film just before Winchester 73, the celebrated western that introduced his many films with James Stewart during the 1950s. Later he moved on to more epic films like Cimarron and The Fall of the Roman Empire.

Farley Granger is a part-time postman who succumbs to a temptation to steal money, finds it is far more than he thought, gets himself involved in criminal activities by a shady lawyer and a criminal on parole. Cathy O’ Donnell plays his wife who is pregnant. James Craig is the paroled criminal, Edmon Ryan the corrupt lawyer, Paul Kelly the upright policeman and there is a good cameo from Jean Hagen as a singer who is in love with the criminal, fatally so.

The film has a touch of moralising with the voice-over by Paul Kelly, indicating that human nature is frail and that we are all subject to temptation.

The film is set in New York City which is filmed very vividly, often with aerial shots of the whole city.

1. An interesting film noir? 1950s crime film? The ordinary citizen? The moralising tone?

2. The importance of the black and white photography of New York City, the introductory comments, the aerial shots, the chase in a Sunday morning abandoned Wall Street? Other locations, homes, apartments, hospitals, offices, the streets? The musical score?

3. The title, the Norsons and their living in a poorer atmosphere in New York City, a side street?

4. The importance of the voice-over by Captain Anderson, his perspectives on Joe, on what he did? His role in the investigation, leading his men? His final comments about the case?

5. Joe, experience in the war, his part-time job delivering mail? Chatting in the bar? Seeing the money, the temptation to go back and take it, breaking open the safe, taking the file? The irony of the thirty thousand? The audience knowing where it came from? His wrapping it, giving it to the bartender? The irony of his stealing it? Joe and his relationship with Ellen, tension, the lies, going away, giving her some money for hospital? His going to the hotel? His worry, the decision to give the money back? His puzzle about Backett not knowing anything? His being pursued? George and his determination? The role of the police? Going to Ellen, the birth of the baby, confessing the truth? Her urging him to go to the police – but later urging him to run? His ability to track down Nick Drumman, the cheeky boy with the money? George pursuing Drumman at the same time, finding Drumman dead, the landlady seeing him? His continually evading the police? Tracking down the documents, finding Harriet, talking with her, going to the apartment, George and his attack? Their taking him in the taxi, Harriet’s death? Driving, the final crash, his being vindicated, reunited with Ellen?

6. Ellen, the marriage, hopes, pregnant, living with her parents, Joe and his losing his gas station? Hospital, giving birth, learning the truth, with the police? The happy reunion?

7. Victor Backett, the shady lawyer, touching down Emil Lorrison, setting him up with Lucille? Paying, the photos? His later denying any connection? The bank teller, with Joe’s questions, the rules, Joe meeting him in the street, his fears?

8. The violence in Georgie, killing Lucille, the body in the river? His relationship with Larry, driving the taxi, Larry as a family man, violence? Yet George killing him?

9. Backett, the interrogation by the police, holding him?

10. The final chase, Wall Street deserted, Joe using his wits, the accident, George being killed? The final resolution?

THE SECRET LIFE OF WORDS

Spain, 2005, 115 minutes, Colour.
Sarah Polley, Tim Robbins, Sverre Anker Ousdal, Javier Camara, Danny Cunningham, Dean Lennox Kelly, Daniel Mays, Eddie Marsan, Steven Mackintosh, Julie Christie, Leonor Watling.
Directed by Isabel Coixet.

The Secret Life of Words is a very fine film, one that can be recommended.

The story is original, revealing something of the post-traumatic stress of people who suffered the war in the Balkans in the 1990s, especially the women and the victims of rape. This theme has been treated in a number of films, most significantly in the film Grbavica.

Sarah Polley portrays a deaf woman working in a factory. However, it soon appears she is a trained nurse and during an enforced vacation from the factory (where people complain that she does not communicate), she overhears someone wanting a nurse to go to an oil rig. The victim of burns on the rig is played by Tim Robbins in a very sympathetic role. He cannot see and she reveals very little about herself. However, gradually a rapport grows between the two. There are only a few people on the rig after the accident which caused the burns, Dimitri the manager, Simon the Spanish cook (played by Javier Camara who was so effective as the central character in Talk to Her – with Leonor Watling who is also in a small role in this film – and Bad Education). Daniel Mays portrays the meteorologist on the rig. Steven Mackintosh is the doctor. There is a cameo role by Julie Christie, very effective, as the psychiatrist who treated the young woman for her traumas.

The dialogue is quite powerful at times, especially in the scenes where the two central characters are able to relate their stories, Robbins with a father who is dominating, failed relationships and betrayals, Sarah Polley most moving in the descriptions of what happened to her in the Balkans.

Isabel Coixet My Life Without Me, about a cancer victim, also played by Sarah Polley. Other films include Elegy and Map of the Sounds of Tokyo. However, this film seems to be her best.

1. The title, the voice-over (and the mysterious identity of the speaker)? Words and silences? A film of words, a film of silences? Communication and non-communication? Revelation?

2. The opening on the oil rig, the fire? The later explanations of the suicidal man? The consequences for Josef, trying to rescue him, being burnt? The oil rig itself, the building, the interiors and exteriors, the vistas of the sea? The contrast with the factory where Hannah worked? The score, its range, the final song – and the music of Tom Waites?

3. The introduction to Hannah, her work in the factory, hard work, alone, deaf, turning the sounds off? Not mixing with the others? Her simple meal of rice and nuggets, the apple? The repetition? The interview with her boss, the workers’ complaints, the union? His praising her high standard of work? Suggesting a holiday, offering the brochures? His earnestness? Hannah’s reaction, going home to her flat, considering the possibilities?

4. The portrait of the sympathetic boss and his trying to handle the situation well, for Hannah’s wellbeing?

5. Hannah travelling, the bus, the ladies chatting and talking about Jean- Claude Van Damme? The hotel, her anger in the room, pulling the bed to pieces? Quietly in the café, overhearing the man talking on his phone, her offering her services, his agreement? The explanation of the job, the driving the car, Hannah’s reaction, less communication? The helicopter, arriving on the rig – the separation of the rig from the mainland, the isolation, the sea?

6. The personnel on the rig, the manager and his discussions with Hannah? The Spanish cook, his friendliness, his work, his skills? The two workers, their relationship, married background, sexual? The black man? The doctor, welcoming her? The bonds between the people on the rig, their sense of aloneness and isolation, their jobs and their future? The concert? The meteorologist and his measuring the impact of the waves? His isolation?

7. Hannah and Josef, the explanation of the task, their meeting, her attitude, silent, his questions, not being able to see, her not giving answers? Her attentiveness, the pan, the food, listening to him? Forming a basis for the relationship? Gradual understanding, mellowing? Her own isolation, eating the meal on the steps, moving towards the group? Her chats with Simon? Talking with the manager?

8. Josef and his suffering, the cook bringing the food, the welcome, his being upset? Hannah asking for the helicopter to take him to a hospital?

9. Josef and his stories, his books, the gift of the book to the wife of his best friend, the betrayal, the story of his father and the swimming, the dropping in the water, his attitude towards his father, his father’s callous attitude towards him? Not being able to swim?

10. Hannah revealing her story, her training, the Balkans in the 90s, the war, her passionate story, her friend, Josef listening, weeping, consoling her? The troops, her own soldiers, the rape experience, the young man and his apology, her friend and her suffering and death?

11. The result, Hannah as deaf, bitter? Her ringing her counsellor but not saying anything on the phone? The counsellor thinking this was enough and glad that the contact was made?

12. Seeing Josef off, going back to her work in the factory?

13. Josef’s recovery, having Hannah’s bag, going to Copenhagen to meet the counsellor, the personality of the counsellor, her impassioned speech about the war, the victims, genocide? The parallels with Armenia? The impact of the story of the Balkans, the survivors and their guilt? Giving Josef the cassette, his not wanting to watch it?

14. Josef going, finding Hannah, her resistance, giving her the bag, her seeing the scars on his face? The acknowledgment of love?

15. The happy ending, her life, love, commitment, children?

16. The voice-over of the inner child, relinquishing life to the adult and healed Hannah?

17. The topical issues, the aftermath of the 20th century and its genocides? The powerful sense of humanity?

FREEFALL

US, 2009, 89 minutes, Colour.
Dominic Cooper, Aiden Gillen, Joseph Mawle, Olivia Chamberlin, Riz Ahmed, Charlie Creed- Miles.
Directed by Dominic Savage.

Freefall is one of several television movies made by writer Dominic Savage. They all have a strong social focus, love plus hate, born equal.

This film is about the financial collapse of 2008, especially with issues of mortgages and reselling of mortgages.

There are three stories: one the story of Dave, a brash salesman who persuades a school friend, Jim (Joseph Mawle), to buy mortgage when he has been not allowed credit from the banks. His decision is made despite the protests of his wife (Olivia Chamberlin in an effective performance). The second story is that of Jim and his wife, their move, his losing his job, the inability to pay off the mortgage, the resale of their house, the sometimes heartless treatment by the financiers. The third story concerns Gus, an ambitious and workaholic financier involved in suspicious schemes for buying and selling loans. Riz Ahmed is his assistant. Rosamund Pike is another assistant with whom he is having an affair. He is concerned about his marriage break-up but especially with meetings with his teenage daughter. Eventually his lover confronts him with the truth, resigns, soon after the financial collapse begins and he is even barred from entering the building where his office is. In despair, he talks optimistically – but there is a pessimistic ending.

The film ends with a coda, with the brash salesman moving from mortgages to ‘green initiatives’. He is played well by Dominic Cooper.

1. The impact of the film? In 2009? Mirroring the events of the previous years? As seen in retrospect?

2. The title, the reference to the world situation, American banks, mortgages, the effect on world finance? The British situation? Companies, their brash investments, their losses? The effect on the wheeler-dealers? The contrast with ordinary citizens, caught up in the greed motivation, wanting things better, taking out impossible loans and mortgages?

3. 2009, Britain, suburbia, ordinary homes, the shopping malls? The contrast with the glass buildings in the city of London, their affluence?

4. The opening, the motivational speaker, his abusive style, unscrupulous? Dave and the other sellers? Being urged to go out? Dave and the collage of his visits? Persuasion? His girlfriend and her ambitions, greed? The encounter with Jim at the shopping mall? Jim as a security guard, chatting and memories of school, the girlfriend and her petulance? Dave and his new home? His going out, on the town, drinking, girls? His disappearing from the film until the end? Jim going to find him, in the apartment, the fight? His being shamed by Jim? The postscript and his continuing his style, the big car, trying to persuade people to buy green initiatives? Unredeemable?

5. Jim and his wife, Jim and his steady job, the family, the ordinary home? Dave and his spiels, his persuasiveness? Jim believing him, talking things over with his wife, her caution? Taking out the mortgage? The rising of the rates? The phone calls, being unable to pay? His taking double jobs, sleeping, being let go from the company? The growing despair? The portrait of his wife, an ordinary woman, happy with her family, not wanting the extras, her condemnation of greed? Her despair, yet her support of Jim? Jim and his confrontation of Dave, the fight? The family moving out? The advice from the better mortgage adviser? Accepting one’s life?

6. The story of Gus, his energy, working with Gary, with the team, the gains, the celebrations? His personal life, wrapped up in his work? Unscrupulous? Meetings with his daughter, their discussions? His relationship with his girlfriend? The change in fortunes, the world situation, the continued losses, the huge changes in fortune? Trying to cope? Gary and his advice and help? His girlfriend and her resignation, telling him the truth? His not being admitted to the building? With his daughter, weeping, her embarrassment? His wife remarrying? His talks with Gary, dreams of jobs in Singapore, opportunities? His going to the overpass?

7. The combination of stories, human interest, topical? The film highlighting the issues of the period – and challenging audiences to think about them?

SEVEN WAYS FROM SUNDOWN

US, 1960, 80 minutes, Colour.
Audie Murphy, Barry Sullivan, Venutia Stevenson, John Mc Intyre, Kenneth Tobey.
Directed by Harry Keller.

Seven Ways from Sundown was adapted from his novel by western writer Clair Huffaker. It was his first cinema screenplay and he went on to write many others including Rio Concho, Comancheros, Posse from Hell.

The film is a strong Audie Murphy western, similar to all those he made during the 1960s at Universal. They were brief, had good locations, created an atmosphere of the west, had a struggle between good and evil. In this film the evil is more ambiguous. Veteran actor Barry Sullivan plays Jim Flood, a gentleman outlaw in the west, wanting to live the good life, charming but ruthless. Audie Murphy plays a rookie Texas Ranger who is sent out to bring Flood in along with John Mc Intyre as a sergeant. The film is something of a two-hander between Audie Murphy and Barry Sullivan as they travel from Arizona back to Texas. There is some action with Indians as well as bounty hunters. Kenneth Tobey portrays the Texas Ranger lieutenant who has his own secret, cowardice and not protecting Audie Murphy’s brother who was killed by Sullivan.

This film is considered one of Audie Murphy’s best westerns.

1. An enjoyable western? Interesting? The atmosphere of the west, the Texas Rangers, outlaws?

2. The location photography, the emphasis on the mountains, the desert? The western towns, the saloons, the gunfights in the streets? The musical score?

3. The title, Audie Murphy’s name? His brothers and their number names? The facetious remarks made about his name?

4. The introduction to Jim Flood, the shootings in the saloon, his setting fire to it? His escape? His reputation? The Texas Rangers tracking him down? Jones and Hennessy and their pursuit? Hennessy explaining the background to Flood’s personality? His being killed? Flood continuing on, the interlude with the little boy fishing, the chat, giving him the knife? The warning against following him? Jones catching up with him? Their interactions? Flood and his charm, talk? His being wounded? Jones looking after him? Talk, meals, playing cards? Flood trying to outwit Jones? His failing? Jones taking him in, the journey? The confrontation with the bounty hunters? With the wagon? Flood finally taken in, in the jail, the deal with Herley, the threat to expose his cowardice? The accidental shooting of Joy? His return, the final confrontation with Jones, inviting him to come and be an outlaw? Pulling the gun, failing?

5. Seven ways from Sundown Jones, age, his brothers, the calling to the Rangers, the death of his brother? Coming into town, the threats? His finding the post, the discussions with Herley, meeting Mrs Carrington and Joy? The meal? The attraction? The night, Joy talking with him, not wanting him to leave? His going with Hennessy, the guns, skill with a rifle? Learning how to handle a revolver? Hennessy and his explanations of Flood? Hennessy’s death, burial? Jones going on, shooting Flood? Tending to him, the meals, the talk, serious-minded? The battle of wits? The card games? The morning, his being knocked out, his knocking Flood out, taking him? The confrontation with the Indians, the shooting? The bounty hunter in the town, shooting the bounty hunter? The wagon, supplies, the shootout? Finally bringing Flood to town, the people’s admiration? Joy and her welcoming him? Her being shot, Jones’s upset, the return of Flood, the final talk, dedication? Death?

6. Hennessy, tough Texas Ranger sergeant, friendship with the Carringtons? Going to the town, the saloon girl, getting the information about Flood’s direction? Not following it? Shrewdness, his death? Flood’s tribute to Hennessy saving his life from the Indians?

7. Herley, bureaucrat, sending Hennessy and Jones out? Motivation? The revelation about his cowardice? His letting Flood go from the jail?

8. People in the western town, Mrs Carrington and her meals, Joy, the attraction? The ordinary people, the doctors? The saloons and the gambling, the girls? The atmosphere of Texas?

AMERICAN SON

US, 2008, 90 minutes, Colour.
Nick Cannon, Melonie Diaz, Matt O’ Leary, Tom Sizemore, April Grace.
Directed by Neil Abramson.

American Son is a brief film about a young African American marine who is about to be sent to Iraq. He has eight days’ leave and travels home to Bakersfield. He meets his mother and half-sister, his adoptive father (Tom Sizemore) and his real father with whom he has a bond. He meets a young woman on the bus (Melonie Diaz) and forms an attachment to her. He also meets his friend (Matt O’ Leary) who has stayed in Bakersfield, has a drug and employment problem, is partly envious of what has happened to the young man in joining the marines. The film shows the ups and downs and the emotional experiences of the young man as he revisits home. The prospect of fighting in Iraq and dying in Iraq is ever-present.

Nick Cannon is strong in the central role and the supporting cast is very effective.

1. The impact of the film for an American audience? For the parent generation, for those who go to Iraq? For the younger generation? The memories of American involvements in overseas wars? Vietnam?

2. The time setting, ninety-six hours? The opening at the fort, the introduction to Mike? The other soldiers? Orders? His being given leave? The film indicating the hours passing?

3. The settings, the fort, travelling through the American countryside, Bakersfield and its surroundings? An ordinary American town? The musical background?

4. African American characters? Hispanic characters? The majority – and the minority of white characters?

5. Mike, as a person, his background, his being reliable, praise from his mother? His joining the marines? Jake telling him he should have encouraged him to join with him? His sense of integrity? Not telling the family and people in the town that he was going to Iraq? His uniform, spick and span? On the bus, moving to the seat with Christina, introducing himself, their talking? The bond between them? His meeting up in town, going to visit Christina’s family, their reactions to him? The outings with her, the dance, the group, his punching the man who escorted her away? His friendship with Jake, talk, playing basketball, the clashes, Jake’s erratic behaviour? His drugs, apartment, climbing up onto the roof? Mike telling him he was going to Iraq? Jake’s reactions? Mike and the motel, with Christina, finally telling her the truth, her being upset? The reconciliation? The visit to the old woman whose son had died, dressing up in his uniform? Going to see the young man who had his leg injured in Iraq? Their talk? Christina’s presence? His missing the party, his stepfather driving him to the bus station, the farewell to his mother, her accepting his going, her pride? Getting on the bus and the film ending?

6. Christina, her family, plans for college? Attraction towards Mike, sensible, questioning him, trying to understand him? Her family? The visit to the old lady? The visit to the injured soldier? Their time together, the sexual relationship, his telling her the truth, her being upset, accepting the truth?

7. Jake, staying in the town, not amounting to anything? The past bonds with Mike? The up and down of his moods? Playing basketball, getting the huff? The outing, the drinking? His apartment and drugs? Climbing up the tower and onto the roof? His response to Mike telling him the truth? Upset?

8. Mike’s visit to his actual father, the workplace, their discussions, the bonds, the mother saying that there had been good times in the past? The tension with his stepfather?

9. The background of people in the ordinary American town? The background of the military and the marines?

10. The situation in Iraq, the invasion, the American occupation, sending troops, the death toll? The impact of seeing this in this kind of film?